Global Funk

The Legacy of Disco

Could Heaven Ever Be Like This

Street Lady

Lansana's Priestess

Aged In Harmony – You're A Melody (Extended Disco)

Bijou voyou caillou

Coup de foudre à Thessalonique

Con Todo El Mundo

Evan Finds the Third Room

Super-vilains

Manoir des super-vilains

Isaac Washington

Liquid Saloon

Premiere: Liquid Saloon - Gueta (featuring Nitai Hershkovits)

Vinyl / Download / Stream: https://lnk.to/1408

"14/08" is the first pre-single of JJ Whitefield’s solo debut album "Brother All Alone". On the new German Neo-Jazz label Kryptox / K7. Guitarist and producer JJ Whitefield is kind of a legend to many funk, hiphop and afro connoisseurs around the world. Before joining the Kryptox label he released albums on Ninja Tune, Stones Throw, Now Again and Daptone with his bands Karl Hector & The Malcouns, Poets of Rhythm, Whitefield and Rodinia. 
He also was the band leader and co-produced the two comeback albums of Ebo Taylor for Strut Records. The German multitalent has been living in San Francisco many years before coming back to Germany and now recording "Brother All Alone" - a Jazz Funk album with some of the best young heads from the new Berlin Hipster Jazz scene. The album could make some waves as Whitefield has prominent fans all over the world: From L.A. guys like Madlib, DJ Shadow, Dan Auerbach or Kemasi to UK Jazz heads around Gilles Peterson scene. Many of the albums of his former bands are cult. So this next step in his carrier could get some attention too!

JJ Whitefield - 14/08

Celebrating its 25th anniversary, Far Out Recordings proudly presents two albums of previously unheard Azymuth demo recordings from 1973-75

Since their debut album release in 1975, Azymuth have risen to rank alongside the world’s greatest jazz, funk and fusion artists. As young men in Rio de Janeiro, they stood out for both their exceptional talent as musicians, and their wild rock ‘n’ roll antics in the predominantly middle-class worlds of bossa nova and jazz. Their signature ‘Samba Doido’ (crazy samba) sound ruptured the tried and tested musical structures of the day, resulting in what can only be described as an electric, psychedelic, samba jazz-funk hybrid.
But before they became Azymuth, Jose Roberto Bertrami (keyboards), Ivan ‘Mamão’ Conti (drums), Alex Malheiros (bass) and Ariovaldo Contesini (percussion) played backing band to just about every major artist in Brazil.

Bertrami was also contracted as an arranger and songwriter at some the biggest labels of the era: Polydor, Philips, Som Livre, and EMI being just a few. Azymuth’s name can be found on record sleeves by the likes of Jorge Ben, Elis Regina, Marcos Valle, Ana Mazzotti and countless others. But at the dawn of the seventies, fascinated by developments in improvisational music - from jazz in the US, to progressive rock in the UK and of course samba, bossa and tropicália on home turf - the energetic young group were inspired and ready to move forward.Any spare moment in which they weren’t in sessions and writing music for other artists, they would be carving out their own sound.

These previously unheard recordings took place between 1973-75 at Bertrami’s home studio in the Laranjeiras district of Rio de Janeiro. At the time of recording, there was nothing in Brazil, less the world that sounded anything like them, so perhaps it’s unsurprising that when Bertrami presented his demos to the record companies he had been working for, he was turned away, and told in effect that the music was ‘wrong’.

One of the demos ‘Manhã’ would be picked up by Som Livre and Azymuth released their seminal debut album in 1975. Throughout the late seventies and eighties, the group released a series of now classic albums for Milestone Records, before taking an indefinite hiatus to pursue their individual careers.
When English producers Joe Davis and Roc Hunter arrived in Brazil in 1994 to record the first Azymuth album in over a decade, Bertrami dug out the demos which had sat virtually untouched for over twenty years. Joe recalls how he was “blown away by the freedom and intensity of the music, as well as the genius of the ideas musically.” Beginning a long and fruitful relationship, ‘Prefacio’ would be the first track Azymuth recorded for Far Out Recordings and was released on the Carnival album (1996).

