The Michael Johnson Singers - I'll Be Going Home (Admin Edit)
as featured on
EDITS FOR A NEW HORIZON VOL. 4
https://admnbristol.bandcamp.com/album/edits-for-a-new-horizon-vol-4

As foretold in prophecy, presenting a fourth volume of sacred gospel edits from Admin. Finely spliced and rejigged spiritual anthems ready to convert a dancefloor into believers. Another funky batch of deep cuts for the new horizon...

Instead of letting these gather dust, better to share. So for no fee these are available for you to download and play from Bandcamp. Donations welcome x

HOME (EDIT)

On a balmy Brazilian night in February, 1981, a crowd gathered in Rio de Janeiro’s Gávea district, under the iconic dome of the city’s planetarium. They were there to see the great “Bruxo” (sorcerer) Hermeto Pascoal live in concert, with his new band formation which would become known simply as “O Grupo” (The Group).

Growing up on a farm in Brazil’s northeastern state of Alagoas, Hermeto has always been deeply in tune with, and inspired by nature. In his youth he would make his own flutes to play call and response with the birds, frogs and cicadas. He built scrap-metal instruments in his blacksmith grandfather's forge, and would sit for hours by the lake listening to the sounds of the water. But on the Planetário Da Gávea recordings, Hermeto is the sorcerer: the cosmic emissary - as the great Brazilian guitarist Guinga once named him - exhibiting his intuitive sense of harmony with a nature beyond that of our own worlds’.

“Tudo e Som” (All is Sound). It’s a phrase Hermeto regularly returns to, and it points to the fact that music can be made from anything. A virtuoso of practically every instrument he has ever touched, Hermeto has also been known to solo on a pint of beer, a body of water, his own beard, and pigs (both toy and live). But “Tudo e Som” alludes to something much more profound. It’s an understanding of the universe as being in a state of constant movement, forever vibrating at the quantum level, like the string of a guitar, or a saxophone’s reed. “Tudo e Som” is a declaration of the mystical and spiritual power of sound, as a fundamentally vibrational force. 

Dubbed by Miles Davis as “one of the most important musicians on the planet”, a Hermeto Pascoal live show was (and still is) an experience like no other. Across the recording of the planetarium concert, wild improvisation meets groovy, virtuosic vamping on progressive, extended psychedelic jams. The tracks are usually built around a beautiful, transcendent melody; instantly recognisable as being Hermetos’. There’s a plethora of powerfully delivered rhythms from Brazil and beyond, and the performance is punctuated by Hermeto’s unpredictable, at times comical sonic antics, offering a true expression of a creatively liberated mind overflowing with musical ideas. 

The series of concerts at the planetarium marked the birth of O Grupo: the formation of Hermeto’s band which would last for eleven years. Every member of O Grupo are phenomenal musicians in their own right. It was saxophonist and flautist Carlos Malta's first gig with the group, and the concert unusually featured two drummers, Zé Eduardo Nazário and Marcio Bahia. Zé from Sao Paulo had played with Hermeto during the mid-70s (as well as Milton Nascimento, Egberto Gismonti and Toninho Horta, to name a few). Marcio had joined the group more recently, and his CV included playing with Maria Bethania, Marcos Valle and Roberto Menescal. Acclaimed keyboard player Jovino Santos Neto provides the exalted keyboards, piano and organ and the great Itibere Zwarg, who remains in Hermeto’s band to this day, plays bass. During this period the group were rehearsing for hours on end, seven days a week, with a total dedication to music and Hermeto’s musical vision.

Over forty years since this historic happening, Far Out Recordings is overjoyed to release this magical recording of Hermeto Pascoal e Grupo Live at Planetário Da Gávea, on double vinyl LP, CD and digitally for a January 4th 2022 release.

