"Once again DJ Delay has proved himself the master of remix, sonic manipulation and version. Whether it is a Hungarian trio (Vardos) or Austrian Balkan electronica (Dunkelbunt) no one is safe, and the extra bits make total sense to the dancefloor or headphones....OPA!"

Garrincha is a true Brazilian legend, one of the all-time great footballers, revered to this day. Focusing on his zenith, from 1953 to 1962 – during which time he twice inspired Brazil to World Cup glory – this soundtrack is suitably of the period. With beautiful Ipanemas-esque soulful samba sitting alongside carnival batucada, darker cinematic experimentalism, and playful jazz funk, this collection of Leo Gandelman scores mirrors and celebrates Garrincha’s amazingly fast paced life; at times glorious, at others a car crash. Manuel Francisco dos Santos (Garrincha) remains so popular in Brazil that he is remembered as Joy of the People.

This original soundtrack to ‘Estrela Solitaria’ was directed, produced and in most cases composed by Leo Gandelman. An icon of the jazz genre as saxophonist and arranger Gandelman has released nine solo albums, seven compilations as well as last year’s previously unreleased swinging funk soul Brazilian Groove Band project, recorded in New York in 1999 with American jazz funk legends Grant Green Jr and Reuben Wilson, on Far Out Recordings. Certainly, parts of this score are reminiscent of the heavy soul and jazz funk of BGB but this record goes far deeper.

‘Estrela Solitaria’ flashes between Garrincha as extravagant and triumphant footballer and his decent towards ruin. In the late ‘50s and early ‘60s Garrincha was the most famous man in Brazil, dating and then marrying samba star Elza Soares while leading Brazil and Botofogo to glory on the pitch. The old school samba songs split the soundtrack, (‘Samba Fantastico’, ‘Samba Authentico’, ‘Samba Latino’, ‘Apito No Samba’) perfectly stirring up the carefree side of Garrincha’s life and a deeply atmospheric and timeless Rio. Performed by the Brazilian Saxambistas and in the vein of the Ipanemas, this is Latin music at its most evocative. The rest of the soundtrack was composed especially for The Lonely Star by Gandelman who has captured Garrincha’s personality on and off the pitch perfectly: ‘Garrincha’ is Gandelman’s most impressive and significant work.

This collection moves from quirky jazz funk as Garrincha darts around bemused players with his unique dribbling style, in glorious original black and white footage, (‘Football Color’, ‘Retirada da Urca’, ‘Drible de Cadeira’, ‘Dops’), in to heavy batucada samba (‘Escola’, Bloca De Rua’) beats of carnival (Garrincha, like many ex-footballers, was paraded as a carnival attraction; the exploitation of a sporting hero heartbreakingly depicted in the film). It’s the dark, almost psychedelic jazz (encapsulated by ‘Decadente Psicodelico’), which depicts Garrincha’s decent in to alcoholism and the money and health problems, which plagued the end of his life (Garrincha died aged just 50). ‘Estrela Solitaria’ ends with ‘Abertura’, remembering Garrincha, as Brazil does, in his glorious prime: “Thank you, Garrincha, for having lived.”

“I was very happy and really touched to receive the invitation to make Garrincha's movie soundtrack. I'm a great fan of Garrincha as a human being and soccer player. After reading Ruy Castro's book "The lonely Star", that inspired the film, I got further involved. I'm also a big Botafogo fan, the legendary black-and-white-striped soccer team Garrincha was part of for most of his career, and to produce the music to those original shots of the genius of Garrincha, meant a lot for me. Garrincha had an extremely interesting life, but the most important thing is that he was really an improvising artist – "the Coltrane of soccer.” I made the music with all my heart and the soundtrack got three major prizes in Brazilian film festivals around the country. I consider this one of the best works I've produced, in the sense I truly enjoyed making it.” Leo Gandelman

Garrincha is Brazilian football, samba the symbol of the nation’s music. ‘Lonely Star’ is the ultimate tribute, continuing Far Out’s love affair with Futebol to celebrate World Cup & Carnival 2010 and looking ahead to Brazil hosting World Cup 2014.

Mr Day is known as the singer of French jazz combo Metropolitan Jazz Affair, the main singer in The Dynamics, for his Electro-Soul records released on indie label Rotax, as well as his superb featurings on productions by Boozoo Bajou, Patchworks and Mr President ! Favorite Recordings is now soon to release Small Fry, Mr Day’s much anticipated first solo album. The first track alone gives a great view of what this album has to offer: Tears of Joy sounds like The Who playing in hommage to Smokey Robinson! That’s the direction Mr Day has taken for this album, a record full of pure soul music, from as suave as can be to edgy and raw, but always with the elegance Mr Day carries so uniquely, making him the most British of dandies on French soil. The album was recorded live with the musicians Mr Day tours with: drummer Rémy Kaprielan, Raphaël Chambouvet on keys, and his constant accomplice Patchworks on bass who also produced the record in the warm and vintage style he’s known for. Small Fry evokes classic soul music, from Curtis Mayfield to Motown, and from Northern Soul to West Coast, without being a specific genre album. The musical style is vast and replete, but the composition and production manage to never fall prey to shortcuts or repetitiveness. Patchworks has said that he wanted the album to be « as deep, ambitious and complete as possible, to equal Mr Day’s immense talent ». The tracks take us from softness (That’s How I Feel About You, an irresistible ballad) to tenseness (Tears Of Joy and Heaven Knows are each a perfect blend of power and melody). Songs such as Precious or Soul on Wax are proof of Mr Day’s great writing talent - like the greats of Motown did, he enthralls listeners with authentic soul music. The three covers glide over the terrains of elegant pop with Dusty Springfield’s Spooky and rugged soul from the south with Sebastian Williams’ Get Your Point Over, and even glam ock with T Rex’s Get it On, interpreted here with a west coast sound reminiscent of Steely Dan. Both Sides, an infectious folk ballad along the lines of Nick Drake and John Martyn is a beautiful finish to a wondrous album.

At the release of their new CD “Plenty of ....“ in spring 2010 Dirik Schilgen JazzGrooves are on tour again. Since the publication of the first CD in 2006 the band has played on many stages in Germany and abroad. The new CD of Heidelberg's nationally and internationally known drummer Dirik Schilgen, continues the previous concept. Variety and variegation run like a red thread through the new compositions combining the various facets of Jazz, Soul, Brazilian and Latin American music in a wonderfully smooth way. The appeal of the bandleader's mature compositions and arrangements lies in their clarity and show a very keen sense of rhythm and melody. The catchy musical themes in two voices also leave room for improvisation. Borne by the double bass, piano and the strikingly transparent sound of the drums, the saxophone and trumpet pick up the musical themes and contribute nuance and improvisation in rich variation. Blazing brass riffs, funky beats, swinging to rockin' grooves, floating Latin and Lounge rhythms: this all creates a mélange of very laissez-faire and relaxing Lounge music. Schilgen's JazzGrooves gather the Who is Who of the Jazz scene in Mannheim and the Rhein-Neckar region. Together with Matthias Dörsam (Trio 3D, Coleümes, Mardi Grass, Rotgau Monotones) Schilgen has been playing in various formations for more than 15 years. They were joined by Mannheim's star pianist Daniel Prandl and the bassist Matthias Debus from Speyer. There is also the Brazilian Cris Gavazzoni who is an asset to the band which is completed by label chief and trumpeter Thomas Siffling.

The Dave Brubeck Quartet revolutionised jazz and the wider world of music with their daring compositions and timing. They pushed the envelope and changed what was expected of jazz music. The Quartet, and Brubeck in particular, strongly influenced the cool jazz period in the United States through their fearlessness in challenging the established order. As you can hear on this 'Best Of Compilation', the results remain noteworthy today. Brubeck proved that creative jazz and popular success can go together.

BBE records proudly presents you the sophomore album of recording artist Georg Levin – Everything Must Change.
The Berlin based songwriter’s latest offering of 11 brand new songs recorded over the last year, maintains the continuity of his sound which is a heartfelt blend of laid back pop, soul and dance. This creation is all his own and boasts one special guest, Clara Hill on the late summer club anthem – The Better Life as well as The Scent Of Hay.

Georg has produced, co-written and collaborated with a lot of artists such as Clara Hill, Jazzanova (i.e. Let Your Heart Be Free), MAW, Basement Jaxx, Calibre, Miss Platnum or Random Factor.

We're extremely pleased to announce that following up on his much loved Inspiration Information collaboration with The Heliocentrics, and an anthology of his early work, Strut will be releasing the first all new Internationally released solo album from Mulatu Astatke in over 20 years. Mulatu Steps Ahead explores new directions in fusions of Western jazz with Ethiopian modes, moving forward the pioneering sound Mulatu developed during the ‘60s and ‘70s, showcased on the anthology New York - Addis - London. For the new album, tracks were recorded with members of Either/Orchestra in Boston, with contributions by traditional Ethiopian musicians in Addis, members of The Heliocentrics and some of the UK’s leading jazz and African players during the final sessions in London in November 2009.

Blindside' captures the dynamic of a Sofa Surfers concert, creating a textual and acoustic representation of our modern society, of increasingly uncertain identities, of our cohabitation on this world, of a societal skepticism of rushing from crisis to crisis born from the constant pressure to maximize and increase profits. 'Blindside' was written over the course of two years in the Sofa Surfer's own studio and practice room and in various studios in Vienna with a multitude of friends and technicians. Following releases for Klein Records, Virgin, MCA, 18th Street Lounge, the Sofa Surfers are proud to release the 2010 longplayer on their own label Monoscope Productions.

Two and a half years after their debut LP, 23 Seconds dazzled critics and lit up dance floors worldwide, Cobblestone Jazz are back with a powerhouse new album that captures their live-in-the-studio energy like never before. Titled The Modern Deep Left Quartet, the record marks an important addition to the Cobblestone Jazz lineup, as the trio of Mathew Jonson, Danuel Tate and Tyger Dhula brings aboard Colin de la Plante (aka the Mole). De la Plante is no newcomer to the Cobblestone crew: the four musicians have been playing together for nearly 15 years and they've all shared the stage as the Modern Deep Left Quartet. Now, using the moniker as their new album title, the band officially anoints de la Plante a full-time member of the studio lineup.

If you’re looking for the meaning of it all, better not try to decode this record: "Somewhat absurd... like, 'Pony'", says Richard Dorfmeister about the conceptual side of "Pony - No Hassle Versions". No meaning might have a meaning here. A certain lack of meaningfulness describes the nature of Tosca pretty well; on their equine record even more so.

Releasing an album of remixes of their most recent work stays in tradition with the Tosca modus operandi. There's been at least one remix album for each 'original' Tosca album to date. In the case of "No Hassle", Tosca’s 2009 longplayer, this might make even more sense than before, since "No Hassle" was an introspective work. "Pony" brings the more club-oriented face of Tosca to the forefront. To put it simply, Tosca, the project of the two Austrians, Richard Dofmeister and Rupert Huber, combines bass-heavy downbeat music with abstract soundscapes of found sounds and material from numerous studio sessions.
When these recordings are handed over to remixers, everything changes; texture, dynamics, structures. Still, "Pony" is a true Tosca album; the sound signature of Dorfmeister and Huber cannot be superseded by a remix.

Let’s take a look at the remixers. Smith & Mudd, Steve Kotey and Pete Herbert are three London-based producers, whose musical credit-lines reach back to the 90's. Paul "Mudd" Murphy (with partner Ben Smith) delivers a 'classic downbeat' --what's called 'Balearic' these days --production of "Pony"’s opening track; but not the superficial kind that has given the genre a bad name. "Rather brilliantly subtle, like early Fila Brazillia", as Richard Dorfmeister states. Aimed straight for the dancefloor are Pete Herbert’s "Joe Si Ha (Reverso 68 Mix)" and Steve Koteys collaboration with brothers Lee on their "Elitsa" remix. All three versions share a musical heritage that points to the sound of London dance-archetypes such as the Idjut Boys or Faze Action. And of course there’s a connection to the various former acts and aliases of the remixers themselves: Bushflange, Chicken Lips or Akwaaba for example Clubmusic history lurks around each corner...
Quite similar in sound to the London heads is Venetian remixer Bottin. His "Disco Spritzer" remix of "Elektra Bregenz" is, despite its name, more hip-swaying longdrink than appetizer. And Kalabrese, who, being from Zurich, would call that an Apéro, has made his "Oysters In May" into anything but a mere starter. This is more like a main course á la Henrik Schwarz, including some additional vocals from the young dj himself.
Grant Phabao is a Parisian dj- and producer-legend, ever since first droppping his frenchified Rubba-Dub styles on the Pro-Zak Trax Label at the end of the 90's. When he's not doing Reggae takes on Tosca, he's busy mixing some riddims with the latest Q-Tip or the likes. His version of "Birthday" sounds like something hot off the press from Compass Point Studios in Nassau.

