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Ethio Jazz Groove Project

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Limited edition Orange vinyl 100 exThe Selenites Band is a musical collective led by Obi Riddim aka Antoine Laloux. The band is playing mostly Ethio Jazz, a popular Ethiopian music trend, famous from the 50’s until the 70’s in Ethiopia. During this Golden Age famous musicians such as Mulatu Astatke, Girma Béyéné, Mahmoud Ahmed, Getatchew Mekurya dominated the musical scene.The Selenites Band is paying a tribute to those Masters by playing their major pieces, and through their own creative work inspired by the Spirit of this time. Modal Jazz, pentatonic melodies, free improvisation are expressed and magnified through the original vintage sound, mixing of woodwind instrument, psychedelic guitars -which remains Krautrock movement- and a drums section that seems to have stepped out of a Blaxploitation movie.The Selenites Band is blowing a heat wave from the Grand Rift Valley to reach a powerful tectonic force, deeper than a sand storm, magic as a transe under the moon, vibrant as a tropical party fever in some Addis Abeba Club back in the Old days.After releasing their first Ep ( A=Face visible ) in 2019 with Sandal Label , The french label Stereophonk put out 6 recorded live tracks which consist of classic Ethiopian tracks composed by Mulatu Astatke et Girma Beyene . Some of them have been made famous internationally being sampled by popular artists like Damian Marley, Nas, Jay Z … who helped the recognizing of this regional culture and gift .On this record, the band is pushing in front his raw sound that we can hear on stage, crazy desert sound that brings you to travelling and explorations album preview : soundcloud.com/stereophonk-1/the-selenites-band-vinyl-preview-ethio-jazz

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ST 015

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23.00
Tracklist: 

Side 1
1. Yekatit
2. Muzikawi Silt
3. Yekermo Sew
Side 2
1. Antchim Endelela
2. Yegele Tezeta
3. Apollo IX

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Oriental Jazz

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Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents’ desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he’d first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like “Tuareg African music is blues, just with no chord changes.” Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution.

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NA 5183LP

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0
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35.00
Tracklist: 

Side 1
1. Gol-E Gandom
2. Njonja Mirah & Yona
3. Tanya
4. Guzel Gozler Or Amber Eyes
5. Natanie
Side 2
1. Hue Wail
2. Njonja Mirah & Yona (Second version)
3. Impression Of Bhairava Raga
4. Prelude To The Iranian Mode Shur
5. Pentalogic
6. Sahar-E Meh-Alude Or Early Morning Mist

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All Rise

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‘ALL RISE’ is a genuine reflection of Manzo’s art form, which sees so many different styles and influences coming together in the most natural, organic way .While jazz and funk are at the core of Michele Manzo’s musical foundation, the Italian artist deftly draws upon his inspirations in hip-hop, dub, and Brazilian music as both an instrumentalist and producer. But above genres, inimitable grooves are the key driver of his work, and in his grooves one can hear the vibe of a moment being captured and perpetuated for eternity. With this combination of musical depth and raw feeling, it is no surprise Michele hascrossed paths with Darker Than Wax, and we feel truly blessed to present his LP ‘ALL RISE’ to the world. ‘ALL RISE’ is a genuine reflection of Manzo’s art form, which sees so many different styles and influences coming together in the most natural, organic way. Everything was recorded live using bass, synth bass, guitar, old analogue keyboards, blended together with modern synths, dub delays and ambient fx - giving off the familiar warmth of boom bap and progressive stimulation of neo-soul. The pervasive harmonies and clever use of chords give the album a real musical depth, but grounded with an effortless, natural approach to creation. More than just showcasing Michele’s musical prowess and mastery of the instrumental, ‘ALL RISE’ is also a deeply collaborative effort. The chemistry with heavyweight collaborators like Georgia Anne Muldrow, Dudley Perkins, Nicholas Ryan Gant and RayClev is incredible - they compliment his instrumental tapestry with poetic ammo, elevating “ALL RISE” to a level of virtuous artistry. The five vocal cuts also offer a sober reflection on the turbulent social climate of 2019 America, and the world at large. Police violence, racism, and growing divisions that dominate the current zeitgeist are examined front and centre, most prominently by Dudley Perkins on the title track. Yet despite such a worrying state of affairs, there is an underlying message of positivity triumphing, and a rallying call to destroy evil at its root rather than be consumed by it. ‘ALL RISE’ is about people standing up and uniting, being brought together by a common spirit and emotional music.