Hermeto Pascaol - Jegue

Paul Murphy: Jazz Room Records. "The first time I heard this I said "I gotta sign it!" as not only was it featured in one of the maddest and most memorable scenes on one of my favorite TV Shows "Severance" from Apple TV, but it's also on one of my favourite albums anyway, "Nation Time" by Joe McPhee.
Takumi Moriya's version Is as funky as it gets and is truly way up there and meeting the high as a kitemark standards of "Defiant Jazz" (What a Niche Genre to be in!) This is going to cause some serious defiant Jazz Shake on a dancefloor near you! Break out the Maraccas!"


A limited vinyl 45 release and it's release number 30 so ultra special.

TAKUMI MORIYA BLACK NATION - SHAKEY JAKE

<< PRE-ORDER via the 22a Bandcamp >>
https://tenderlonious.bandcamp.com/album/you-know-i-care

Tenderlonious enters fresh album territory with his latest offering entitled, ‘You Know I Care’. Having released several solo projects, numerous collaborations and a series of LP’s, EP’s and singles with his band Ruby Rushton that centred on original compositions, he wanted to take a moment to focus his energy on exploring the classic jazz material that has inspired him over the years. 

Players like Jackie McLean, Duke Pearson, Clifford Jordan and Wayne Shorter have all played significant roles in Tenderlonious’ life and provide a constant source of inspiration for his development as a musician and composer. This latest release is a tribute to those musicians and for this reason is a landmark album; ensuring that a new generation of jazz listeners are reminded of some of the most significant contributors, and in some cases unsung heroes, to this ever-evolving genre. 

The first track, ‘On The Nile’, sets the tone for the LP. It’s a bold opener and immediately catches the listener’s ear with its distinctly Middle Eastern theme. The quartet maintains a full, grandiose sound from start to finish, with gutsy solos from alto saxophone and piano, that build to a climatic solo from the band’s powerhouse drummer, Tim Carnegie. 

‘Maimoun’ has a smoother, west coast feel to it - cool and collected. A simple, yet evocative melody weaves on top of a steady 4/4 groove, whilst virtuosic bassist Pete Martin underpins the whole arrangement with his incomparable natural groove. 

‘Infant Eyes’ is performed as a flute and piano duet, paying tribute to the late Wayne Shorter. The performance is free and moving, allowing this beautiful composition to lay bare its intricacies and vulnerability. 

‘Poor Eric’ is a haunting ballad dedicated to the memory of the late Eric Dolphy. A brooding piano and melancholic saxophone melody set the mood as brushed drums and a deep bass join softly to create a dream-like dirge, leading into a raw and emotive solo from Tenderlonious. 

‘John Coltrane’ is the perfect homage to the master saxophonist. Originally recorded by Clifford Jordan, and covered many times since, this version holds true to its original conception and intended purpose – a tribute to one of the greatest saxophonists that ever lived! 

‘You Know I Care’ is one of the most iconic jazz ballads of the 1960’s. Tenderlonious’ husky alto flute perfectly encapsulates the mood, whilst bass and drums hold steady leading to a delicate and playful solo from talented pianist Hamish Balfour. 

This long player clearly follows in the footsteps of Tenderlonious’ spiritual jazz hero’s, paying particular attention to the original performers of these six masterpieces - Jackie McLean, Clifford Jordan, Wayne Shorter and Duke Pearson. This is also the first time that Tenderlonious has recorded on alto saxophone, a more recent love affair for this talented multi-instrumentalist, and the first of many I hope. 

There is something for everyone on this album, from brooding ballads to full-steam ahead modal delights – and an opportunity to enjoy a fresh take on these timeless compositions.

Tenderlonious; alto saxophone & flutes 
Hamish Balfour; piano 
Pete Martin; bass 
Tim Carnegie; drums 

Recorded at Crescent Studios, 10th March 2023 

Recording Engineer; Damon Sawyer 

Mastered at Transition Studios 

Artwork by Matt Carter

Infant Eyes

On The Nile

Following Far Out’s reissue of Agustin Pereyra Lucena Quartet’s La Rana, the label continues its memorialisation of the late, great Argentinian guitarist’s music, with the first ever direct from tape, audiophile reissue of Pereyra Lucena’s self-titled debut album from 1970.