If you ask Nicola Conte for a remix, what you'll get is a proper re-interpretation of your music. While others would try to evoke such via sampling, the man from Bari takes his crew of handpicked musicians into the studio for a new recording. His jazzy reconstructions are always refreshingly unique like a custom fitted Italian suit.
Rodney Hunter is a veteran member of the G-Stone family. His suprising version of "Rosa" is fairly soundtrack-ish. No looking for the perfect Disco beat this time, none of his trademark Rave/Funk groove workouts. The public get's to see another face of the the man who sometimes sounds like he's a lost member of the Stereo Mc's.
The "Spirit Catcher Mix" by Belgians Jean Vanesse and Thomas Sohet of Tosca's "Joe Si Ha" is designed to be danced to and leaves nothing left to be desired. The Spirit Catcher sound is a sure bet - as long as you dig their electronic Disco / House take of course.
To close the album, Tosca went a bit experimental. Besides giving their music to a handful of remixers, they also contracted a contemporary chamber music ensemble to record an adaptation of "Rosa". The two Tosca producers then took these recordings and re-edited them, resulting in a closing track by the Kuk String Quartet.

If, after listening to this elegantly sequenced collection of remixes and versions, you still long for a deeper meaning, take a good look at Markus Roessle’s horse photography. If, after that, you’re still filled with a desire for deeper meaning, you’re probably making too much of a hassle. Understand that Tosca is about 'the meaning of no meaning'. Free your mind and your pony will follow.

Born in Brittany to sixties radicals: father a famous Breton poet, mother a Welsh nationalist. Raised in Brittany and then the valleys of South Wales, but a wanderer always by nature. Started busking as a teenager, following the drovers trail across Wales and Ireland, with the occasional foray over the border to London or Glastonbury. Stayed still for a while and made a reputation: singer, songwriter, force of nature. Didn’t stay still much longer. Gypsy spirit took her west to Ireland, then west again, cross the Atlantic to New York. Started playing in a little Irish bar called Sin E. Made friends and found believers there. Jeff Buckley. Made the scene. Iggy Pop tipped off Elektra to her: big deal, gonna make you a star. Never works like that for free spirits. Made two albums, O Seasons O Castles, and Jet: great songs, big productions. Went back to Ireland, back to New York, back to Brittany, travelled, Portugal, Norway, Argentina, played music, not a star, a gypsy spirit. Another album, High July. Natalie Merchant covers her song, The Gulf Of Araby. The New York Times writes a profile of the great lost talent, tracks her down to Dublin. Not lost at all, just following her muse. Back in New York, hanging out at Coney Island, on the Atlantic shore. Started on a new record, watching the Mermaid Parade go by. More songs came: songs of Ireland and Spain and Wales; songs of love and loss; of faithless men and searching women, sex and freedom; songs of a wanderer looking maybe to settle down for a while. Old tube mics and Moogs in a rented flat. And now she’s back in Wales after twenty years away. Still singing her amazing songs of failed revolutions and disastrous love, in that voice mixing Welsh and Breton and Irish into a sound that is wholly her own, startlingly powerful yet always intimate. With a new record to tell her friends just where she’s been, and to let the rest of us know just what we’ve been missing.

FUTURE SOUL RECORDS presents… ‘THE GOODNESS EP’, a two-headed beat beast featuring FSR veterans John Arnold & Jeremy Ellis, in addition to vocals and bass by Detroit frontman Paul Randolph, with their electric cover of Circle City Band's 1982 timeless track ‘Magic’, as the dynamic duo goes head -to-head with Bugz in the Attic's Daz-I-Kue, featuring the poetic styling’s of LA vocalist Joy Jones, in his remake of Unlimited Touch's boogie classic ‘In the Middle’. With a smooth blend of programming, live musical performance and soulful vocals, both covers take us back to the ‘golden age’ of dance floor boogie by incorporating elements of house, funk, disco and the many other sounds boogie opened the door for in the ‘70’s and ‘80’s.

The Underbelly are a five piece uptempo funk band from Cornwall, comprised of tenor sax, alto sax, flute/baritone sax, guitar, drums and bass, delivering high energy dancefloor-friendly funk music. After being the resident band for Pete Isaac's legendary Jelly Jazz parties, The Underbelly are now ready to launch their recording career with this debut full-length, for which they recruited the powerful voice of Dojo Cuts singer Roxie Ray on three tracks. Anticipated by the release of 45 "I keep heading on" sung by Miss Ray, with the driving rhythms of "Cold Toast" on the B-side, "Seven Feet Under" is set to redefine the modern funk scene. The album kicks off to a strong start with the soulful, uplifting grooves of instrumental "V-funk", and proceeds to capture all the raw, live energy that established The Underbelly as one of the most exciting funk bands to emerge today. From the fast-paced "Erik fm", to the more mellow and laid-back jazz-feel of "Packin Up", this album is by no means a typical debut, but rather a confident display of tight musicianship, innovative sounds and infectious breakbeats. Already counting on the support of DJs such as Craig Charles, who called them "the find of the year" during his show on BBC 2, The Underbelly put a modern, edgy twist on the classic sounds of soul and funk, resulting in an album that captures the ears and feet of anyone in a 5 mile radius, so careful how high you turn your speakers on!

PAPERecordings is one of house music’s best-loved labels, remembered for its unimpeachable music quality and high concept design.

The label began its journey in 1994 and was responsible for launching the successful career of Crazy Penis (who went on lose the enis) and releasing original and influential music by Salt City Orchestra, Erik Rug (Dirty Jesus), Those Norwegians, Eddie Flashin’ Fowlkes, Julius Papp, Problem Kids, Kenny Hawkes, Streetlife Originals and many more.

It blossomed at the time when UK house music first came of age and together with labels like Nuphonic and 20:20 Vision it championed the pioneering Nu-Brit House movement; going on to transcend the movement with its diverse and deep output always taking its influence from further than its own backyard.

After 100 single releases, and over 20 albums plus the creation of an eclectic sister label called ‘Repap Records’, it has re-emerged, rebooted and suited ready to take on the new decade keeping its quality high with releases already out such as Mudd’s remix of Viva Blue, The Bionics’ I Care and the Balearic meltdown of Coyote’s Deadstock 33s remix,

To bookmark this new chapter; “PLANE PAPER” is a collection that presents new and old catalogue treasures online for the very first ever time, plus an exclusive nu-disco remix of Downtime by Flash Atkins and a mix by DJ History’s Bill Brewster of his favourite PAPER tracks.

This year will see PAPER consolidating its return to form with new material from Justin Robertson’s The Deadstock 33’s, DACO and LAs Empty Clips with the ‘Leftminded EP’ plus a re-release of Crazy Penis’s ‘A Nice Hot Bath’ re-edited by the great, the good and the downright funky.

Singer songwriter Zeebee most recently shone as "chief chanteuse" on the influential and commercially successful album "Ballroom Stories" by Viennese producer Klaus Waldeck. With "Be My Sailor" she now releases her third solo album. Over the last two years, Zeebee has consistently grown both as a singer and a songwriter. While her first two albums - "Chemistry" and "Priority" - were highly experimental and primarily enthused an expert audience (FM4 Album of the Week, nominated for the Amadeus Award), her new work radiates an almost eerie calm, both powerful and mature.

With twelve tracks from a total of seven albums and EPs, Batterie’s “Kollektion 2010” is an aural showcase of the label’s oeuvre so far. It features tracks that had been published in the last two years since the creation of the Hamburg-based label as well as new versions of older Ensemble Du Verre tracks and a remix by Norwegian mastermind Bugge Wesseltoft. These songs come from the albums “Facing, Transparent” (SPV 2004) and “Sing Me Something” (SPV 2005). Booth albums will be re-released later this year on Batterie. With a cover version of the title track “Sing Me Something”, Batterie’s “Kollektion 2010” also features a sneak preview of Eden’s debut album “A Home For You”. Eden is the latest addition to the Batterie family: a soulful singer/songwriter project leaning heavily towards folk and jazz. Singer Ute Lorenzen and nine fellow musicians are performing in a strictly unplugged acoustic environment. Stay tuned and look forward to the album that will be published on April 16th. Sönke Düwer aka Batterie Du Verre who produced all music on Batterie to date, handpicked some of his tracks from the last couple of years to form a new and exiting set. In spite of their various musical influences, these tracks seem to form a consistent and coherent album. It’s their jazz background that sticks them together like glue. The compilation also demonstrates the evolution of the Batterie label into a steadily growing and inspiring community of musicians. The label has produced four albums and two EPs since its birth two years ago. Ensemble Du Verre led the way with “Sanctuary for Animals” in early 2008. The fact that Batterie’s release No. 001 has been awarded with the prestigious German Record Critics’ Award right away is still a major driving force behind the labels success. It paved the way for all following projects including the brand new “Kollektion 2010”. – an album that highlights the wide range of musicals styles on Batterie and fires the interest in a label, that uncompromisingly committed itself to creativity in music.

Setting up a jazz label with the record industry in its current parlous state could be seen as either a madcap enterprise or a sweet folly. Yet it is precisely this lack of calculation and above all our unstinting passion for music that has guided Antoine Rajon and myself in our endeavours to bring you the album you are holding in your hands or enjoying with your ears. Our adventure so far has been profoundly human with its fair share of joy and disappointment, but what drives us most are the friendships we have forged with musicians who are as passionate as we are about every kind of music, refusing categorisation, spiritual and free. These men and women, both professional and amateur musicians, have often led extraordinary musical careers, and for them music is the very essence of existence. These many encounters – in which chance has played little part - have combined to form the musical family that is Heavenly Sweetness, which is made up of both unjustly neglected artists (Monnette Sudler, Doug Hammond, Doug Carn, Byard Lancaster) and fresh talents who are at the beginning of their careers (Anne Wirz, Anthony Joseph, Stéphane Rongetz/ Rongetz Foundation). At a time when music is dominated by technology, we have decided for artistic reasons to return to the conditions in which music was recorded in the Sixties, which means recording a track in a single take without any overdubs (or almost). This is not out of nostalgia but rather to preserve the intensity and authenticity of a track when it is played for the first time. The first take is synonymous with music that is rough, candid and honest, the flaws only adding to its emotional impact, but it offers complete freedom of expression to the musicians. This vision was adopted by legendary producers such as Charles Stepney (Cadet Records) and can be compared to Lars von Trier’s dogma for the cinema. This compilation is the opportunity to bring together tracks that have been released on various different media – on vinyl, CD and digital, some of which are no longer in circulation. We have used the same concept as for our famous 45 rpm singles with one side containing jazz tracks from albums and singles by the label’s artists (CD1) and the other with remixes and covers, for which we have asked other artists to play new versions of tracks from our catalogue (CD2). The two CDs are very different from each other, but they share a common spirit, a musical quality that we hope will give you the same pleasure as we had recording them.

