Dego is the best!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Tru Thoughts presents UNFOLD with Robert Luis

The Creator Has A Master Plan

Buy / Stream it here: https://orcd.co/alinahipharp

Issued on BBE Music, “Reflections” is the new album by London-based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective.

Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinskaputs together a second long-player, collaborating with British jazz stars Tony Kofi(Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist VimalaRowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime(Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).

Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record, she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip-Hop.

“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording – it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too.

For ‘Reflections’ I tried to break from any stereotypes and limitations – what you hear is my own choice of sounds and influences, taken from the many mixtapes I’ve been making since I was a teenager. I put together the music I like to listen to when I am happy or sad when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most – a free spirit, courage, innovation and all the beautiful things life gives us.

I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” – Alina Bzhezhinska

Reflections is released on double LP vinyl, limited edition CD & digital formats.

Alina Bzhezhinska & HipHarpCollective - Soul Vibrations

TRACK LIST:

Critik Creole Pop - Daniel Forestal Et Les Milestones

We The Youth - Exile House

Addicted - Milestone

J’ai Froid - Milestone

Ça Moin Si Ou Fè - Black Affairs

Come Along - Ebo Taylor And The Pelikans

Wogye W'enyaado - Papa Yankson

Super Bar Konon Mousso - Amadou Balaké

Thief Man - Ogiza

Sakatumbe - African Brothers' Band

Tuesday Morning Monday's Feeling Gone - Denny Fast

Send Her Back - The Jay Hawkers

Poor Souls - Big John K

Freak Out Part 1 - The Soundz 

Thundermother - Someday

Cambodia - Bertil Strandbergs Kvintett 

Erik’s Tune - The Al Williams Quintet Plus One 

Impression Theme - Afro Blue Persuasion 

Say What - Ken McIntyre

Round Midnight - John Mehegan

JELLY'S GROOVE - EPISODE #29

Buy / Stream it here: https://orcd.co/shamekfarrah

Quality over quantity. That’s what characterises Shamek Farrah and Norman Person’s recorded output. They may have a small discography between them but it’s a stable of recordings that centrally locate them in the development of the black jazz of America. BBE Music is delighted to present a new edition of a rare, relatively unknown, and unheard gem.

Recorded between 1988 and 1991 across a series of concerts, ‘Live’ was released in 1991 and was only available for sale at their gigs. Issued on audio cassette on Farrah’s private Heritage Industries label, ‘Live’ is a raw, uncompromising selection of deep, conscious jazz featuring three original compositions and two covers: ‘Aisha’, written by Person, was inspired by Person’s daughter and is a majestic joyous groove that extends out into a percussive jam; ‘Negative Forces’ is a fiercely paced hard bopper worthy of the Jazz Messengers. Written by Person, he tells how “it had to be like a torpedo, man. It had to come out strong and fight against those negative forces”. The one Farrah/Person co-write on the album is ‘Timeless Beings’, a short freeform improvisation that creates a distinct moment of space and light in an otherwise intensely focussed, yet highly accessible album.

The two covers on the album reflect the instruments of the co-leaders: sax and trumpet. ‘Footprints’, the classic written by the Newark Flash himself, Wayne Shorter, and first heard on ‘Miles Smiles’ in 1967 is delivered deftly by Farrah and co. Here, the band pays a respectful yet adventurous rendition, with some superbly colourful piano from Sonelius Smith. The second cover is a tribute to the great trumpeter Clifford Brown, who died in a car accident in 1956, aged just 25. ‘I Remember Clifford’ written by Benny Golson, is handled with suitably delicate reverence. “I still listen to Clifford Brown today,” says Person. “He’s still my teacher.”

On ‘Live’, saxophonist Farrah and trumpeter Person - friends for decades - capture an energy and vibration that is infused with the spirit of their youth – whether drawing on the hard bop of the late 50s and early 60s or the Afrocentric spiritual jazz of the early 70s, of which Farrah is intimately linked via his albums on Strata East, ‘Live’ is a document of two masters at work.

‘Live’ has flown under the radar to many a fan of prime black conscious and spiritual jazz but now BBE brings back this astonishing set by two giant talents accompanied by a group of musicians who shine with brilliance and verve.

Available for the first time on CD, digital, and double vinyl set cut at 45rpm by the Grammy- nominated The Carvery mastering studio, ‘Live’ also comes with an extended interview with Shamek Farrah and Norman Person by Tony Higgins.

Shamek Farrah & Norman Person - Aisha

In 1975, under the oppressive air of military dictatorship in Brazil, brothers Lelo and Ze Eduardo Nazario invited bassist Zeca Assumpção to join their musical experiments in a basement under Sao Paulo’s Teodoro Sampaio Street. The trio had already been playing together in Brazilian polymath Hermeto Pascoal’s band, alongside guitarist Toninho Horta and saxophonist Nivaldo Ornelas, and it was while working together under Hermeto’s direction that the Paulista rhythm section (as they were then known) realised their own potential.

With many nightclubs and venues closed in the mid-70s and government censors dictating the output of radio, TV and art galleries, many Brazilian artists fled during the years of the dictatorship. But underground, Grupo Um were fusing avant garde ideals with contemporary jazz and Afro Brazilian rhythm; making phenomenally beautiful music which was wildly free and expressive - in stark contrast to the sterile, conservative conditions being imposed above ground.