Along with ‘Manhã’ and ‘Prefacio’, only a handful of these demos were ever professionally recorded and released, making this the first opportunity to hear many of these early Azymuth compositions in their raw, original form.

On every track the frenetic energy in the studio is palpable, giving the recordings a beautifully personal feel and a sense of the phenomenally creative vision Bertrami, Malheiros and Conti were realising at the time. Fifty years on, Azymuth’s earliest recorded music retains an ineffable, futuristic quality, standing amongst their most captivating and moving work.

Vinyl / CD / Digi

Azymuth - Castelo (Version 1)

Download / Stream: https://kryptox.lnk.to/BrotherAllAlone  

"Yellow Sari" is the second pre-single of JJ Whitefield’s solo debut album "Brother All Alone". A sitar - jazz funk tune with a heavy live played Hiphop beat. A stylish mix of the new Hipster jazz vibe, with Krautrock and ethno elements.
Released on the new German Neo-Jazz label Kryptox/ K7. Guitarist and producer JJ Whitefield is kind of a legend to many Neo-Funk, Krautrock and Afro connoisseurs around the world. Before joining the Kryptox label he released albums on Ninja Tune, Stones Throw, Now Again, Daptone with his bands Karl Hector & The Malcouns, Poets of Rhythm, Whitefield, Rodinia. 
He also was the band leader and co-produced the two comeback albums of Ebo Taylor for Strut Records. JJ Whitefield - the German multitalent - has been living in San Francisco before coming back to Germany and now recording "Brother All Alone" - A Jazz Funk album with some of the best young heads from the new Berlin Hipster Jazz scene. The album could make some waves as Whitefield has prominent fans all over the world: American dons like Madlib, DJ Shadow, Dan Auerbach, Mark Ronson to the UK Jazz heads around the Gilles Peterson and Shabacka scene. Many of the albums of his former bands are cult. So this next step in his carrier will get some attention too.

JJ Whitefield - Yellow Sari

Melodiesinfonie - AO Longo Do Rio

138 2 Step / Breaks ooooo i enjoyed doing this

Makes u feel warm

FOLLOW STRANGE ROLLERS

Strange Rollers - Heat (128)

Available on Matsuli Music, http://matsuli.blogspot.co.uk/

Anishilabi by Batsumi

Marvin

Porsche 944

Azymuth - Dear Limmertz

* Read more: https://boltingbits.com/ruby-rushton-yardley-suite-22a/
* Watch on YouTube: https://youtu.be/E5bMVF9Tov8
* Pre-order: https://rubyrushton.bandcamp.com/album/overture-1

Tenderlonious led jazz quartet, Ruby Rushton, return with a brand new limited 7” single, a swift response to their highly acclaimed “Ironside” album released back in April of this year. These two new tracks continue to push the bands sound into newterritory.

'Overture 1' is a brand new composition from Ruby Rushton keyboard player Aidan Shepherd. Taking inspiration from bands like Weather Report and Soft Machine, its explosive introduction leads you to a dub-like breakdown, creating an open space for Shepherd to let loose his synthesizer for some deep space, Headhunters’esque exploration. 

'Yardley Suite' is a song first conceived by band leader Ed ‘Tenderlonious’ Cawthorne back in 2012. Having lied dormant for several years it felt like an appropriate time to pull it back out the bag. It’s a composition inspired by Cawthorne’s solo work as an electronic producer, under his alias Tenderlonious. Always wanting to merge his various approaches, 'Yardley Suite' is the perfect mix of Jazz and House. With a steady four tothe floor beat and snappy horn lines its sure to work its magic on dancefloors around the globe. 

Having focused on improvisation and more “open” compositions in the past, the bands new direction is geared towards tighter, more groove-orientated arrangements. This exciting new material is yet further evidence that this is a highly prolific band at the top of their game, continually evolving, stretching out their own unique sound across the full jazz spectrum. 

This is a, one off run, limited edition 7" single. 300 copies only with bespoke painted artwork from Lorna Robertson. No repress!

Global Funk

Brian Sampson 1