Setting up a jazz label with the record industry in its current parlous state could be seen as either a madcap enterprise or a sweet folly. Yet it is precisely this lack of calculation and above all our unstinting passion for music that has guided Antoine Rajon and myself in our endeavours to bring you the album you are holding in your hands or enjoying with your ears. Our adventure so far has been profoundly human with its fair share of joy and disappointment, but what drives us most are the friendships we have forged with musicians who are as passionate as we are about every kind of music, refusing categorisation, spiritual and free. These men and women, both professional and amateur musicians, have often led extraordinary musical careers, and for them music is the very essence of existence. These many encounters – in which chance has played little part - have combined to form the musical family that is Heavenly Sweetness, which is made up of both unjustly neglected artists (Monnette Sudler, Doug Hammond, Doug Carn, Byard Lancaster) and fresh talents who are at the beginning of their careers (Anne Wirz, Anthony Joseph, Stéphane Rongetz/ Rongetz Foundation). At a time when music is dominated by technology, we have decided for artistic reasons to return to the conditions in which music was recorded in the Sixties, which means recording a track in a single take without any overdubs (or almost). This is not out of nostalgia but rather to preserve the intensity and authenticity of a track when it is played for the first time. The first take is synonymous with music that is rough, candid and honest, the flaws only adding to its emotional impact, but it offers complete freedom of expression to the musicians. This vision was adopted by legendary producers such as Charles Stepney (Cadet Records) and can be compared to Lars von Trier’s dogma for the cinema. This compilation is the opportunity to bring together tracks that have been released on various different media – on vinyl, CD and digital, some of which are no longer in circulation. We have used the same concept as for our famous 45 rpm singles with one side containing jazz tracks from albums and singles by the label’s artists (CD1) and the other with remixes and covers, for which we have asked other artists to play new versions of tracks from our catalogue (CD2). The two CDs are very different from each other, but they share a common spirit, a musical quality that we hope will give you the same pleasure as we had recording them.

Widely considered to be one of the most influential jazz musicians of the 20th Century, Miles Davis produced several quality albums throughout his long career. Featured here is what is considered by many to be two of his finest albums; 'Kind Of Blue' and 'Miles Ahead'. It is impossible to definitively encapsulate Miles Davis' magic on one compilation, but these are iconic albums and they provide a great place to start your appreciation of his towering talent.

After more than 30 years of musical projects like scoring films for a.o. Henning Mankell as well as providing riddims for Lee ‚Scratch’ Perry and of travelling the globe in search of the silence between the musical notes, Zilverzurf has finally arrived at home. And is now inviting you in to share his lovely conclusions crowned by the ultra sensual voice of Zilverzurf’s charismatic daughter Lykke Li... so move closer to the fireplace and open your ears and heart, because you are in for a real treat! With this, his latest album offering, Johan Zachrisson aka Joao Sueco aka Zilverzurf adds yet another uniquely beautiful collection of truly outstanding music to his long and pretty amazing discography. The wise producer, guitarist, fieldrecording fanatic and globetrotter from Stockholm, Sweden works some serious magic on the international music scene for more than three decades now and perfectly embodies what those „in-the-know“ would describe as „an outernational genius“ of a very special kind, blessed with the status of a musical legend (not only in his country of origin)... as well as the best of connections to folks in high places around the globe, of course.

Sonar Kollektiv presents the new series "Best Of Three". In the next upcoming months the label will release some of the finest artists of their catalogue. Lets start with the "Best Of Three" Compilation of Benny Sings. The other two artists are secretly planned. Enjoy with us the great series "Best Of Three".

Ubeat Records is back into offering quality releases. The Favorite flava Remixes offer a diverse look into the production skills of several new production artists from varied parts of the globe, as well as the original production duo themselves.

After having released two impressive deep funk compilations (Movements 1 & 2) on Munich´s Perfect Toy Records, Tobias Kirmayer is back with a fresh batch of freestyle/funk/afro/hip hop grooves.

With tracks spanning the last four decades Tobias leaves no funky soulful music stone unturned, Mixing newly discovered nuggets, The Nitesounds - Get Clean From 1962 a pre- funk R&B/Soul Bomb. With 70´s deep funk classics, Skin Williams & His Dominoes - Skins Funk / The Blenders - Nothin But A Party (Edit) The first of which is available for the first time on a comp. Atari Latin-Jazz from Dr Sunshine - Get High a hard drive find from 10 years ago (Expect some of his new productions later this year). To 2007 and beyond with new and recent tracks from Germany´s Burgeoning Nu Breaks/AfroFunkSoul scene. The Boogoos - Bubbles(Edit) Heavy afro Funk, The Hi-Fly Orchestra - Violet 60´s samba/latin/for the dancefloor!, Caldonia - Barbados Stew Nu-Jazz breaks?, Sagaflex & Rudy Tee - First Time Around German Hip Hop legend back on track, New 12" forthcoming. Dusty ft Carla Vallet - Rhythmo Latin jazz bomb from one of Munich´s most talented producers, Finishing with Baccarola - Trip To Afrika Also from Germany mixing up styles with no limitations.

Many of the tracks featured on Nigeria Special 2 have been forgotten or out of print for nearly 35 years but have since been tracked down and documented by Miles Cleret ? the fruits of an arduous labour that has taken over ten years of dedication, research and travel to Nigeria culminating in the final part of Soundway's extensive survey of Nigeria's forgotten musical history.The range of styles vary from highlife to Juju and Nigerian blues in the languages of Yoruba, Igbo, Bini and Ijaw. With a peppering of 'afro' experimentation the same musical stew pervades volume 2 as it's predecessor - some artists appear again alongside some new artists as the emphasis continues to focus on the laid back and mid tempo feel found on volume 1.It includes, the bluesy guitar band style of the Otarus & the Peacocks sits opposite the more uptempo sound of highlife legends Stephen Osita Osadebe (here bringing his Igbo version of the Cuban standard Peanut Vendor) and Paulson Kalu.Progressive outfits the Black Zenith, The Don Isaac Ezekiel Combination, Tunji Oyelana, The Nkengas Opotopo and Joy Nwoso remind us that these were indeed experimental times with their fusions of jazz, highlife and in the case of Nwoso - opera!

In 2005 Groovenik held a sold out launnch event, at the prestigious venue The Sage Gateshead, then racked up some high profile support gigs includi ing Gwen McCrae, Bonobo, Quantic Soul Orchest tra, Kokolo, New Mastersounds and Antibalas. Also winnning a national competition with PRS and the Eddinburgh fringe, the band then honed their unique blend of Funk, Soul, Jazz, Hip hop, Latin and Afro music with concerts in the North East and a self promoted UK tour. Founding member Richard Owen (Bass) and Nicky y Ortega (Drums) then mmade some major line up changes to the band, en nlisting Ruth Silversides (V Vocals) and Lloyd Wright (Guitar) to join the grou up. The new Groovenik began what would become a two year developme ent and production for th his exciting new album. It took almost 500 hours in Richard's home studio, 200 cups of herbal tea, 233 musicians and a great deal of determination to o complete this ambitious prroject. The industry reaction shows it was time w well spent.Choose Your Frame features the Groo ovenik horns and many talented guest musicians from the North East, including rapper Drop Dead Fred from m The 27 Club, vocalist Brooke MacArthur, percussionist Brendan Murphy and saxophonist Dave Wilde. This is an independent release produuced in the North East of England. With 13 so ngs and 3 remixes (from producers Mike TV and Tim Shaw) the e album defines the funky yet diverse sound of Groovenik.

Almost all tracks previously unreleased on any compilation. MO' RECORD KICKS is a new compilation full of exclusive new singles from our established as well as newly signed artists together with remixes and b-sides previously available only on 7" vinyl.
Amongst the cuts you'll only find here are "Don't judge a book by it's cover" a smashing new Northern Soul single by Big Boss Man bass player Scott Milson's new project The HAWK feat Little Hannah Collins, a Lack Of Afro revisitation of "Scaramunga" from the forthcoming RAY HARRIS & The Fusion Experience jazz dance album, a new single by Buenos Aires early-reggae kings The CRABS CORPORATION and two new singles from the funk queen of the moment GIZELLE SMITH, one of which features hammond beat kings The Link Quartet. Other exclusives on MO' RK are "summaluvcation" by Michigan's heavyweight funk and soul combo The THIRD COAST KINGS and "Red flames" taken from the forthcoming debut album of Cornwall combo The UNDERBELLY, featuring sensational Roxie Ray (Dojo Cuts) on vocals. In addition the compilation also contains remixes and unreleased tracks by folks such as New Mastersounds/Kenny Dope, Kokolo/Lack Of Afro, TM Juke, The Hi-Fly Orchestra and Soul Fantastics. The result is an album that gives you the full spectrum of Record Kicks' sound; from deep funk and vintage soul to nu funk and big beats, from titty shakers to future disco, from early reggae to jazz-dance. A musical trip tailored expressively for forward-thinking listeners, cool dancefloors and funky feet!

Luis Stazo: Born in Buenos Aires , he started to play the Bandoneón with yet 7 years. At the age of 11 he already played in child orchestras. Until the foundation of the Sexteto Mayor in `73 , with which he registered more than 20 CD´s, he played and accompanied famous ones of the tango like Osmar Maderna, Angel Vargas, Juan Carlos, Cobián, Jorge A. Fernández, Lucio Demare, Argentino Galván, Alberto Morán And the unforgettable Roberto Goyeneche, “el Polaco“.

As an arranger he wrote only for the Sexteto Mayor more than a 150 arrangements. In his long carrier of now more than 60 years he played on all stages of the world. Awards like the Konex, the great award of Sadayc ( Association of authors and compositors of the Argentina) or the Latin Grammy in the year 2004 are only a few rewards to mention. In his more of 100 compositions you can find pieces like “No nos veremos más”and “Orgullo Tanguero. Some of them he wrote together with Ernesto Baffa, Enrique Cadícamo, Julio de Caro and Federico Silva.”.
The Arrangements of “Los 14 Julio de Caro” which belongs to the most outstandings are still appreciated by all musicians all over the world.

In the last 20 years he accompanied together with the Sexteto Mayor the Broadway Productions “Tango Argentino” and “Tango Pasión”.

From 2005 on Luis Stazo not only plays, writes and arranges for “StazoMayor” but also is a very warm welcome arranger and spezial guest of Symphony Orchestras. For the documentacion “Carmencita” (on DVD) he especially wrote the main song and plays it in there

In 2008 he was called back with his just founded Sexteto in the absolutely new-formed show "Tango Pasión-El ultimo Tango". As one of the few still living “Fueyeros” (Bandoneonplayer), he makes feel his audience the passion and melancholy of his city Buenos Aires. Luis Stazo has, without no doubt, the honour to have written 60 years of the now over 100-year-old history of the tango.

The incredible soulful vocal force that is CHOKLATE joins forces with REEL PEOPLE MUSIC, embarking on a new journey into house, unleashing a monstrous new single titled 'THE TEA'. CHOKLATE delivers a powerful lyric about standing true to yourself over a selection of stunning grooves lovingly tailored by a heavyweight collection of producers including REEL PEOPLE, MANOO and THE LAYABOUTS. REEL PEOPLE cook up funky discofied soulful jam complete with lush sweeping strings, THE LAYABOUTS deliver an explosive deep groove ripe with drama and hypnotic hooks along with a reprise, and MANOO magic's up a warm soulful piano laced mix oozing with bounce. Born in Seattle, WA and raised in San Diego on a Gospel diet, singer/songwriter Choklate has always in one way or another been involved with music or dance. The newest soul singer to the scene was introduced to hip-hop by DJ Jazzy Jeff & The Fresh Prince's 'Parents Just Don't Understand'. "It was the first 'worldy' song and only video allowed in the house." So when finally out on her own, she recalls having her ear to everything from Bach and Yo Yo Ma to Brotha Lynch Hung. Over the years, living in Seattle and honing her craft, beside having been a resident at one of the most popular club nights in Seattle, Jumbalaya, Choklate continues to express and explore the art of musical creation through both writing and singing for herself as well as other artists as well as performing stunning live shows. In May 2006 she released a full-length debut self titled album on Kajmere Sound Recordings, enlisting talents of some heavyweight collaborators and executively produced by Vitamin D. In addition Choklate has worked with a multitude of artists on projects with Blacksheep, Boom Bap Project, Abstract Rude, Butta Verses, De La Soul, Gift of Gab, Supanatural and Chali 2na's solo records.Oli Lazarus' Reel People received global support and love following the release of there 2 studio albums, 'Second Guess' & 'Seven Ways to Wonder' which brought such soulful dance classics as 'Can't Stop, 'Butterflies', 'The Rain', 'Alibi' and 'Amazing'. Oli launched his brand new digital label Reel People Music in 2009 with a stunning Reel People song titled 'Star' with Tony Momrelle, which featured additional mixes from Rasmus Faber, Rocco. 2010 looks set to be an exciting year as Oli continues to work on future releases with Choklate along with forthcoming projects from Reel People Music from The Realm, Reel People and BSTC feat. JL.North-London production/DJ duo The Layabouts are gathering some serious momentum in 2010, despite having been working together for the last 7 years producing soulful deep house music, with an emphasis on quality vocal releases. Having released material on their own labels Soulworks and Healthy Records, they have also produced and remixed tracks for Kenny Dope's Ill Friction, MN2S, Big Love, Soulfuric, Papa Records among many, more recently with 2 very powerful remixes for the Jellybean Soul label showcasing their very unique and sexy deep sound.French DJ /producer Manoo began his career in 1995 in Lyon. His musical culture at this time included a wide range of styles: Hip-hop and more specifically House music. Aside of building a strong reputation as a DJ, he released his first single with Rocco 'Love Island' (Jazz-up records) under the guise Rodamaal, shortly followed by 'Musica Feliz' (Buzzin Fly). Since then Manoo has gone on to release further Rodamaal productions as well as collaborations with Francois A and solo productions and remixes on Buzzin Fly, Realtone, Deeply Rooted House, Freerange Defected and Nervous among many.

