$39.00
Out-Sider present a reissue of Matthew Larkin Cassell's Pieces, originally released in 1977. Originally from San Francisco, Matthew Larkin Cassell is a talented songwriter, vocalist, and multi-instrumentalist. During the '70s and '80s, Cassell fronted a trio in the Bay Area, opening for major acts like The Tubes and Sylvester. Playing a particular fusion of funk, R&B, soul-jazz, and '70s pop, he self-financed and released his first album, Pieces, in 1977 followed by a 12" titled Matt The Cat in 1978. Distributed only locally at the time, the album remained buried until it was discovered in the '00s by beat makers and crate diggers which led to some of the tracks being sampled and included on mixes by people like Kon & Amir, Madlib, and M.F. Doom. Reputed labels like Stones Throw and P-Vine reissued Casell's music at the same time that the original album was sought-after by funk collectors and reached outrageous prices. A great fusion of funk, R&B, soul-jazz, and '70s SSW/AOR, featuring "All I'm Missing Is You", sampled by People Under The Stairs.” – Forced Exposure
Item description:
|
Artist: |
Matthew Larkin Cassell |
|
Title: |
Matt The Cat |
|
Label: |
Out-Sider |
|
Format: |
Vinyl, LP, Album, Reissue |
|
Pressing: |
Spain |
|
Release Date: |
This reissue: 2018 | Original: 1978 |
|
Genre: |
Funk / Soul |
|
Style: |
Funk / Soul |
|
Catalog No: |
OSR067 |
|
Condition: |
New |
$45.00
“In 2003 Kutmah started Sketchbook as a radio show on Dublab in Los Angeles and a year later Sketchbook became the city’s first all instrumental beat night. This was the breading grounds for the already flourishing beat community in Los Angeles. Artists would bring beat cd’s to showcase their talent whenever they pleased and Kutmah always got their cd at the end of the night. Often the party was outside the club because Dibia$e’s boombox was always knocking. Sketchbook Radio Archives is a compilation the dates back to this era and the present day.” – Bandcamp
Item description:
|
Artist: |
Various Artist |
|
Title: |
Kutmah Presents Radio Archives Volume 1 |
|
Label: |
IZWID Records, HHV |
|
Format: |
2 × Vinyl, LP, Compilation |
|
Pressing: |
Europe |
|
Release Date: |
12 October 2018 |
|
Genre: |
Electronic, Hip Hop, Funk / Soul |
|
Style: |
Downtempo, Instrumental, Soul |
|
Catalog No: |
IZWID-005, HHV739 |
|
Condition: |
New |
$39.00
“Austin hip hop beatrepreneur The Deli made serious waves with his previous Cold Bustedalbum Vibes 3, featuring the song “Flowers.” This track shook up the Spotify world with over 14 million plays and inclusion on at least 500 playlists. Anticipation is strong for a follow-up from The Deli and, with his new album Jazz Cat, he delivers with gusto. Filled with the smoked-out, laid-back cut-and-paste rhythm-ology that The Deli is known for, Jazz Cat contains 15 enticing beat compositions. The title cut shows where he’s at, transmitting an old-is-new-again feel through scratchy snare snaps, loping piano chords, and faraway — both in time and place — city sounds. Other highlights include the dreamy lounge pressure of “Virgo Flip,” “Fractals” and its shimmering vibraphone atmospheres, the ‘hip hop party happening down the street’ vibe of “Spring,” and the crucial, jazzy beat construction of “Going Home.” Dig in … wIth Jazz Cat, The Deli trips the night fantastic.” – Bandcamp
Item description:
|
Artist: |
The Deli |
|
Title: |
Jazz Cat |
|
Label: |
Cold Busted |
|
Format: |
Vinyl, LP, Album, Limited Edition |
|
Pressing: |
US |
|
Release Date: |
06 Jul 2018 |
|
Genre: |
Hip Hop, Jazz |
|
Style: |
Instrumental, Jazzy Hip-Hop, Boom Bap |
|
Catalog No: |
BUSTEDINCHES77 |
|
Condition: |
New |
$45.00
“Oneness of Juju’s classic African Rhythms is a bold, badass concoction of Afrobeat, soul, jazz, and funk, held together by an undeniable sense of cool. Originally released on the Black Fire label in 1975, the album was first reissued by Strut in 2002. Now, the label has reawakened African Rhythms with a new edition that comes with two additional cuts, “African Rhythms (45 Version Parts 1 and 2)” and “Afrobeat.” Led by James “Plunky” Branch, a brilliant musician and activist, the New York band forged a riotous set with a power that refuses to wane.