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DTW 055

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30.00
Tracklist: 

Side 1
1. All Rise (feat Georgia Anne Muldrow & Dudley Perkins)
2. Crackablackalacka (feat Georgia Anne Muldrow & Dudley Perkins)
3. Soundtrack For The Summer
4. Long Deep Breath
5. Train From Cali
6. Fly High
Side 2
1. Another Day In LA (feat RayClev)
2. The Best (feat Nicholas Ryan Gant)
3. Nite Operator
4. Blind (feat RayClev)
5. Afternoon Smoothness
6. Robot Sunny Trip

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Non
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Original
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No Maps

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Previously released on cassette in 2011.2011's NoMaps traces a transitional period between two coasts, soundtracking Mndsgn’s transplant from New Jersey to Los Angeles. The 15 tracks take their own detours, in and out of softsynth compositions, textured loops and hard bops to illustrate relocation and it’s reflective nature. Collage by Yuk.

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LMND 001

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1
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30.00
Tracklist: 

Side 1
1. Lahtro
2. Respawn (Free)
3. Question
4. Photobooth
5. Save
6. Tropikal (SS)
7. Stumble
8. Mt Hoodie
Side 2
1. Sustas
2. MawninFace
3. PorcelainPeople
4. HerNumerxledge
5. Riff
6. TeaTreez
7. Cinnabreads

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Original
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40 Acres N Sum Mula

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Berlin rapper JuJu Rogers presents his highly anticipated sophomore LP „40 Acres N Sum Mula“ feat Sampa the Great and productions by Farhot (Isaiah Rashad, Talib Kweli), Like (the producer behind Kendrick Lamar’s „Sing About Me”), Crada (Drake, Kid Cudi) and more...Coming a long way - from his widely acclaimed debut (“Although we don’t usually bestow the ‘future classic’ title to an album (...) we are just ready to call it what it is!”; Music is my Sanctuary) „From The Life Of A Good For Nothing“, supporting DMV's veteran Oddisee on tour throughout Europe, being the 2nd artist to ever be featured on COLORS, the successful Bluestaeb collabo „LIT – Lost In Translation“ and his regular appearance at Splash Festival - JuJu Rogers teams up with Jakarta Records again to finally return to the big screen presenting his highly anticipated 2nd LP „40 Acres N Sum Mula“ providing nothing but bangers with an attitude and bringing back that ‘Real Shit’!The Schweinfurt born and bi-lingual & multi-culturally raised JuJu Rogers comes from an army family. His father, a GI who owns an extensive Soul and Jazz collection of records and a German mother with Austrian roots. After moving to Berlin in 2012 he soon set his mark in the local scene by joining the group Man of Booom. His solo debut „From The Life Of A Good-For-Nothing“ was released by Jakarta Records (The Berlin based label behind critically acclaimed releases by artists such as Anderson .Paak, Kaytranada, Mura Masa, Akua Naru or Ta-Ku) and displayed himself as a searching soul & Eichendorff fan in the most lyrical sense. The Coming-Of-Age-Story behind it oscillates between capitalist bottom lines and free creativity as higher ground.JuJu has no problems telling it like it is: "After talking about depression, temptation, the craving for money in a capitalist world with all its possible consequences, after asking questions of identity with the clear answer: "Babylon" represents the outlook and possible perspective, the break away moment of the album. It's a song of strength and progress. It also creates a very positive vibration as the last song of the album which made a lot of sense to me as the whole album holds a more mystical vibe to it.“The new Album “40 Acres N Sum Mula” unifies the mind state of an Afro-German with the power of observation with German political landscape of Berlin. Heavy sampled beats from his debut album are replaced by contemporary musical landscapes, productions by outstanding musicians and producers from all over the world.JuJu Rogers about his album title: “»40 Acres N Sum Mula«! — Forty acres and a mule refers to Special Field Orders No. 15, a promise made by the United States government for agrarian reform to aid formerly enslaved black farmers. Approved by president Abraham Lincoln, the field orders were written 1865, and specifically allotted each family a plot of land no larger than 40 acres (16 ha) plus a mule for the agrarian reform effort. I changed »a mule« into »sum Mula« in order to place the legitimate struggle for equal rights and reparations into the context of our current capitalist world and underline the historic connection to the very beginning of today’s society.Sound, lyrics and vibrations on this album represent a mixture of ancestral spirit and contemporary characteristics and lead you through the self-reflecting and rebellious thoughts of a black man born and raised in Germoney.” - JuJu Rogers.