Jerry Cotton returns! More than 40 years after the last feature of the “G-man” series had been filmed, in March 2010 Jerry Cotton will once again explode across German theatre screens! In response to this exciting cinematic revival the long unavailable music of the original series has been gloriously resurrected for a brand new compilation. Undoubtedly Peter Thomas’ soundtracks to all eight movies, composed between 1965 and 1969, are the highlight of the series. Thomas re-configured American jazz the way the filmmakers re-configured New York City, mixing it up with sounds that appropriately call to mind the military, the lounge, the chase (of course) and even the circus. Thomas goes for the jazz jugular and spices up the proceedings with his own brand of ephemera: gunshots, screams, scat singing and wild improvisation that must have made participating musicians happy as hell. Crime Jazz at its best! On this premiere compilation you will find the remastered musical highlights of the series, six previously unreleased tracks, plus two bonus titles that prior-to had only been available on a very rare vinyl LP. In addition to the 28 tracks from the CD you can find 3 bonus tracks for download here. Including a tribute to Jerry Cotton by The Mufuti Four (formerly known as Mufuti Twins) from 2010.

Brilliant, haughty Jamaican avant-gardism, inspired by Jammy's Sleng Teng explosion, rearing up at a Hackney crossroads opposite techno, hiphop, breakbeat and rave. Presented by Honest Jon's as a next-generation companion to London Is The Place For Me: the mood is more defiant — a Jamaican secession from London — with themes of inner-city sufferation running alongside hymns to the dancehall and the herb superb. 'There’s a whole heap of stuff that we did at that time, different even to the music, that we didn’t really know what we were doing, we just done it. This feeling on the records, we did that with everything we did, it was just the vibes that we were carrying then, it was all about one massive vibes. Even with the sound, we weren’t going to choose something that somebody else did, we definitely was going to choose something that somebody else didn’t use. We wanted to go out there and say, Yeah, this is the wickedest thing, everyone has to know, and nobody else can’t tell we no different. We pushed it that way, we carried on that way.'

Strange encounters happen all the time. Some call it Yin & Yang, others CoincidAnce or Manitou & co. “Re:3” was made almost entirely during the most extreme techno economy crisis to date, when Mathias Schaffhäuser received one remix request after another. Still “it’s a strange and beautiful world”, but who cares. The motto should be: “Make the best of it” – which can only mean Schaffhäuser’s third remix compilation. Except for two, all tracks were produced after August 2009. This makes “Re:3” a fresh and coherent album, not much different from an artist album. There are two tracks that we are particularly thrilled about: Unlike the sad fade-out version on the Faust album from 2002, the remix for “T-Électronique” here is featured in full length. “You Laugh At My Face”, originally by Patrick Cowley & Jorge Socarras (a.k.a. Catholic), is a track exclusively released on “Re:3”. Stefan Goldmann’s Macro Recordings found the original version on an unreleased album from the 1970s when both these artists collaborated. Later Jorge Socarras played in the band Indoor Life, who Schaffhäuser was a huge fan of during the early 1980s. When he heard the Cowley/Socarras track, the old flame rekindled. After a few phone calls to Macro, the licencing and release of an exclusive mix was a done deal. Also, the remixes for Leigh Morgan and Aldrin & Akien were so far only available as internet downloads – the first is now being released on CD and vinyl, the latter on vinyl only, as is the 16-minute original remix version of M2 (alias Markus Güntner and Markus Kavka).

Best of-album from Swedish pop/jazz/electronic duo Koop. From the Do-It-Yourself-school in the highest degree, Koop have paved their own way based on a feeling and idea of how they wanted to create music.
Four albums to their name they are now a respected act in both the dance DJ scene and the jazz scene and their songs have been heard by millions of people on TV and radio. This time-capsule, or Coup de Grâce, is a document of their album history and the songs that moved us on radio and dance-floors.

Thats right, they're back!After a hiatus of almost 9 years the legendary trio of Christian Fennesz, Jim O'Rourke and Peter Rehberg have returned with a new studio album. Technically the first studio album as previous releases were edits of live performances. They spent a week in Studio GOK Sound, Tokyo to lay down some stunning electronic works. Whereas previously the emphasis was on a chaotic blend of found samples mangled through their mobile computing systems to create a humorous oddball sound, 'In Stereo' implements a more wider instrumental palette of analogue & digital synthesis, guitar, piano, bass and percussion. What they do maintain is the ability to make a near psychedelic audio blend where its impossible to determine who does what.

The 10 tracks that compose « La Cambiada » form a new music which finds its origin in the argentinian music. It's a surprising combination of rythms traditionnals of argentinians provinces as la Chacarera, Huayno, Zamba, Milonga... associated to the classic writing and to the improvisation of jazz.
« La Cambiada » is the meeting between a quintet at stringed instruments (the formation of Di Giusto called Camerata Ambigua) and a piano, the one of Gerardo Di Giusto.
This orginal repertory has been exlusively composed for this formation. Funded on the constant search of rythms and colours, he's open to the global work as individual and collective improvisation.
To mix classical writing, roots floklores and jazz to touch from the bottom of your hearts, that is the challenge of this album.
« La Cambiada » is simply a music that has never been listened to before, but seems to be an evidence.
It's an instrumental album that you can listen all over again discovering each time new sounds, a particular vision of the south american music...

Good news for lovers of strong emotions and subtle gems: Cáceres is back with his requisite songs. Cáceres, the lion, is an historian, musicologist and lecturer who has made an in-depth study of the political and cultural origins of the River Plate.Officially a teacher of painting and the visual arts, and also a pianist and trombonist, his divine madness lies in cultivating tango, milonga, candombe and murga, the popular genres that are the result of Afro-European fusion. Cáceres, the ardent songster, is the living incarnation of the object of his interest, the fullest expression today of his studies. A compulsive creator and quintessentially impassioned artist, his work transmits the lightning flash of pagan fervour. On the banks of the River Plate, right now, murga is making its comeback. Cáceres is the central figure and natural leader of the new murgueros: he carries the torch, he’s writing the story.

SEVEN released his fifth album "Like a Rocket" on February 27th, 2009 with featured artists such as the British soul stars Beverley Knight and Omar as well as the U.S. rapper Talib Kweli and AMG. The perfect blend of pop-soul in the new songs are a clear reflection of the creativity and versatility of this talented artist. The album entered the Swiss Album Charts straight in at Nr. 2 and gained Gold status the same week. The first album single, “Lisa” entered the Top 10 of the airplay charts to be later followed by his second single “Go Slow”, featuring the charismatic and most credible MC worldwide, Talib Kweli. Together with successful remixes by Hustle Heart and the legendary DJ Premier, this incredible maxi record is already destined to become a classic collectors item! Seven’s convincing live performance is of high international standards and his popularity has taken on even greater dimensions since his sold-out album release tour earlier this year. After successful open air concerts, Seven has now begun his Autumn Club Tour. With his critically-acclaimed fourth album ‘Home, Seven reached Gold status and entered the Swiss Album Charts straight in at Nr.5! The successful single “Golden Stairs” reached the top 20 airplay charts. A milestone on Seven’s list of success stories is “SEVEN -THE SHOW IV”, a spectacular and unforgettable trio of sold-out concerts in Zurich and Bern last year. The bonanza production included special guest appearances from the USA, namely soul queens Tamar Davis and Conya Doss as well as former PRINCE sax-player, Eric Leeds - all of whom are featured artists on “Home”. Seven also celebrated his nominations for two Awards at the Swiss Music Awards for "Best Album Urban National" und "Best Video Clip National”-“WAKE UP”. Furthermore, “HOME” was released in Japan, Belgium, The Netherlands and Luxemburg. Almost two years after his last album, SEVEN releases his fifth studio album "Like a Rocket" this February, featuring guests such as English Soul Queen Beverley Knight, her male counterpart, Omar as well as rappers Talib Kweli and AMG. The legendary Larry Gold from Philadelphia – who otherwise works for artists such as Erykah Badu and Alicia Keys – graces 5 tracks on the new album with his string arrangements. "Like a Rocket" is "Swiss Made", produced by local “dream team” Ph!L Schweidler, Flo Goetze and SEVEN at the "Department of Noise" studio in Zurich. This smart and crisp pop-soul album is a clever mix of rich beats and catchy melodies. The exceptional soul voice of the singer comes over on the album with a warm and even fragile touch. This intimacy is felt on the first single, "Lisa", skilfully adding a "Golden Stairs" flair to the new album "Like a Rocket”. "Go slow" which opens with a crisp acoustic guitar features Talib Kweli – one of the world's most charismatic and credible MC's ever and known as a pioneer of the Conscious rap movement. With AMG, the West Coast Old School Rapper, a childhood dream came true for SEVEN on this collaboration for the title song “Like a Rocket”. Even though he may not be known on the commercial circuit, his feature is with reason whereby this talented artist reaches the high standards on “Like a Rocket” as on Underground Heroes, Flow at his best. The unique duet on "Jail" with the extremely talented and lovely Beverley Knight is a very cheeky and playful song. The passion of both artists, whose voices simply melt into each other, really go beyond expectation with their high-levelled performance together. Omar enriched "Wish of a fool" with his unique voice and presence like no other and gives the song, so to speak, the icing on the cake. "One day" is an anthem and could even qualify as a Swiss proposal for a James Bond soundtrack. Once again, the producers succeed in awakening emotions with convincing arrangements. "Born & Raised," the last track on the album is a beautifully- presented heartbreaking ballad accompanied by a Gospel chorus, prompting one to want to press repeat again and again. Attitude and style exist on the album "Like a Rocket" in a way rarely accomplished on any other Swiss production before. SEVEN has developed a more mature approach, not only in his music but also as an individual. He has become one of the best live acts of Switzerland and once again proves his inspiring love for music in the 14 songs on his new album.

With "Electrified" [re:jazz] present a second collection of electronic edits alongside a new
original title (Star Chasers), which they have edited at 4Hero´s personal request.

The idea stems from recent gigs with [re:jazz] trying to play older pieces from their 2003 remix album live. The idea was to release a completely new album with remixes, and contrary to previous concerts, the live program will be adapted accordingly, thus presented with Fender Rhodes on stage rather than a grand piano. Just a bit more "electrified" and performed close to the remix versions of their repertoire. An intriguing approach and a challenge for all who have exprienced [re:jazz] in concert before, since they can "re-experience" the pieces anew.

While it was Nat King Cole's singing that ultimately brought him fame and fortune, it was almost exclusively as a pianist that he begun his career and in this sphere that he came to be regarded among the finest of the twentieth century. From the early Fifties onwards he recorded most of his songs with an orchestra, a good decision by Capital Records, as it brought a long period of almost unbroken success for Nat. Featured here are two of his finest albums; 'Love Is The Thing' and 'After Midnight'.

