Myron & E with the Soul Investigators, from the album Broadway.  
http://stonesthrow.com/myronande


U.S. TOUR WITH CODY CHESTNUTT
Sep 27: St. Louis, MO @ Blueberry Hill 
Sep 29: Chicago, IL @ Lincoln Hall  
Oct 1: Charlotte, NC @ Visulite  
Oct 3: Asheville, NC @ Grey Eagle  
Oct 4: Atlanta, GA @ The Loft  
Oct 5: Nashville, TN @ Mercy Lounge  

IN JAPAN WITH THE SOUL INVESTIGATORS
Oct 9: Tokyo @ Billboard Live Tokyo 

EUROPE TOUR WITH THE SOUL INVESTIGATORS
Nov 13: Turku, FI  @ Dynamo
Nov 15: Helsinki  @ Tavastia 
Nov 16: Copenhagen  @ Loppen
Nov 17: Stockholm @ Fasching Club
Nov 20: Rennes @ Ubu 
Nov 21: Paris @ Bellevilloise
Nov 22: Avignon @ Nuits Zebrees / Radio Nova
Nov 23: Marseille @ Cabaret Aleatoire
Nov 25: Frankfurt @ Orange Peel
Nov 26: Stuttgart @ Zwölfzehn
Nov 27: Pfarrkirchen, Germany @ Club Bogaloo 
Nov 28: Basel, Switzerland @ Kaserne 
Nov 29: Amsterdam @ Paradiso 
Nov 30: Rotterdam, Netherlands @ Bird 
Dec 1: Hanover, Germany @ Lux
Dec 2: Cologne @ Bahnhof Ehrenfeld 
Dec 4: London, UK @ Jazz Cafe 
Dec 5: Cardiff, UK @ Koko Gorillaz
Dec 6: Berlin @ Bohannon
Dec 7: Madrid @ Tempo Club

THE ALBUM

Myron & E - Going In Circles

7" and Digital out May 13, 2014. 

Order the 7" and get instant download of this song : https://bastardjazz.bandcamp.com/album/montreux-sunrise-trans-alpine-express

After the dynamo sophomore release that was 2013's "Curiosities", New Zealand's Lord Echo returns to Brooklyn's Bastard Jazz label, this time producing Kiwi trio The Elder Statesman comprised of twin brothers and Wellington fixtures Christopher (piano) and Daniel (double bass) Yeabsley with Lord Echo himself on percussion and drums. 

On the "A" side, Montreux Sunrise is mellow meander through a laidback early 70s souljazz vibes, while "Trans Alpine Express" picks things up on the B side with a deep, spiritual piano groove, upfront doublebass, and Echo's percussion perfectly in the pocket. 

A timeless gem of a 7" from Bastard Jazz, releasing their own namesake for once!

Buy 7" or Digital

The Elder Statesman - Trans-Alpine Express

One Good Reason

Watch the full film featuring a score by Kamasi Washington!

https://www.youtube.com/watch?v=0fonYgn1wXE

The latest in Ray Ban’s Never Hide Films series, "Color Guard" tells the story of a young girl (Clover Nee) who requests that her babysitting Uncle Jamie (Jamie Granato) tell her a bedtime story. Jamie’s improvised tale centers around a group of color-blind and joyless adults, including Clover’s father Roland (Scovel), who attend “Guru Tiki Royal’s Color Camp For Adults” in efforts to be cured of their ailments and add color to their world. 




Kamasi Washington - Theme from "Color Guard"

Out Now! Get it at Daptone Records Shop http://bit.ly/2cfnj5J

PST-001

Benjamin & The Right Direction "Light Of My Life"

Mandla Mlangeni:Trumpet,Mark Fransman: Tenor saxophone, bass clarinet and accordion Keenan Ahrends: guitar, Nicholas Williams: bass, Clement Benny: drums, Vocals: Zoe Modiga, Yonela Mnana and Vuyo Tshuma Music Composed by Mandla Mlangeni

Voices of our Vision

Umhlangano

'Oooo Lala' (Feat. Kaidi Akinnibi) taken from Blue Lab Beats' debut album 'Xover'.

Pre-order the album/stream the single here: BlueLabBeats.lnk.to/Xover

Follow Blue Lab Beats:
www.bluelabbeats.com
www.facebook.com/BlueLabBeats
www.twitter.com/bluelabbeats
www.instagram.com/bluelab_beats

Oooo Lala(Feat. Kaidi Akinnibi)

Holy Grail for crate diggers, sample gem for beatmakers, Solstice was composed by Brian Bennett and appears the album Voyage (A Journey Into Discoish Funk)released in 1978.
This classic jazz funk tune was sampled over and over and is now covered for the first time by Medline in 2018.

Solstice

Medline - Solstice // FREE DL

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 - Manha

Vocals: Nubiya Brandon
Bass: Rory Goulcher
Guitar: Tom Excell
Drums: Finn Booth
Trumpet: Ewan McKechnie 
Alto Sax: Nick Richards
Tennor Sax: Dennis Scully
Turntables/Scratching: Tom Davison
Cello: Emma Coleman

Composed and Produced by Tom Excell


Artwork by Decent Peoples
http://www.facebook.com/decentpeoples

Figure Numatic

First single from the upcoming release Seven Wonders. New Movements in Australian Jazz & Soul A 14 track compilation recorded at Plug Seven Studios In Melbourne Collingwood, in partnership with Wondercore Island, due for release Feb 2020.