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JAKARTA 146

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26.00
Tracklist: 

Side 1
1. Intro
2. 89
3. Real Shit
4. Black Thurzday
5. Follow Me
Side 2
1. Mula
2. 10 Yas
3. Identity
4. God
5. Babylon

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Oriental Groove

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In the summer of 1986, inspired by gypsies from Turkey and the Balkan region, a Kurdish immigrant and six Austrians locked themselves in a small rehearsal room in Vienna's 5th district. What came out of these sessions sounded rather unusual for the local music scene.Using songs from the Eastern Mediterranean and Middle East as a vehicle for improvisations based on odd scales and rhythms, and looking for ways to adapt them to their instruments and European feel, the band gave birth to its own sound signature. Delivering some of the tightest oriental jazz fusion recorded that decade.Submitted by soundman Michael Fitsch as his end of the year project at audio engineering school, the album was ultimately released on his teacher Hans Hartel's Ha Ha Soundwave label. Mostly sold in venues during legendary performances, Oriental Groove fatally faded from memory since the group disbanded a few months after its release.To conclude a year of investigation and continuous efforts to put the band members back in touch 30 years later, Hot Mule Records is proud to bring this groundbreaking record back to life with an official reissue, carefully remastered from the original source.Limited Deluxe Edition of 500 copies in tip-on sleeve, including extensive liner notes by Donna Leake, with exclusive photos handpicked in the band's archives.

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HTML 004

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28.00
Tracklist: 

Side 1
1. Nazmiye
2. Plajda - On The Beach
3. Deli Horoz - The Crazy Cock
Side 2
1. Ahtarma Meni - Don't Search Me
2. Ayrilik - Seperation
3. Cano Cano - Darling Darling
4. Kervan - Caravan

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Non
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Brasilian Sound

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L’ALBUM 60-70’S DE MUSIQUE BRÉSILIENNE MADE IN FRANCERÉÉDITION À L’OCCASION DES 50 ANSA la fin des années 60/début des années 70, le Brésil faisait rêver. Il était à la mode, un peu partout en Europe, et donc aussi en France. On pense à "Samba Sarava" sur la BO du film Un Homme et Une Femme, à Françoise Hardy avec son album produit par Tuca, à Isabelle Aubret et son "Casa Forte" ou à France Gall avec "Zozoi". Trois musiciens brésiliens exilés en France, Edson Lobo (basse), Fernando Martins (piano) et Nelson Serra (batterie), forment le Trio Camara. Ils rencontrent un groupe d’amis amoureux de la musique brésilienne, tous professionnels de la musique, mais qui souhaitaient rester anonymes, d’où le nom de leur groupe : Les Masques. Claude Germain (Les Double Six), José Bartel, Marie Vassiliu, Pierre Vassiliu... les chanteurs formant Les Masques sont loin d’être des inconnus. En 1969 ils entrent donc au Studio Davout avec le Trio Camara pour enregistrer Brasilian Sound.Composé de 11 titres, c’est un superbe album, magistralement produit et enregistré, qui s’écoute d’une traite et nous transporte dans des ambiances à la fois légères et naïves, si propres à cette époque. Tiré à 500 e xemp l a i r e s s u r C B S l ’a l b um n e s e r a malheureusement pas un succès et il est aujourd’hui quasiment impossible de trouver le pressage original français (sonnant bien mieux que le pressage canadien paru à la même époque). Cette réédition du Très Groove Club est donc la bienvenue, pour que 50 ans après sa parution, un plus large public puisse découvrir ce magnifique album, écho d’une époque définitivement révolue.

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LTGC 005

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25.00
Tracklist: 

Side 1
1. Echo
2. Il Faut Tenir
3. Un Regard... Un Sourire...
4. Enfer
5. Bal Chez Le Baron
6. La Grosse Bosse A Casanova
Side 2
1. Mais Un Jour...
2. Initiation
3. Dis Nous Quel Est Le Chemin
4. L'Oiseau
5. Les Filles Et Les Garcons

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Non
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Organ Plus