One of the outstanding South American guitarists, Agustin Pereyra Lucena commanded a unique position in Latin music history. He hailed from Buenos Aires, but was obsessed with the music of Brazil. A disciple of Antônio Carlos Jobim, Baden Powell and Vinicius De Moraes, the nature of Agustin’s Argentinian roots combined with the nurture of Brazil and its music to give Agustin a sound entirely his own. 

After being scouted in a nightclub, by musician and guitar craftsman Jorge Demonte, Agustin was invited for an audition at Argenitinian label Tonodisc. Before he knew it, aged 22, he was in the studio recording his first album. 

Agustin enlisted fellow Argentinian Brazilophiles Mario "Mojarra" Fernandez who played bass and drummer Enrique "Zurdo" Roizner. He had first heard the duo backing Vinicius de Moraes, Toquinho and Maria Creuza on their legendary La Fusa live album, also recorded in Buenos Aires. For vocals, Agustin brought in his old friend, a French teacher called Helena Uriburu, who at the time had (unbelievably) never sung in a studio before. 

The atypical bossas and spiritual swinging sambas, composed by many of Agustin’s aforementioned heroes, were elevated to new heights by Agustin’s dazzling arrangements and phenomenal guitar playing. The almost cosmic reaches Agustin achieved with his sound are balanced against the stylish sophistication and breezy nature of the music. 

Moments of calm serenity include Agustin’s own composition “Nina No Divagues”, Durval Ferreira and Pedro Camargo’s “Chuva” and the Brazilian bossa classic “Tristeza Nos Dois”, which feels like it draws equally upon exotica and early library records. Accompanied by Roizner’s shuffling samba jazz drums, opener “O Astronauta” is Agustin’s cover of the Brazilian guitar standard composed by Baden Powell. Another Baden Powell classic, “Consolacao” is an extended full-band set, which features Agustin’s crisp guitar dancing around a hypnotic rhythm section. Upright bass is swapped out for a big, round-sounding electric one, which sits loud in the mix for almost seven minutes of deep, groovy, distinctly early-seventies magic.

Agustin passed away in 2019, and it is only in recent years that he is starting to gain his plaudits as one of South America’s greats. On the liner notes of the album Vinicius De Moraes writes: “I think I never saw, with the exception of Baden Powell and Toquinho, anyone more linked to his instrument than Agustín Pereyra Lucena. It would give the impression that if the guitar were taken away from him, he would fade into music as one dies from the amputation of an arm.”

Agustin Pereyra Lucena will be released on audiophile vinyl LP, CD and digitally on the 26th January 2024 via Far Out Recordings.

Agustin Pereyra Lucena - Consolação

After a nearly 7 year hiatus, it's the return of the Ottawa-based collective Atlantis Jazz Ensemble with a new album "Celestial Suite". Music is My Sanctuary is excited to present a special preview of one of the tracks from the upcoming album, titled "Enlightenment".

The album "Celestial Suite" is out on October 27th on Marlow Records.

Celestial Suite

Exclusive Premiere: Atlantis Jazz Ensemble "Enlightenment" (Forthcoming on Marlow Records)

so far out

yadava - strange worlds

First release of 2019 for Ice City and this one needs no special introduction. One of the ultimate "crossover" soul records - ever. Mid 70s Chicago masterpiece Pamoja written and produced by Keith Stevenson.

Pamoja - Oooh, Baby

Bubbly (Dufresne Remix)

Bookings: 22abookings@gmail.com
Enquiries: 22arecords@gmail.com

Buy 22a Vinyl / CD / Digital  >>
https://22amusic.bandcamp.com/

Infant Eyes

22a Music

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