Wildcookie - Serious Drug

Hypnotic Brass Ensemble's colorful instrumentation is coupled with the stirring vocals of the legendary Yasiin Bey. This long awaited collaboration marks over a decade of brotherhood between the artists. Yasiin, who was among the first to discover the group busking in NYC,  helped introduce them to the world. Nuff Respect!!!

https://open.spotify.com/track/46O9AO4IlGTKJi8RztLIEc
https://music.apple.com/us/album/space/1699578415?i=1699578427&at=1000lHKX&ct=linktree_http&itsct=lt_m&itscg=30200&ls=1

Space Ft. Yasin Bey

Dylan Jones - Trumpet 
James Mollison - Tenor Saxophone 
Joe Armon-Jones 
TJ Koleoso - Bass 
Femi Koleoso - Drums


Chasing The Square

TY - Vocals 
Dylan Jones - Trumpet 
James Mollison - Tenor Saxophone 
Joe Armon-Jones 
TJ Koleoso - Bass 
Femi Koleoso - Drums



Chapter 7 ft TY

Zara McFarlane - Vocals 
Dylan Jones - Trumpet 
James Mollison - Tenor Saxophone 
Joe Armon-Jones 
TJ Koleoso - Bass 
Femi Koleoso - Drums


I Have A God ft Zara McFarlane

Rye Lane Shuffle

Nubya Garcia - Tenor Sax/Flute
Shirley Tetteh - Guitar
Amané Suganami - Keyboard
Twm Dylan - Double Bass
Jake Long - Drums
Tim Doyle - Percussion

Recorded at Royal Albert, Deptford by Tom Sankey
Mixed by Ben Hayes and Max Wallace-Jones
Mastered by Ben Hayes

Africa (John Coltrane)

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 - Juntos Mais Uma Vez

* Read more: https://boltingbits.com/abase-gbe-ra-nie-get-off-di-floor-cosmic-compositions
* Watch on YouTube: https://youtu.be/qQgNxY4cBgU
* Pre-order: https://abase.lnk.to/invocation

“Invocation” is the debut EP of Budapest born and Berlin based producer, pianist and multi-instrumentalist Àbáse. Seven pieces of instrumental artistry, each one channeling a musical journey of its own, inviting the listener to a personal trip of emotions. Àbáse recorded most tracks with two drummers and two bass players playing simultaneously, a flute player, a percussionist and himself playing Rhodes and synths. Along the “base” band, there are several guest artists from different continents and backgrounds, adding their majestic contribution.
The first track of Invocation, which goes by the same name as the record (“Invocation”) has Brazilian percussionist Roque Miguel as a special guest, with whom Àbáse worked on new material during his stay in Rio de Janeiro and Salvador de Bahia. 

“Get Off Di Floor” is a afro-funk track which has a brass section and a guitarist, as an addition to the core band. It’s a take on the classic afrobeat “big band” arrangement, an environment different than the rest of the EP, where Àbáse proves again his artistic versatility.

This record was created in a live recording session set up with Àbáse’s home-band in Budapest, with a few overdubs from the guests which he encountered during his journeys in Brazil, Ghana and Europe. Each track carries a personal input from the culture of every musician and it blends in beautifully with Àbáse’s ideas of mixing jazz and hip-hop in it. There is a strong West-African and Brazilian influence that is especially to be felt in the percussion and a lot of experimentation with jazz and hip hop.

PREMIERE: Àbáse - Gbé Ra Nlè (Get Off Di Floor)

‘New Ferrari’ is the first single to be taken from Surprise Chef’s forthcoming album, ‘Daylight Savings’. The album is released on October 16th and is up for pre-order / pre-save now. Choose from black vinyl, Indie Edition creamy white coloured vinyl, CD, digital, and special vinyl presses courtesy of our friends at HHV Records and DINKED.

Daylight Savings

DOWNLOAD / STREAM

Surprise Chef - New Ferrari

When We Are

Ezra Collective’s new era, a venture in discovered maturity and raised stakes, will be defined by the anticipated second album.

'Where I’m Meant To Be' is a thumping celebration of life, an affirming elevation in the Ezra Collective’s winding hybrid sound and refined collective character. The songs marry cool confidence with bright energy. Full of call-and-response conversations between their ensemble parts, a natural product of years improvising together on-stage, the album - which also features Sampa The Great, Kojey Radical, Emile Sandé, Steve McQueen, and Nao - will light up sweaty dance floors and soundtrack dinner parties in equal measure.

Where I'm Meant To Be is out now via Partisan Records.

Chasing The Square

Ezra Collective

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