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Une aura de mystère plane autour de Jacky Giordano, musicien de studio ayant majoritairement oeuvré dans l’illustration musicale. On lui doit le fantastique label Freesound (Schifter, Philopsis, Challenger), on le retrouve sur Montparnasse 2000 avec Pop in Devil’s Train, mais aussi chez Timing avec Timing N°1 et Timing N°5 sous le pseudo Jacky Nodaro, chez Musax avec Boucles Rythmiques sous le pseudonyme José Pharos ou Black Devil Disco Club dont la paternité sur ce disque est encore disputée entre Bernard Fêvre et lui. Car Jacky Giordano n’était pas un enfant de coeur, loin de là, et aura malheureusement été plus connu pour ses démêlés avec la justice que pour sa musique. C’est son travail pour le label l’Illustration Musicale (IM) qui peut maintenant être redécouvert grâce à cette réédition du Très Groove Club.Organ Plus (IM 26) est la suite d’Organ (IM 24), également réédité par Le Très Groove Club. Le titre est ici un peu mensonger, l’orgue n’étant pas un élément prépondérant de l’album qui fait la part belle au Fender Rhodes, string machine, grosse basse de synthé et clavinet. "Be Carefull", "Riffologic", "Twilight" : Jacky Giordano nous offre un jazz-funk au tempo ralenti, sans se départir de sa mélancolie et de son groove low-fi qui rendent ses morceaux immédiatement identifiables quelque soit le label ou le pseudonyme qu’il utilise.

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LTGC 004

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1
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23.00
Tracklist: 

Side 1
1. Agitation
2. Skate Board
3. Be Carefull
4. Self Confidence
5. Hesitation
6. Curiosity
7. May Day
Side 2
1. Riffologic
2. Hitch Hiker
3. Twilight
4. Restless Mind
5. Keep Cool
6. Quiteness
7. Hold It

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Non
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Re-Issue
Newsletter: 
Non
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Organ

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Une aura de mystère plane autour de Jacky Giordano, musicien de studio ayant majoritairement oeuvré dans l’illustration musicale. On lui doit le fantastique label Freesound (Schifter, Philopsis, Challenger), on le retrouve sur Montparnasse 2000 avec Pop in Devil’s Train, mais aussi chez Timing avec Timing N°1 et Timing N°5 sous le pseudo Jacky Nodaro, chez Musax avec Boucles Rythmiques sous le pseudonyme José Pharos ou Black Devil Disco Club dont la paternité sur ce disque est encore disputée entre Bernard Fêvre et lui. Car Jacky Giordano n’était pas un enfant de coeur, loin de là, et aura malheureusement été plus connu pour ses démêlés avec la justice que pour sa musique. C’est son travail pour le label l’Illustration Musicale (IM) qui peut maintenant être redécouvert grâce à cette réédition du Très Groove Club.Organ (IM 24), comme son nom l’indique, fait honneur à cet instrument et tout le génie de Giordano est de le mélanger avec des basses de synthétiseurs et du Rhodes pour nous projeter dans des grooves teintés de mélancolie. Une boite de banlieue à moitié vide un dimanche soir, un ciel gris sur l’esplanade de la Défense, la bande-son d’un film policier français de seconde zone… Voilà où nous emmène Jacky Giordano avec Organ et ses morceaux déjà cultes comme "Interrogation Point", "Project Problematic", ou "Owls Night" pour ceux qui ont eu la chance de mettre les mains sur un pressage original de ce disque.

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LTGC 003

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1
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23.00
Tracklist: 

Side 1
1. Interrogation Point
2. Easy Drive
3. Project Problematic
4. Lonely Walk
5. Midnight Feeling
6. Cloudy Night
7. Pleasant Moment
Side 2
1. Cat & Mouse
2. Coffee Or Tea
3. Latest News
4. Hey Taxi
5. Owls Night
6. Beating Around
7. Heavy Footfalls

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Non
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Procura-se Uma Virgem

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Reissue for the first time. Limited Edition, only 500 copies. Hand numbered on Obi strip.This is Erlon Chaves e Orquestra Saint Moritz – "Procura-se uma Virgem" OST (1971), supposed to be one of the most sought after Erlon Chaves LP. This OST was recorded to a Brazilian soft porn movie with killer organ funk instrumental tracks and several funky, erotic & modal tracks, arranged and directed by maestro Erlon Chaves.

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MAR LP02

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1
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29.00
Tracklist: 

Side 1
1. Procura se Uma Virgem (prefixo)
2. Procura se Uma Virgem (valsa)
3. Grilo
4. Os Três Ladrões
5. Uma Velha Raposa
Side 2
1. Vamos Nos
2. O Anjo e o Diabo
3. Tema de Amor
4. Ba Oba Oba
5. Procura Se Uma Virgem (Sufixo)

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Non
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Re-Issue
Newsletter: 
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