Recorded in just two days at Sao Paulo’s Vice-Versa Studios, Starting Point was to mark the inception of one of Brazil’s most daring instrumental groups. But with a record so radically ahead of its time, Grupo Um struggled to find a label willing to release their debut and Lelo Nazario kept the tapes safe in his archives, which is where they sat for almost half a century…

Finally, this mesmerising piece of history is here, and it was only the beginning…

Grupo Um - Suite Orquidea Negra

This track is from a collection of tunes from the live streamed sessions with Slamhaus. While bands or users will inspire me, every song was composed live on stream without any pre-thought melodies, progressions or beats. Watch a piece of music composed 100% in front of your eyes.

Watch this track composed lived from here: Coming Soon!

Be a part of the music making! Watch Tunesday at 2pm CT every Tuesday!
www.twitch.tv/slamhaus

Album Artwork by Chris Amhaus

Tunesday, Vol. 27

November 15th {Dusty Goat}

Bastien Andrieu: Synth, piano
Julian Babou: Bass
Patrick Duvignacq : Editing / Mix

Songhua river

Yoni Mayraz - Palms

The popularity of Brazilian music from the 60s, 70s and 80s has experienced quite the renaissance; artists such as Gal Costa, Gilberto Gil, Arthur Verocai, Joyce et al, have become household names to an international audience passionate about global sounds. However, even for die-hard fans and collectors of Brazilian music of the past, discovering contemporary Brazilian artists is not always easy, nor accessible. But, if you know where to look, you will see that there is a resurgence well underway that can be epitomised by an exciting new wave of Brazilian artists beginning to break through and gather momentum overseas. It’s with thanks to Sound and Colours, a website devoted to promoting Latin American music and culture, that we can help shine a light on one particular collective, bursting with creativity and camaraderie.

‘Hidden Waters: Strange and Sublime Sounds of Rio de Janeiro’ is compiled by Joe Osborne (founder of specialist Brazilian music platform Brazilian Wax) and Russ Slater (editor at large of Sounds and Colours). Focusing solely on the 'Rio Scene', rather than taking on the mammoth task of tackling Brazil as a whole, this collection presents 20-plus ground-breaking artists selected from Rio’s resurgent music scene. By presenting a snapshot into the pulse of the city and the vibrant musicians that live in it, ‘Hidden Waters’ collates tracks from a wide spectrum of musical genres from the avant-garde edge to bossa nova, samba, Candomblé, lo-fi rock, jazz and funk.

‘Hidden Waters’ showcases musicians such as iconic Rio mainstays Negro Leo & Ava Rocha, Brazilian jazz upstart Antônio Neves, critically lauded Avant-pop trailblazer Thiago Nassif, breakthrough artists Ana Frango Elétrico and Letrux, lo-fi psych rocker Lê Almeida, plus the Latin Grammy-winning Bala Desejo who are set to explode onto the world stage. 

The music featured on ‘Hidden Waters’ is unequivocally Brazilian, swelling with samba, bossa nova, funk, and jazz. But it’s within the album's blend; from sunny psychedelia to dusky synth-pop via experimental electronics, that marks the compilation as the sound of modern, multicultural Rio. Fans of Brazil’s fertile 60s and 70s will spot the antecedents in Tropicália. Not only in the experimentation but also through the similar political context: back in the late 60s there was Brazil’s military dictatorship, and up until the end of 2022 it was Bolsonaro’s censorious premiership. Here are a group of musicians writing and reflecting on another colourful chapter within Brazil’s musical history.

This comprehensive compilation comes with album artwork designed by Rio music’s leading album artwork designer, Caio Paiva. It features essays by professor and music critic Bernardo Oliveira and music journalist Leonardo Lichote, plus extensive notes on each track by the artists themselves.

Dora Morelenbaum - Vento De Beirada

We are proud to present the Mr Bongo pressing of Guilherme Coutinho E O Grupo Stalo's self-titled mythical album. Blending lo-fi, Brazilian tropicalia, jazz, funk and MPB with a unique aroma, this record is pure perfection.

It was originally released in 1978 on Erla - Estudio Rauland, an obscure record label from Belém in Brazil, that only released 7” singles, with this album being one of two exceptions. During the 1970s, Belém had a thriving nightclub scene, but it is thousands of miles away from the music industry hubs of Rio de Janeiro and São Paulo, making this record insanely difficult to find, even in Brazil. Added to the scarcity factor is the magical nature of the recording, which has naturally resulted in a hefty price tag to match. Original copies have become a prized, collector’s item.

The elusive Brazilian band leader and keyboard player, Guilherme Coutinho is a true cult artist. He passed away in 1983, at the age of just 41, and during his career he only seems to have appeared on a handful of marvellous records, which makes them all the more special. This album feels individualistic and distinctive from other albums of the day. Listening back to vocalist Elinho’s (aka Hélio Rubens de Oliveira) delivery, it sounds not too dissimilar to some of Belle & Sebastian’s songs. ‘Guilherme Coutinho E O Grupo Stalo’ is rich in charm, quirky and playful. It feels cinematic, soothing and benefits from being heard in its entirety. A proper album experience.

Twelve Steps

Dego

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