Global Funk

Pick The World Up(Galaxy Edition)

Russ - I'm Gonna Make You Love Me (Prod. Russ)

The Legacy of Disco

Could Heaven Ever Be Like This

Up next on Phonica Premieres is a seriously groovy cut from International Soleil Band off the new Soundway 12".  Ta Lassa is an '80s West African Disco crossover from the International Soleil band straight outta Guinea. Composed by Gnamakoron Sidi Diabaté it was originally featured on an album released in 1983 by French Warners offshoot WAM (West African Music) - a short lived label that recorded about 20 releases of West African music released in France. Also Featuring Mory Djely Kouyate this track was a staple of the 22 band's repertoire in the 1970s (in which many of the ISB played) - famous for their recordings on the legendary state-run Editions Syliphone label. We've decided to premiere the extended (DJ friendly) Hide & Smile edit on the A side. There's throbbing bass and keyboard interplay punctuated by classic Guinee guitar lines, metronomic drumming and 80s synth sweeps eventually drops into a more recognisable Guinean vocal outing. This beautiful 12" will be out on the 20th of May and you can reserve a copy on our website: j.mp/TaLassa

Buy Vinyl

Phonica Premieres: International Soleil Band - Ta Lassa (Hide & Smile Edit) [SOUNDWAY]

1981 - check out her other albums too! I couldn't find the words to describe this track..

kalitarecords.co.uk/product/jeannette-ndiaye-makom-ma-bobe-pre-order

For more regular vinyl digs & mixes - follow me!

Jeannette Ndiaye - Makom Ma Bobe

"How it Goes " from How to Hit What and How Hard available here :
https://mocky.bandcamp.com/album/how-to-hit-what-and-how-hard-the-moxtape-vol-iv-extended-japanese-edition
  vocals by Artelly, violin by Molly Rogers , all other instruments by Mocky

How to Hit What and How Hard 

HOW IT GOES

Phenomenal Handclap Band - Judge Not (Ray Mang Special Mix)

Dowdelin est un trio qui propose une soul music contemporaine en langue créole.
Les trois musiciens mélangent élégamment musique des Caraïbes françaises et influences afro-américaines tentant d'esquisser un afro-futurisme créole.
------------------------------------------------------------------------------------------------
Dowdelin is a trio delivering a contemporary soul music in the Creole language.The three musicians elegantly fuse together French Caribbean music and afro-american influences, in an attempt to herald a Creole afro-futurism.

Carnaval Odyssey

DOWDELIN - Ka Fwo Bit

Con Todo El Mundo

Evan Finds the Third Room

Super-vilains

Manoir des super-vilains

Lungile Masitha was the short-lived studio name for renowned SA artist Sello ‘Chicco’ Twala, who played with such iconic bands as Harari and Umoja. However, in the mid 80’s his name was under license to one of the major labels and in an effort for self-expression recorded under the name ‘Lungile Masitha’, here he linked up with long term friend Jimmy Mngwandi to co-write and arrange the two tracks ‘Vuyani’ & ‘Makoti’, both sung in his native Tsongan tongue. Vuyani is an upbeat tune that matches Chicco’s unique vocal style with percolating drums and distorted choruses to incredible effect, while Makoti is a mellower blend of floating keys and choruses sung by local kids in an effort to expose “emerging talent”. Due out Jan 29th, distro through Rushhour.

Vuyani

Disco Jazz

Aaj Shanibar

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)

☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼ ☀ ☼

Vance and Suzzanne – I Can't Get Along Without You (Jasper K & The Revenge Remix)

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.

Global Funk

colintrich