Just so there aren’t any misunderstandings: Umberto Eco is, as we all know, an Italian author, professor, hermeneutics expert and polymath, who on the basis of his creative output seems to have at least four arms and two brains. Umberto Echo, and this is a fact perhaps only the cognoscenti of reggae, jazz and dub music will know, is a (music) author, professor, expert in (sound) hermeneutics and multi-instrumentalist from Munich who also has two brains and at least eight arms! Or so it seems when you watch his hands skimming across the mixing desk, transforming the musical raw material of a riddim into dub live on stage, FOH or in the studio. After collaborating as producer, engineer and musician on over 80 albums, ranging from rock to classical & jazz through to reggae; writing Bavarian reggae history along the way with Jahcoustix, Jamaram and Headcornerstone, and producing for a swathe of international reggae vocalists, including Alborosie, Junior Kelly, Luciano and Luton Fyah, Professor Echo finally revealed his true identity two years ago by getting on the Dub Train – his debut album as sound scientist of the digital echo chambers and analogue loops, disciple of Duke Ellington and King Tubby. Released on the prestigious jazz label enjarecords and shaped by Umberto Echo’s immense instrumental and production skills, the album explained in very few words where the man came from. The successor to this debut, which is released on Echo Beach, is Dub The World and it shows him as a sound manipulator whose virtuoso control of mixing desk, software and outboards is equalled only by his mastery of keyboards, guitar, bass and percussion. The new album maps where the Dub Train journey took him. While Umberto Eco attempts to explain the world in his books, monographs and essays, there’s only one way for Umberto Echo: to dub the world. Dub The World, his exciting set for Echo Beach, features 15 versions of dub, roots and dancehall tunes from 13 countries! The album was mixed at top notch Studios in Berlin (Dorian Gray) Munich (Magus & Fool Studio) and New York (The Maids Room & Strange Weather Studio Brooklyn), resulting in a clear, wide sound on this journey through HiFi dub. The opener comes courtesy of the Original Germaican Gentleman with “Dem Gone”. The Riddim Twins Sly & Robbie, performing here with the Polish band Rastasize, are featured, as are the veterans from Steel Pulse in combination with Damian Marley. Another act from the Motherland is Oneness feat. Buju Banton & Naptali, with “Rise up!“. The UK answers with the Stereo MCs and Up, Bustle & Out from Bristol. The vibes from Katchafire (New Zealand) come from furthest afield, followed by the Australians The Red Eyes and Jiang Liang from China. Cultura Profetica represent Puerto Rico, Dub Inc. (F), Dub Spencer & Trance Hill (CH) and the Austrians from Dubblestandard (again with Lee “Scratch” Perry!) allow Umberto Echo to pump up their Eurodubs ,while German band Seeed are featured with one of their classic tracks, “Aufstehn”. Dub The World quietly manifests itself as 2 CDs in one: on one hand, an exclusive dubset by one of the great, mysterious men in the background, and on the other an outernational dub conference which again emphasises the power of Marley’s universal integration message combined with King Tubby’s sonic innovation. One Love Dubwise International – from roots to futuristic, from jam-rocking to ethnodelic, from Brooklyn to Sydney over Kreuzberg to Kingston and back. Or, as we sounbwoys, say: Rewind!

Mit seinem vierten Album "New Weird Austria" lässt Binder & Krieglstein jedwedes musikalische Klein-Biotop links liegen und präsentiert eine sehr persönliche Aufarbeitung österreichischer Volksmusik. Dabei treffen seine Stilwelten aus Elektronik und Volksmusikelementen auf die von zahlreichen Gastsängerinnen und -sängern und werden zu variationsreichen Songs und Tracks verknüpft - aber nie verschmolzen. Die zwölf Nummern auf "New Weird Austria" mäandern wild aber gezielt zwischen Einflüssen aus Electronica, Ska, Hip Hop und House einerseits und Polka, Landlern und "Steirischen" andererseits hin und her. New Weird Austrian ist brauchbar, weil sie jeder braucht, und nutzlos, weil sie nicht benutzt werden kann. Daher ist NWA stets ungenützt und neu (New).

NWA ist verrückt (Weird), weil nur von dieser Perspektive aus alles ins Blickfeld gerät. NWA ist österreichisch (Austrian), da sie obwohl von weltweiter Bedeutung und Wirkung in Graz entstand.

The Freerange Colour Series hits number 7 and once again we’ve rounded up all of the years best received tracks alongside four brand new and exclusive cuts from some of our favourite producers, created specially for the compilation. As always, we like to try and reflect the diversity of music we put out through Freerange on the colour comps, so it’s a fair bet you’ll find something to your taste whether it be heads down percussive grooves, disco tinged balearica or straight up deep, dancefloor house. Kicking things off we have Andre Crom & Luca Doobie with ‘Attica’, the duo’s debut release on Freerange. This jazzy, piano-led houser warms things up nicely before the afro-edged beats and deep, spaced out keys of our first exclusive track, Mr Morning’s ‘Slave’, seep in to move things nicely on to the next level. Next up, label head Jimpster gets to work on Milton Jackson’s ‘Rhythm Track’ giving it an altogether new, raw, percussive sound whilst retaining the deep and hypnotic edge of the original. Justin Martin steps things up a notch next, with his rework of Pezzner’s deep, trippy Brooklyn New York, jacking it all up to fever pitch for a full on funk fuelled bass heavy monster. This builds things up perfectly for Nikola Gala’s debut track on Freerange I Get U, a stripped back track loaded with simple intensity that is guaranteed to have a big impact on the dancefloor. Jimpster’s long-awaited follow up to the hugely successful Dangly Panther is up next. Sleeper is something of an extended epic with a long drawn out intro that builds with bending synths and elastic bass until the beats drop two minutes in and we’re off….. a welcome return for the Freerange main man and one that’s sure to hit the spot for fan’s of Jimpster's trademark sound. And how else to follow Jimpster but with man of the moment Tony Lionni, who takes to the floor with Treat Me Right, a track that’s been a huge hit with artists including Radio Slave, Steve Bug and Sneak to name a few. The track’s ultra hypnotic two chord loop and syncopated synth stabs slowly build whilst the drums groove along in beautifully understated fashion. This track proves exactly why Lionni’s one of the most hyped producers in deep house right now. Time now for another Freerange newcomer, Philipp, as Federation takes things darker, with its brooding jazz inspired techno - a guaranteed peak time killer if ever we’ve heard one. Berlin’s Andre Lodemann follows it up with his trademark low-slung, deep grooves on Still Dreaming before fellow countryman Manuel Tur introduces Will Be Mine, the first single release from his highly acclaimed album 0201. Heading back to the UK next we check out two of the most exciting homegrown producers we’ve heard in some time - Ethyl & Flori. On Tanqueray the duo unleash a heavy shuffler full of dusty Rhodes, MAW inspired snares and a tasty vocal hook that helps push the swing to the next level. It’s one track, which has caught the eyes and ears of many on the dance music circuit including the soon-to-launch secretsundaze booking agency if rumours are to be believed. Finally, another duo making a name for themselves, Vincenzo and Elmar Schubert, bring things neatly to a close with slo-mo Balearic beauty Wanna Love You. Layers of warm keys build on top of the deep filtered bass and beats while the simple vocal hook works its sun-drenched magic.

This superb Latin jazz album is a re-issue of Mongo Santamaria's first two albums as a bandleader, "Yambu" and "Mongo". Several of the tracks featured here have become Latin Jazz standards, most notably the delightful 'Afro Blue'. Even at this early stage of Santamaria's career, his spellbinding solos on this compilation made it clear that he was destined for great things to come. This is a great piece of Latin jazz history.

John Coltrane is today recognised as one of the most influential figures in the history of jazz. Yet when he first appeared in the ranks of Dizzy Gillespie's orchestra at the end of the 1940s, no-one could have predicted this different young man would , within a decade, become an iconic musician dedicated to making music into hitherto undreamt-of dimensions. Featured here on this Anthology are three of his best albums; 'Blue Train', 'Soultrane' and 'Dakar', all digitally remastered and in their original running orders.

After the successful story of the first Elektrish Compilation, Sonar Kollektiv releases the finest elektrish tunes now in one compilation newley united, Volume 2. The artist roster of SK is simply incredible. You will find a load of the big players of that genre here, represented with some real classics plus hidden gems to discover. This release contains tracks and remixes from Jazzanova, Âme, Atjazz, Roland Appel, Solomun, Trickski, Christian Prommer, Marcus Worgull, Robag Wruhme, Dixon and much more.... so that's Volume 2!

With these 15 original themes album, Cáceres reach the heart in a simple, direct and deep way, without gimmicks or superfluous voices.
As author and composer, he recovers the African sources of tango and reintroduces the rythms of murga* and milonga**, making of them the base for his creations and giving new impulse to the music of the River Plate. A versatile artist, Cáceres sings, and plays the piano and trombone, and is surrounded by musicians like Nini Flores in bandoneon*** and accordion, Paul Lazar in violin and some of the most authentic percussionists in Argentina.
Eduardo Makaroff, the Argentian of Gotan Project, is in charge of the artistic production of the album.

Horacio Molina, The greatest tango singer, interprets on stage the standards of the genre, accompanied on guitar by Jorge Giuliano when he doesn't play guitar himself.

An influence to hundreds of artists and an idol to millions of fans, James Brown is nothing short of a musical icon. The man who loudly and proudly proclaimed himself the 'Godfather Of Soul' continued to thrill the masses with his music and energetic stage shows right up to his death in 2006. Featured here are his first two original albums, complete in their original form.

Resopal presents yet another brilliant audio journey -- this time by well respected german techno and house producer MRI. He runs Resopal / Red - the much admired imprint and label network and likes David Bowie. His third studio album „Heroes“ is a techno / house tour-de-force, bursting with energy, excitement, and invention. The fourteen tracks perfectly describe his 4/4 ethic - and are produced in an extremely individual style. Leading off with the rightfully anthemic aquamarine-coloured house sirens of „Pilgrimage“ before taking a detour through latin rhythm and melody influenced „Kantstrassenkasanova“ and „Twin peaks & machine guns“ sideshow psychedelica. When things get a little noir, MRI opens the slats on „Shaun“clattery venetian blinds, making way for „All loved up“ percussive, mid-day reverie house chords. All swirling dust motes and forgotten clocks ticking in the distance. „Rejam“ brings a momentary wake-up rave call with his rubbery bass wallop and quite open air vocal and then irreality descends again courtesy on „Caliphate“, delivering seductive of deepest, most gravity-free tracks . 'Son’s of the silent Age' is a straight dancefloor rocker with some truly mineral theremin and synth’s sounds What begins as mild static soon develops into cracking thunder and lightning. „Tanner“ remains at the frontier of MRI’s outer limits: bass-heavy basic channel influenced groove, followed by a house hit: „Filthy lesson“ – no more words necessary. Finally the album is closed with „Breathe“ a channelling piano track. Heroe’s is a moody album -- in a world where 200 dancefloor tracks are released every week -- contemplative, melancholic, angry, a little bitter at times, and also guardedly euphoric. Heroe’s is less about proposing a style or defining a genre than in wrapping its arms around a set of ideas and then to flow them out. We all need Heroe’s. A tangible time-capsule to collect and keep.

