Global Funk

Pick The World Up(Galaxy Edition)

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

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Jeannette Ndiaye - Makom Ma Bobe

Meet Me On The Corner is taken from the album ‘Orange Whip’ which was BBC 6 Music’s Album of The Day on its release. A pounding beat beefed up by bass, guitar and brass, propels forward while ‘Ríoghnach Connolly’ (pronounced Rainer) sings lyrics that could be straight out of the playground, but suggest something a little deeper.

Here is a remix from the legends of funky house music, ‘Crazy P’ with both vocal and dub versions. Turning Honeyfeet’s latest opus into a straight up soulful disco monster by ‘Hot Toddy’ and ‘Ron Basejam’, with Rioghnach’s rasping vocals playfully meandering over crisp beats and trademark live bass.

Wah Wah 45s:
https://soundcloud.com/wahwah45s
http://www.wahwah45s.com

Crazy P:
https://soundcloud.com/crazyp

Order

PREMIERE: Honeyfeet - Meet Me On The Corner (Crazy P Remix)[Wah Wah 45s]

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.
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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

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

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)

Mr Fuego

2000 Blacks Got To Be Free

2000 Blacks Got to Be Free (Edit) [feat. Roy Ayers]

Melophrenia

Jazz Session for No Future People

RAS II

Boogie

Resonate

House of Lett

Time (You and I)

Indigo

Tripping Up

Brother Sister / Candlelight

Brother Sister

Vance & Suzzanne - I Can't Get Along Without You
Year: 1980
Keep The Funk Alive !!

Vance & Suzzanne - I Can't Get Along Without You

People have been living around the foothills of Mount Kilimanjaro for millennia. One day in 2014 another jeep pulled up, in a rural neighbourhood where many people from the Wachaga nation live, work and play. This jeep contained Ophir ‘Kutiman’ Kutiel, the producer, multi-instrumentalist and filmmaker who is get-stopped-in-the-supermarket famous in his home country despite being terminally shy of the spotlight. 

Kutiman carried microphones, video recording equipment and a request for creative collaboration to Tanzania – and he left Wachaga with a set of recordings. Some of these were of everyday sounds and some contained special sounds: school children from the city of Arusha playing drums or the dancers who wore bells to add a percussive element to the movement, like the metal plate in a tap dancer’s shoe.

This fourth studio album is a combination of the material he collected on his 2014 trip with recordings made with saxophonist Shlomi Alon, trumpeter Sefi Zisling and trombonist Yair Slutzki, alongside his own playing and studio wizardry. He was listening to a lot of spiritual jazz during the recording, and in a departure from his usual cut and paste style, played on top of the recordings.

Wachaga

Copasavana

J'ai traversé la mer

Météw Byen

Taken from the album 'Keleketla!', released 3 July on Ahead Of Our Time: https://keleketla.lnk.to/keleketlaSo

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International Love Affair

International Love Affair (Edit) [feat. Afla Sackey, Antibalas, Dele Sosimi, Gally Ngoveni, Nono Nkoane, Sibusile Xaba, Tamar Osborn, Tenderlonious, Thabang Tabane & Tony Allen]

Celebrating all styles of contemporary jazz from a myriad of fresh, exciting talents within the Lowlands, Super-Sonic Jazz Records is proud to announce its first label compilation featuring some of the finest, and diverse jazz, and jazz-influenced tracks from the scene’s very best. Super-Sonic Family Vol.1 directly follows up the sold-out Super-Sonic Jazz Festival that took place at Amsterdam’s Paradiso late last year, and is the culmination of years of dedicated work throwing events, and releasing records.

The thirteen-track compilation as compiled by KC The Funkaholic and brothers Vincent and Siemen Tenzers — the central figures behind Super-Sonic Jazz — is a snapshot of the rising jazz scene in the Netherlands, featuring a strong assortment of styles and practises, all built around a central jazz ethos. It’s a local breed of talent that has been fostered and championed by the Super-Sonic family for several years now, and with the compilation they’ve captured the Joie de vivre of the refreshed youthfulness that has been shaping the area’s musical direction. From housier beats, to fast tempos and smooth grooves with global sounds, the variety of styles and practises shows how the different communities and artists — whether they be established or fully recognised —have managed to build bridges between themselves through a strong connection the unorthodox rhythms and dark arts of soulful, and beat-driven jazz.

Featured on the record of the sounds of several producers, including local soulful beat-maker Planty Herbs, Rhythm Section producer Duke Hugh who brings a touch of cinematic percussion with an impassioned danceable gem, plus Rotterdam’s very own Ranie Ribeiro, aka. Ranie Ribeiro who channels energy from Cape Verde with some harp-heavy dancefloor sounds. Served up also is a smooth variety of extremely prodigious instrumentation; keys-man and Cinematic Orchestra alumni Dominic J Marshall splashes out with a blissful Rhodes jam, Super Sonic’s very own GreyHeads unleash their own re-interpretation of drum & bass, soul music, while Arp Frique’s Djosa lays down some instrumental, exotic jazz, boogie disco. In addition, renowned muso Trian Kayhatu is on board with some straight-up future soul, Son Swagga sets down some psychedelic jazz fusion, and Dominic J Marshall collaborator Glenn Gaddum Jr., aka, one of the Netherlands’ best bass players, bring a touch of class, with his effortless and dreamy music.

What started out as a series of events and shows at Paradiso has now gone on to become one of the most prolific hubs for jazz in the Netherlands. The label has gone on to bridge gaps between classic and modern scenes by re-releasing long lost gems alongside releases from the some of the scene’s newest, underground talents. Alongside the festival, the Super-Sonic Family compilation is just the latest step in the their development, and an important benchmark in the region’s jazz legacy.

Global Funk

Daniel Ruditskiy