On the lounge-acid introduction to Assorted Good, Vol. 1, Detroit’s own Pirahnahead splatters the blank canvas of Exchange Bureau’s latest compilation with 'Badly,' a smooth, funk-fueled yet jazz-infused Herbert-esque duet with Berlin’s Clara Hill. Pirahnahead, a multi-talented producer and musician, has worked with an authority of artists — Morris Day and the Time, Buddy Miles, Amp Fiddler and beyond — and on 'Badly,' such a seasoned approach to collaboration and production is wildly evident. On the fitting follow-up 'The End of Me & You,' Detroit-based collective Exchange Bureau joins forces with Salah Obeid and Daz-I-Kue, an Atlanta via London member of Bugz In The Attic who has worked with the likes of Macy Gray and 4 Hero, to unleash a fever of intertwining vocal melodies that carelessly hover above a broken beat. Exchange Bureau Music’s mission to connect Detroit’s rich funk history with its equally thick techno catalog becomes apparent on 'Thrillseekers,' a sexualized club stunner courtesy of a duo of dedicated Detroiters, Andy Toth and Billy Love. Blacktop’s 'Reversed' opens the door for electro-funk to freely flow on Assorted Good, Vol. 1 with the help of Amalia’s psychedelic, space station approach to soul singing over vibrant key- boards and a one-two punch beat. On the contained, minimalist beat explosion of 'Phoenix,' Ibex, of Carl Craig’s Planet E fame, shows off his diversity by lulling the listener into a sense of relaxed rhythm before the strobe light synths come crashing in from overhead. Pirahnahead’s remix of Detroit-based festival favorite Yaminah’s '7 Days' is a track of many textures and faces, but illustrates the jazz dreamscape side of Assorted Goods, Vol. 1, digging into one of Detroit’s hottest commodities — unadulterated jazz juxtaposition with smooth, synthetic rhythms. Before you know it, Midnite Jackers 'If You Only Knew' is under heavy beat surgery by Pat Nice’s No Club Dub, who has shared the stage with the world’s best known DJs and production work has graced the studios of No Assembly Firm, The Thrill Kill Kult and beyond. With the highly fragmented FURS remix of Dial81’s 'Funky Candidate,' Assorted Good, Vol. 1 welcomes the beloved sound of Detroit hip-hop at its finest — defiant and angst-ridden with a nitty gritty lyrical charm — but with the help of FURS, becomes a lesson in new wave electro shock therapy. Frankie Banks questions the formula and smashes convention under the moniker Fake Gold Chain, leaving waterfalls of keyboards and gizmo knob twisting in his wake with 'Detroit Is Bleeding.' Detroit-based Octane (courtesy of the legendary Subterraneous Records) brings the Assorted Good to a staggering stop with the organ-drenched 'I Do Me,' produced by Koen. On 'Say Hey,' Los Angeles’ Snowman Jack brings together Detroit’s Magestik Legend pragmatic hip-hop prose with the gorgeous hooks of Genevieve over a piano bar jazz concoction that knocks as hard as it captivates, flashes bright red just as brightly as it sheds a cool neon blue. Rounding out the highly electric, genre jumping Assorted Good, Vol. 1 is the Bjork-born, electronically- charged yet deceptively live sounding 'Breathe New Life,' Midtown Detroit-based Syzmanski’s shockingly beautiful, border crossing collaboration with Windsor’s Perilelle. And with the closing track comes full circle the idea of connection Motown’s vibrant history with the evolutionary jumps of modern day production and sound that Detroit is known for today.

Bringing together driving Afro beat, trademark Latin funk rhythms and American-styled jazz this electrifying collection has been re-mastered for super high quality sound and shows off the field at its best. Far deeper and harder than you’d expect, African roots come through in the infectious batuque drumming, percussion and scatting chants. Alongside three previously unreleased tunes comes the very best grooving funk from Azymuth’s chart buster ‘Jazz Carnival’ to Sabrina Malheiros’ modern classic ‘New Morning’. This connoisseur’s selection of essential contemporary tracks flows beautifully.

‘Jazz & Afro Funk’ collects the music Far Out is famous for reviving and bringing in to the 21st century alongside the freshest new music from underground electronic superstar Mark Pritchard’s (Harmonic 313) Troubleman to nu bossa princess Sabrina Malheiros. Groups like Azymuth, Mamond, Grupo Batuque and BGB were resurrected and given a new energy working with Far Out’s renowned producers and remix artists.

The album strikes hard first up with one of the biggest Jazz Funk tunes of all time. Azymuth’s huge worldwide hit ‘Jazz Carnival’ rose in to the top 20 in the official UK chart and went Number 1 in the specialist dance charts worldwide on release in 1980. Following that addictive hit comes a Far Out Classic – a first ever CD airing for the brilliant ‘Somewhere Beyond’ by Marc Mac’s Natures Plan. ‘Somewhere Beyond’ uses the Azymuth jazz funk template of deep bouncing bass, darting organ and keys and samba style drums. Fusing the creative talents of this pioneering trio is the outstanding electronic music innovator Natures Plan – aka Marc Mac of 4Hero: inventive, fearless but always utterly brilliant grooving funk. Brazilian Groove Band’s ‘Dance’ is perfect North American - Latin cross over soulful jazz with the funkiest of edges: vintage New York brass and smoky jazz mix with the deep bass, percussion and 70s jazz funk organs of Brazil to create a big funky, cinematic nugget.

There are also previously unreleased versions of Future Warriors’ Pembe and Roc Hunter’s Magnetic Feel before Sabrina Malheiros’ beguiling summer anthem spectacular ‘New Morning’ and Azymuth band leader and legendary keyboardist José Roberto Bertrami brings infectious 80s grooves on ‘Eighties Times’. With heavy African and samba (brought to Brazil by predominantly African slaves in the 19th century) influenced tracks showcasing Brazil’s musical heritage and the sounds of modern Brazil this is one of the very best, all encompassing Brazilian jazz & Afro funk compilations, giving a true insight in to this ever evolving genre. Finishing where the album begins with a second track from the kings of jazz funk Azymuth, Offworld’s psychedelic re-work of Chameleon floats this infectious collection to a beautifully warped close.

Following hugely popular guides to Bossa Nova and Samba, Far Out’s third installment delivers a genre-spanning slice of the finest funky, afro jazz.

Categorising Sebastian Rochford poses problems. Jazz is at the heart of his work, yet his understanding of and engagement with a wide range of genres are such that it’s impossible to shoehorn his recordings into neat and tidy boxes. Peepers is Rochford’s fourth album as the leader and percussionist of the London-based Polar Bear, alongside collaborators Leafcutter John, Tom Herbert, Pete Wareham and Mark Lockheart. It confirms that the unassuming but sharply focused young Scot is pursuing his muse as openly and as adventurously as possible, studiously avoiding any straight retreads of his previous work while letting a distinctive composer’s voice come to the fore.

More than its predecessors (2004’s Dim Lit, 2005’s Mercury Prize-nominated Held On The Tips Of Fingers and 2008’s Polar Bear), Peepers sounds very close to a live Polar Bear performance. The kind of session that has won the group a diverse audience with exuberant music that opens out into moments of freewheeling abstraction. Rochford’s gift for melodic writing acquires new depth on this latest venture, where the music displays both art and pop sensibilities in the most organic and coherent fashion. “I wanted to open the music up with a different kind of harmony,” he says.

Above all there is a sense of completeness in the emotional sub-text of Rochford’s writing. Peepers has moments of unbridled joy – like the euphoric ‘Happy For You’ – where the whole band bounces on a rock beat without resorting to cliché. In the front line, the two tenor saxophones create prickly, grainy timbres and also let rip with solos that contrast the marked difference in tone between the two players. If there is a certain ruggedness in the way that the instruments come across in the performance, it is wholly intended. Rochford insisted on simple working conditions.

“The recording process was definitely different this time,” he explains. “I wanted to record this album as raw and spontaneous as possible with us just setting up in a room and playing, with no separation or headphones. I thought this would alter the way we played together in the studio, hearing how the tone of our instruments blended naturally like we do in rehearsals or gigs.
“Many of my favourite albums were recorded this way so I wanted to try it and see. I also wanted to record the tunes when they were in a more naïve state, so I didn’t give most of the music to everyone till just before the recording, when we had two gigs at [north London venue] the Vortex and then two days in the studio.”

Such a relative lack of preparation might unsettle many bands, but Rochford’s desire to challenge himself and his band members is an essential part of his creative drive. In the last few years this has produced music that has been widely acclaimed, including a BBC Jazz Awards Rising Star gong and the inclusion of Held On The Tips Of Fingers in Jazzwise magazine’s 100 Jazz Albums That Shook The World and The Guardian’s 1000 Albums To Hear Before You Die. He has performed with everyone from Joanna MacGregor and Andy Sheppard, Brian Eno and David Byrne, to Pete Doherty and Herbie Hancock, and as part of Acoustic Ladyland and Basquiat Strings, as well as in his own projects Fulborn Teversham, Room Of Katinas and Big Dave.

If his bandmates provide Seb Rochford with a high degree of technical and creative skill to help fulfil his artistic vision, they are also capable of gelling as an ensemble - by no means an obvious occurrence among virtuoso musicians. Much of the success of Peepers results from precisely this cohesion, as well as the freshness of Rochford’s writing. The unsettling crackle that John draws from his laptop on ‘Drunken Pharoah’ is vividly enhanced by the close harmonising of the mighty twin tenor sax frontline while the drums and bass keep a tight lid on the bottom end of the music. Everybody plays with great attention to sonic detail.

Elsewhere, ‘The Love Didn't Go Anywhere’ sees Leafcutter John play guitar on a beautifully loping piece that has the subtle afterglow of classic Roxy Music, with Bryan Ferry’s vocal replaced by the rapier glide of the two reeds, while Tom Herbert’s hefty double bass pounds out concise but penetrating lines. Interestingly, prior to the sessions, Rochford listened to a lot of ‘60s soul (“Aretha and Marvin Gaye”), an influence that he has channelled with more guile than is immediately discernible.
Rochford’s bandmates have that vital mixture of experience and youth, maturity and energy that often defines the best ensembles in improvised music. Tenor saxophonist Mark Lockheart has been a highly respected player on the British jazz scene since the early ‘80s, when he debuted with the revered big band Loose Tubes. Pete Wareham, the group’s other tenor player, is best known as the leader of Acoustic Ladyland (in which Rochford also drums). Double bassist Tom Herbert was also an original member of Wareham’s band and has racked up a huge list of credits through his work with anybody from stellar jazz soloists Andrew McCormack and Finn Peters to membership of 2009 Mercury prize nominees The Invisible.

Finally, Leafcutter John, who joined Polar Bear following their debut release, is an irrepressibly open-minded artist intent on exploring as many novel sound worlds as possible, while retaining a connection to folk music of the most ancestral kind. The producer of four solo albums, the versatility of John’s work at any given point is breathtaking. Perhaps his most significant contribution to Peepers is the unsettling Middle Eastern influence on ‘Finding Our Feet’ (featuring his own recorded vocal), and it’s with John’s influence that Polar Bear’s live performance transcends its base elements, featuring as it does playful interjections of noise triggered by games console controllers, and a balloon solo…

On his accompanists Rochford makes a telling observation. “Our friendship is really important to me. If you’re friends it makes a big difference to how you and the music grow. They’re all open to new things and our friendship means that it’s about more than just music. Everyone’s coming from a different place with different influences but can share in the same concept. It’s an exciting thing. It means things can stay open.”




Peepers thus stands as another strong document of both Seb Rochford’s development as a bandleader and writer as well as player. This is a group album that could not have been born without the strength of character of each musician involved, a superb, rich whole that is very much more than the sum of its illustrious parts. It’s also about vision. “The word peepers is another way of saying eyes,” Rochford says mischievously. “A musician friend of mine uses it mainly to describe cheeky ones!”

In a timely collision with the huge current appetite and appreciation for African music, 'Skeletons' is a dazzling melee of African jazz-inspired sounds from the prolific Benedic Lamdin - the musician, producer and engineer who has produced a string of highly acclaimed LPs as Nostalgia 77 for Tru Thoughts, including collabs with the legendary Keith Tippett and Julie Tippetts (formerly Julie Driscoll), Beth Rowley (Universal), and Alice Russell; he also produces all the releases for his own label, Impossible Ark.
The Skeletons track, "Positive Force", which appears on this album, was given an early airing on 'Impossible Ark: A Compilation' in October 2009, to immense acclaim and support.

Tim Simenon is back with a new album whose accomplished songwriting and sonic scope belie the spontaneity with which it came together. The title says it all: Back to Light. The dusky atmosphere of Future Chaos has given way to a more radiant sound, buoyed by waves of synthesizers and propelled by clean-lined grooves. Raising the tempo, Simenon takes inspiration from classic techno, while vocal contributions from Richard Davis, Kelley Polar, The Battle of Land and Sea, and Paul Conboy bring Bomb the Bass into newfound melodic focus. It's a brighter, more immediate sound than before; warmer, too, with the singers' voices positively glowing inside intricately woven electronic nests.

The following Pop-revolution comes from Hungary. Who would have thought of Hungary, of all places! - a country where international careers in music are few and far between. However, vibrant signs of life were sighted about four years ago: back then an all-round musician by the name of Erik Sumo, who in real life is called Ambrus Tövisházi, successfully introduced himself with his debut album "My Rocky Mountain". Back then Pop, Dub, Jazz and Hungarian Folk-elements were crossed with extremely catchy melodies. By now, the Erik Sumo Band is a seven-strong project and the new album "The Trouble Soup" is a bubbling cauldron of great Pop-anthems. Explosive synthesizers, Eastern Bloc-ado, Indie and Progressive in three-minute operas, that could have been penned by the Flaming Lips or the B 52's. It's crystal clear, the Hungarian Pop saga has to be rewritten.

With "Fiction Jar" the duo offers a joyful fusion of sophisticated soul, urban beats, future jazz and sweet R'n'B harmonies to die for. Guest features include rhyme spitter Capitol A, UK Garage master Zed Bias and Ras T-Weed from the legendary Rockers HiFi (UK).

With an incredible diction, phrasing and intonation, as well as a vocal range spanning three octaves, Ella Fitzgerald is widely considered to be one of the greatest singers ever. Her legendary award winning series of the 'Great American Songbook' features countless 'definitive' versions of American classics. Featured here are two fine gems from the late Fifties; "Get Happy!" and "Like Someone In Love", both in their original running orders and both have been digitally remastered for optimum sound quality. The albums are very different in tempo and a provide a good showcase for her impeccable vocal abilities.

The recorded legacy of Ella Fitzgerald proves time and time again that she was one of the finest interpreters of the popular song. But it is her Songbooks that brought her greatest acclaim. The series of studio projects undertaken between 1956 and 1964 saw her tackle the work of the finest American composers and were collections of great material delivered by a singer at the top of her form. Featured here is the award winning Cole Porter Songbook, complete in its original running order.

The recorded legacy of Ella Fitzgerald proves time and time again that she was one of the finest interpreters of the popular song. But it is her Songbooks that brought her greatest acclaim. The series of studio projects undertaken between 1956 and 1964 saw her tackle the work of the finest American composers and were collections of great material delivered by a singer at the top of her form. Featured here is the award winning George & Ira Gershwin Songbook, complete in its original form.

Volume 3 of the MPM producer series. Dexter follows Hulk Hodn & Twit One (Testiculo Y Uno) and Suff Daddy to represent the 2010 Beat Generation.

The subject is jazz! Dexter is taking an new look at the long going love affair between hip-hop and jazz. From Stetsasonic to Gang Starr to Madlib, it is not an easy path to follow, but the 26 year old producer is adding a new and fresh style to it. The sound design of Dexter's "Jazz Files" is dusty but with an unmistakable 2010 twist. As much inspired by Wes Montgomery and Ramsey Lewis as by Sun Ra and Dave Pike, Dexter's tracks are never just "jazzy". They live and breathe jazz by combining the freedom and artisty of jazz with the craft of a free-thinking beatsmith.
And the "Jazz Files" are fun too. By implanting quotes an samples from interviews and tv shows such as the classic NBC program "The Subject Is Jazz", Dexter is telling his own little story of jazz. One that had it's starting point in the massive record collection of his father and grew into shape during a long hot summer blasting nothing but Ahmad Jamal and Sun Ra.

About Dexter: The 26 year old producer, DJ and MC is part of the Wortsport collective from Heilbronn. He has made beats for Morlock Dilemma, Damion Davis, Jaques Shure, Audio 88 & Yassin and Retrogott. He likes Flylo, Madlib and Oh-No as much as libary music, psych rock and Amiga Schlager. Dexter is one of the founding member of the Generation Tapedeck blog and has just started a new project with Suff Daddy.

About the Hi-Hat Club: MPM have teamed up with photographer Robert Winter to take a look behind the beat, into the bedrooms and makeshift studios of today's beat generation. Every Hi-Hat Club volume consits of an LP – limited to 700 copies – packaged with Rob's photos and accompanied by more pics on the Hi-Hat Club blog plus additional infos, free beats and drinks. Exhibitions in records stores and galleries are in the making too. Hi-Hat Club parties have been taken place in Cologne and Berli so far. Watch out for more nights in 2010.
Musically the Hi-Hat Club promotes total artistic freedom. We are not bound to any sound or school. A Hi-Hat Club record can be anything from boom-bap to aqua crunk or whatever is fresh and dope.

Time for this new crew from Austria taking over your speakerz! Domu chose Philta winner of Zed Bias’ Boomerang remix competition by UK label Sick Trumpet and right he is. This talented young man is about to drop the hotness for sure. Roman Rauch will soon release an ace twelve on Tjumy (Think: Pete Herbert, Faze Action, Matt Flores & Tyree, etc.). Makula’s beat-wizardry is something we can’t get enough of. His weapon of choice is the mighty MPC and he knows how using it to great effect. Their joint venture resulted in this 14 track release. Styles vary from slamming future soul (How Far featuring Fleur) to heavy Bruk (Dry Your Eyes with Anya Stuart) and from out-of-this-world hip hop (Fire From The Sky featuring J-Todd) to deep house (Don’t Waste also with Fleur). 4lux colleague Josip comes up with a futuristic funk take on Dry Your Eyes too. So good! And oh yeah: all instrumentals and acapellas are included too. Don’t miss!

The recorded legacy of Ella Fitzgerald proves time and time again that she was one of the finest interpreters of the popular song. But it is her Songbooks that brought her greatest acclaim. The series of studio projects undertaken between 1956 and 1964 saw her tackle the work of the finest American composers and were collections of great material delivered by a singer at the top of her form. Featured here is the award winning Duke Ellington Songbook, complete in its original running order.

The recorded legacy of Ella Fitzgerald proves time and time again that she was one of the finest interpreters of the popular song. But it is her Songbooks that brought her greatest acclaim. The series of studio projects undertaken between 1956 and 1964 saw her tackle the work of the finest American composers and were collections of great material delivered by a singer at the top of her form. Featured here is the award winning Irving Berlin Songbook, complete in its original running order.

The recorded legacy of Ella Fitzgerald proves time and time again that she was one of the finest interpreters of the popular song. But it is her songbooks that brought her greatest acclaim. The series of studio projects undertaken between 1956 and 1964 saw her tackle the work of the finest American composers and were collections of great material delivered by a singer at the top of her form. Featured here is the award winning Rodgers & Hart Songbook, complete in its original running order.

The albums anthologised here represent the first flowerings of Sam Cooke's talent in a secular world. The qualification is important, since Cooke, a preacher's son, made his first impact as a gospel star with the Soul Stirrers. Breaking free of his religious background caused him many a soul-searching moment, and indeed the risk he took of alienating his existing fans was one his record label of the time, Specialty, was unwilling to sanction. Hence his defection to Keen Records, with whom he spent two years and recorded the four albums featured here, before moving on to RCA Victor.

"Hippie vermin" hisses the bank employee who still thinks of himself as a punk. He’s sitting next to me as we’re watching the Kammerflimmer Kollektief playing. He says it because he doesn’t understand. In fact, he doesn’t understand anything. He sees them play, but he does not listen. I wonder: Does the word "play" suffice? Maybe the members of the Kammerflimmer Kollektief even perform. I am not sure. The presentation is authentic, but it’s still a presentation. You see people, you hear their souls but no one exposes him/herself mindlessly. No one makes a fool of him/herself. No one plays the stick-in-the-mud. No one disengages him/herself. Three people who play music. Heike Aumüller sits on the floor, making music, singing in a type of English which can only be understood by people who listen. Those who look, who want to see music, do not see anything at all. And they feel nothing. Johannes Frisch fondles his double bass like Kate Bush did in her video to "Babooshka". But while Kate Bush didn’t play, Frisch does while simultaneously playing around with it, winding himself around the instrument – 1-0 for the venerably aged jazzer. On the other side sits Thomas Weber, bent over his guitar, occasionally operating the electronics in front of him, while his other hand is being played by the guitar. Again and again, it drags the other hand towards the instrument – it’s as simple as that. The audience has to want to listen and not only see. Those who can see, see the art of Heike Aumüller which graces the cover. What one sees there is vulnerable and strong at the same time. Anyone who has ever watched a Bruce Willis action movie will know the sentence that Willis – suddenly more than just muscles and smiles – utters to the obligatory child (or woman, anyway, someone to rescue): "Of course I’m afraid." What do we learn from this? Those who make themselves vulnerable become strong. The Kammerflimmer Kollektief has made itself strong, had made itself strong even before it merged into a band and then as a band, is grew even stronger. And more vulnerable. Where the music used to be beautiful, it now became powerful and momentous. Dietmar Dath speaks the truth when he suggests that one should listen to the music loud – because thus it gains even more depth. The Kammerflimmer Kollektief is emotive and impassioned. It is also as lucid and precise as those moods which Robert Musil (who is above suspicion of a being a romanticist) called "daylight mysticism". The lyrics and the music want to be heard, they want to be explored, even suffered. Sound builds songs which are made of sounds, and yet they’ re no longer songs. "Wildling" is the trio’s strongest and most vulnerable album to date. It is a solipsist, which floats solitary in its own space, somewhere between the orbits of jazz, krautrock, pop and hell. This space is an earthly heaven, which we are permitted to inhabit – if we only can hear, with our ears as well as our heads.

Dieses vormals freundliche, DJ-getriebene Power Rap-Trio ist zu einem 8-rädrigen Meta Pop-Monstertruck transformiert, der alles plattwalzen wird, was ihm dieser Tage an einheimischem Kuschel-Rock und planetarem Lap Dance Pop-anz vor die Kühlhaubitze kommt.

Vergleichbar mit New Yorks Art Punk-Halbgöttern Talking Heads zu ihrer Früh-80er Regierungszeit ist unsere Tip Top Trinity zu einem vor Krach knallenden Kommando in Fußball-Team-Größe angeschwollen. Ein 11teilges Menschenpuzzle, geformt aus den Knochen und Geistern der legendären Wrecking Crew, des P.Funk-Mutterschiffs und der Compass Point All Stars.
Angeführt von den 3 Kamikaze-Köpfen mit den zügigsten Zungen Europas - Bjoern Betön, Koenig Boris deGwossa und MC Rok da Dance - nimmt dieses dreckige Beinahe-Dutzend keine Gefangenen.

‘Afro Rock Vol. 1’ is one of the most important compilations of heavy original ‘70s Afro funk and soul to be released in recent years. Originally surfacing on Duncan Brooker’s indie Kona label in early 2001, the album single-handedly kick-started the thirst among jazz, funk and soul fans and ‘diggers’ to rediscover lost music from Africa made during the ‘60s and ‘70s from a time when many countries were gaining independence and celebrating a Pan-African identity within their music. The album was one of the first to reach a far different audience to the traditional ‘world music’ market and spawned many further projects and labels in its wake. A year later, the ‘Nigeria 70’ compilation surfaced on Strut and labels like Soundway and Analog Africa would continue to unearth amazing lost gems from the Motherland.

The album is testament to the determined work of Brooker following several research trips, especially to East Africa – Kenya and Zaire. It brought to light East Africa’s finest funk band, Air Fiesta Matata, led by the recently deceased Steele Beautttah, ‘The Nigerian James Brown’ Geraldo Pino from Port Harcourt in Nigeria, and the storming Afro jam ‘Yuda’ by Dackin Dackino, a previously unreleased gem from Zaire discovered on a discarded reel. The album has remained influential since its release with tracks appearing on other Afro compilations and on TV and film – Jingo’s ‘Fever’ featured in Kevin McDonald’s 2006 hit film, ‘Last King Of Scotland’.

Out of print since 2002, the album is being reissued on Strut in its original form with an extra bonus track, a dynamite unreleased psychedelic cut by Kenya’s Ishmael Jingo. Three further bonus cuts, previously only available on a Japanese version of the compilation, ‘Deep Funk Africa’, only are available digitally.

Long awaited second album from this french dreamer & following of his beautiful first installation "Behind Closed Doors" which received HUGE feedbacks and worldwide airplays from Gilles Peterson, Jazzanova, Patrick Forge & many others.... At 11 years old, Hervé Poudoulec starts hearing and feeling music over the radio. His mind collects fragments of sounds and wonders what to do; pondering from Rock to House, Dance and Jazz, amassing over 4000 samples, while eventually experiencing The Cinematic Orchestra’s ‘Motion‘ - helping to align his own sound, found deep within. Kira Neris graciously strides from downtempo and jazzy affairs to voluptuous, dance vibes with an earnest underlining.

The gloriously emotive voice of blues singer Billie Holiday remains a source of enjoyment and inspiration today, five decades after her tragic demise. Amy Winehouse and the current raft of female torch singers with whom she shares the limelight will forever live in Lady Day's shadow, even if they aspire to her greatness. Featured here are two of her most popular original albums in their entirety: "Lady In Satin" and "Lady Sings The Blues". All recordings have been digitally remastered for optimum sound quality.

Tartelet Records proudly presents Wareiika : Formation Starting with ep's for well-known quality labels such as Eskimo Recordings, Future Classic, Liebe/Deatil, Motivbank or Connaisseur, and providing something special for compilations like Satoshi Tomiie's famous "Renaissance", Wareika's work has inspired people around the world who like to listen closely. Like Ricardo Villalobos, who contributed a remix to their jazz-meets-techno epos "King's Child", lately compared to St.Germains greatest moments and recently released on Motivbank. To live up the Danish-German relationship, Hamburg City based Wareika now bring their overview of outstanding musical pieces to Tartelet Records, who already have spreaded some stunning tracks to introduce the Album: "ASCENDING/DESCANDING", a trip to the world of 7/8 rhythms, never the less keeping your feet in movement, and the way-down-to-africa 5/4 groove caravan "BARACUDA", a fish able to swim in the sand. Throughout the album, Jakob Seidensticker, Florian Schirmacher and Henrik Raabe are creating a FORMATION back to back as a band, constantly developing their musical approach.So they picked up some field recordings, or solo piano interludes, or even did special album versions. As well "MEN VILLAGE" in a live version, "ONE NATION" in a special album version, and of course the rare 10 minutes jazzistic improvisation on "RIDER'S ON THE STORM" give this Album the intimate feeling of having an eclectic ensemble playing for you, be it in your living room, or on a festival stage, like the smasher "BURNIN'" implies, that comes with a GusGus remix included. Programmed electronics, human voices and the feeling of touching instruments with your ears mingle in this groove that makes you wanna dance in a circle around a campfire called "FACING THE SUN". This vibe of being alive is now making friends worldwide, and in Radiostations, Blogs, Clubs and Home stereos the band's language can be understood by anyone who is willing to open up their ears.

After sucessfully exploring the world of Deep House with our last mix by Sebo K it’s now time for Ellen Allien to represent for Watergate. Ellen has been a resident for the Club for a few years now and her BPitch Label nights with the whole label roster as well as her solo appearances in Watergate have always been special nights for us and the crowd. So it is no wonder that after all this Ellen Allien now steps in to mix Watergate 05 showcasing her very own and unique mix of electronic dance music for the followers and fans of the Watergate Mix CD series.

Recording at source in Rio de Janeiro for 15 Years, Far Out has always veered left of centre around those releases that stick closer to the ‘traditional’ Brazilian sound the label is so famous for. Far Out Spaced Oddyssey skims together 50 minutes of Far Out psychedelia, oddities, mutations, quirks and beautiful mind bending loveliness for the first time. From the ultra rare early leftfield recordings of Quartin and Aleuda to the supernatural atmospheric electro of Rabotnik and their rock mutant alias Binario, this collection shows the leap of faith Far Out Recordings have taken with some of Brazil’s edgiest artists. The high quality production for which the label is famed never falters however, the compositions literally mind blowing. This is psychedelic folk, electronica, jazz and rock from the out there edges of Brazil to twist the brain back and forth; the soft psych and hard experimentalism is a cinematic, dancing, questioning brew. The result is intoxicating.

The Spaced Oddyssey kicks off with a double header of floating light and deranged darkness on Jose Mauro’s masterpiece ‘Apocalipse’ and Piri’s underground carnival ‘Reza Brava’. Both lifted from Far Out’s early compilation of Roberto Quartin’s legendary Quartin Records, the tracks are some of the finest recordings to emerge from Brazil – rare, alternative and utterly unique.

Joyce’s acid-folk masterpiece ‘Visions of Dawn’, many people’s choice as re-issue of 2009 having been lost to the world since 1976, spawned the dreamy set-highlight ‘Tudo Bonito’ – the soft psych that emerged from this stunning Parisian session calms before Binario’s space rock storm. Their absorbing hybrid is genre hopping, mind rattling and full of wobbly psychadelia. The jazz, rock musicianship is expert, the sense of improvisation intriguing. Rabotnik evolved as an electronic side-project of Rio’s Binario. Part soothing soundtrack, part freak-out the neighbours, their atmospheric textures recall Autechre and Boards of Canada with the mix of complex driving rhythm, meticulous sequencing and electro minimalism.

Far Out’s most famous sons Azymuth and Troubleman tie up this tripped out collection with a trio of dance floor classics. ‘Caca A Raposa’ shows Azymuth at the height of their powers on seminal debut ‘Azimuth’; a boogie jazz funk groover with master of the keys and band leader Bertrami adding a Flora Purim style vocal melody and endless mind boggling effects as played by the most talented of humans. The computers take over on the full on warped motor city banger ‘The Switch’ from Troubleman aka Mark Pritchard (Harmonic 313). His mastery of underground experimental techno is total. Classic meets the new breed as Rabotnik remix Azymuth’s ‘Os Cara La’ from their latest full-length – ‘Butterfly’. Robots and people collide as warped electronica and crazy jazz-funk-samba provides a suitably, beautifully mad finale.

Far Out takes you on a trippy odyssey through the stunning, motion picture perfect world of the rarely visited edges of Brazil. Cinematic space-psych to lose and groove yourself to.

Candice Monique is a talented & unique vocalist, songwriter and poet whose individual vocal and lyrical style fuses classic and Neo-Soul, Jazz, RnB, Funk, Blues, Folk & Spoken Word. It is this distinctive style along with her stage presence & artistic depth which makes her one of Freestyle Records most exciting & original new artists.After recording her first demo in Atlanta with producer Professor Griff (Public Enemy) in 2003 and later in New York in 2005 with Jill Scott and Vassy producer, Rich Medina, Candice returned home to Australia and began working on more original material, honing her writing, continuing to perform and refine her already formidable stage craft and the results speak for themselves.Kicking off her debut album with the sparse, punchy groove of the title track 'In My Soul', Candice and her band show how the 'less is more' approach can yield fantastic results. The beautiful, mellow and soulful 'For All Time' reaches the parts much contemporary RnB often fails to touch with electric piano and sweet backing vocals providing something akin to a Stax style soul groove.It is Candice's wide ranging influences, from Bill Withers to Skunk Anansie that inform her musical style and on the dance floor filler 'Feel The Vibe' one can really understand that simply recreating old skool sounds is not what Candice is about, this music could only be the product of now, by someone aiming to create quality rather than pastiche.'In My Soul' is a strong, confident debut that draws together disparate influences into a well rounded modern sound that bodes well for Candice and her band. This is where the story starts and it is clear that a remarkable new talent is emerging in front of our ears and eyes!

With their influential 2006 album 'Bongos, Bleeps and Basslines' (Ninja Tune) sparking the kind of universal critical love-in that most producers can only dream of, and still sounding as fresh today as ever, pioneering underground dance music duo Zero dB have now brought together their 'One Offs, Remixes and B Sides' for release on Tru Thoughts in February 2010.
This 2 CD, 23 track monster boasts the best of a truly humungous catalogue of remixes courtesy of luminaries including Moonstarr, Aaron Jerome and Seiji among others. It also heralds a first and eagerly-awaited CD/digital release for highly sought-after cuts - not least Hextatic's Distorted Minds (Zero dB mix), the Dave Da Gato Mix of "Seven By Seven" by Inverse Cinematics and the almighty Zero dB classic, "The Snare" - that were previously only available on limited vinyl and all snapped up by eagle-eared fans way back when.
In addition to the big names and rarities, there's also new and exclusive material including the immense Dave Da Gato's F_ck-Up The Festivals Bounce version of "Universe" by Alice Russell.
Not only an essential listen for existing fans of Zero dB's unique sound, but for anyone who has been remotely moved by dance music in the last half decade.

Sunlightsquare are a multi genre crossing band, fusing Latin, nu-jazz, soul, reggaeton, funk and salsa inspired music to create beautiful innovative grooves, branding them as one of the most exciting acts to spawn from the London Jazz scene in recent times. 2009 saw the launch of their fantastic album'Urban Latin Soul' which reached great acclaim, topped off with a sell-out album launch show at London's Jazz Cafe. Their singles, including a cover of Stevie Wonder's 'Pastime Paradise' (ft Z Star) & the latin fuelled 'Amuyada' (Ft Joy Malcom), both of which feature on the album,have been championed by the world's DJ elite with support from Gilles Peterson, Craig Charles (Funk & Soul Show), Footloose (1xtra), Tony Humphries, Pete Young, Mike Chadwick & many more.I Believe In Miracles is the first single from the upcoming latin-jazz album "Havana Central" recorded in Cuba at the historical Estudio 4 of Radio Rebelde in Ciudad de La Habana by producer and bandleader Claudio Passavanti. The amazing 20 piece band "Sunlightsquare Latin Combo" features cuban bass legend El Chispa, trumpeter Yanko Pizaco, percussionists Giovanni Imparato and Tony Rodriguez as well as english jazz prodigies Quentin Collins and Brandon Allen.

CUSMOS is Herwig Kusatz & Karl Moestl - Kusatz & Moestl are united by their cosmic love for premium electronic club music. Karl Moestl, well known as master mind behind Walkner.Moestl, has caused a stir quite recently for his defusion - bass drum rocker edition album and his avalonia EP. Now he explores and traces together with the passionated DJ and producer Herwig Kusatz, another undiscovered galaxy of electronic music. Finally after releases on G-Stone, Defusion and Fine Art records, in February 2010 the first CUSMOS album gets published. With a mixture of house, brazil, dub and downtempo CUSMOS leads listeners into the musical universe of modern electronic music.

Porgy and Bess had briefly entertained Broadway audiences in 1935 but the show ran for only 124 performances. Critics could not decide if it was true opera, operetta, or simply, musical comedy - but when staged again in 1942, they hailed Porgy and Bess as 'America's Greatest'. In the early Fifties a US State Department-sponsored production began a four-year tour of 29 countries. This album, produced by Norman Granz and starring Ella Fitzgerald and Louis Armstrong was released to coincide with a 1959 movie musical, but exceeded it in longevity and honours. It was inducted into the Grammy Hall of Fame in 2001.

Strut follow their recent forays into Nigerian and Ethio grooves with a brand new wide-ranging three-part series exploring underground South African music during the late ‘60s and ‘70s, NEXT STOP SOWETO - Volume 1 explores the vibrant energy of the township jive sound, whilst Volumes 2 and 3, released across Spring and Summer 2010, cover rare SA soul, funk & Hammond R&B and the country’s rich jazz scene.

Jazz had been a fixture in South African music since the ‘50s and jive (or mbaqanga) initially emerged a decade later as a fusion combining elements of rural Zulu music and harmony vocal styles with Western instrumentation. Early stars like “groaner” Simon Mahlathini, Nkabinde and the Mahotella Queens were key in developing a colourful, danceable sound and a competitive scene began to flourish during the late ‘60s with rival female groups like Izintombi Zesi Manje Manje gaining in popularity.

With NEXT STOP SOWETO, Strut trace some of the amazing music that often only appeared on short run 45s at the time, including tracks by smaller and lesser known bands that plied their trade under apartheid during the years before the tumultuous Soweto uprising of 1976. Featuring music recorded primarily for the local market, the album takes the listener far beyond the accepted township jive template into fusions with jazz, gospel, rumba, funk and traditional mining songs, all under-pinned by a gritty, uncompromising edge.

The NEXT STOP SOWETO series is the result of several years of painstaking research and vinyl archaeology in South Africa by compilers Duncan Brooker and Francis Gooding.

The Dave Brubeck Quartet revolutionised jazz and the wider world of music with their daring compositions and timing. They pushed the envelope and changed what was expected of jazz music. The first of our two albums here, 'Time Out', is Brubeck's most famous album, a real masterpiece, which would forever alter the way jazz was conceived by both critics and the mainstream. As a special bonus we have added Bubeck's 'Gone With The Wind' album. Enjoy!

Anticipated debut album from Greymatter featuring collaborations with Domu, Heidi Vogel, Deize Tigrona and Kev Luckhurst.

Remixes from Greymatter's Mind Over Matter project including mixes by TRG, Karizma, Fanatix, Illum Sphere, Klic, Souled and Ceramic