Take the title cut, for instance: Blaring horns recall the work of Fela Kuti, while the sound of rowdy bystanders clapping along—bellowing to the music—imbue the song with a spontaneous festivity that feels totally appropriate. From there, the album shifts subtly, to the upbeat jazz of “Mashariki” and its peppy sax work. There are shades of Sun Ra’s Afrofuturism on “Incognito,” and traditional West African percussion on the bongos-laden “Chants.” The meaner funk of “Don’t Give Up” could soundtrack a night drive through 1970s New York.” – Bandcamp
“From a trailblazing band featuring members well-versed in jazz, funk, gospel, and African music, the debut album by the Oneness of Juju displayed a group playing with the dexterity of Kool & the Gang, the forward-thinking musical ideas of Herbie Hancock, and the social consciousness of Gil Scott-Heron. The title track is fiercely kinetic, with vocal choruses prodding listeners to dance and Plunky's echo-drenched saxophone floating serenely over the top of a funky space-jazz backing.” – All Music
Item description:
|
Artist: |
Oneness of Juju |
|
Title: |
African Rhythms |
|
Label: |
Strut |
|
Format: |
2 × Vinyl, LP, Album, Reissue |
|
Pressing: |
UK |
|
Release Date: |
This reissue: 21 September 2018 | Original: 1975 |
|
Genre: |
Jazz |
|
Style: |
Afro-Cuban Jazz, Jazz-Funk |
|
Catalog No: |
STRUT188LP |
|
Condition: |
New |
$39.00
“1971's Here Comes Shuggie Otis was the debut album by the guitarist and songwriter, issued by Columbia, when Shuggie was only 18. Produced and arranged by his father, R&B legend Johnny Otis, the set features nine original cuts co-written by the pair, and in some cases others, and one written by Johnny with Dan Aldrich. The album is evenly divided between vocal tunes and instrumentals. The cast for these sessions included Johnny, Wilton Felder, Stix Hooper, bassist Al McKibbon, Preston Love, Jackie Kelso, Plas Johnson, and a string section. "Oxford Gray," the album's opener, is an instrumental written by Johnny, Shuggie, Felder, and Hooper. Unlike anything that ever came before it, it's a baroque blues tune that features Shuggie playing both electric and acoustic bottleneck slide, a harpsichord, strings, and a groovy little backbeat that walks the edge of blues and funk. It feels like a suite because of its many composed sections, but Shuggie's guitar is pure improvisational poetry. This is followed by the beautiful, psychedelic pop of "Jennie Lee."” – All Music
Item description:
|
Artist: |
Shuggie Otis |
|
Title: |
Here Comes Shuggie Otis |
|
Label: |
Music On Vinyl |
|
Format: |
Vinyl, LP, Album, Reissue, 180 Gram |
|
Pressing: |
Europe |
|
Release Date: |
This reissue: 14 September 2015 | Original: 1970 |
|
Genre: |
Rock, Funk / Soul |
|
Style: |
Folk Rock, Soul, Psychedelic |
|
Catalog No: |
MOVLP1482 |
|
Condition: |
New |
$39.00
“The most curious element about the singer, however, the quality that makes her such a uniquely captivating vocalist, is the way she communicates these troubles—with a honeyed, masterfully wielded croon that leaves you with the impression she's comforting you about them.
It's that groovy, gentle-voiced extroversion that drives her debut LP Yellow Memories, a collection of "all soul music" that oscillates from genre to genre in keeping with the traditions of Eglo Records, the eclectic family of artists assembled by electronic producer Floating Points and label head Alexander Nut. Stylistically, Fatima could be compared to forebears Erykah Badu, Jill Scott and even—at her most whimsical—Janelle Monáe, but her delivery exudes a light sweetness, even when confronting heartbreak.” – Pitchfork
“Listen to Yellow Memories from start to finish and you're immersed in a distinct mood. Introspective R&B and soul is the theme. Much of the music is ambitious. Take the Flako-produced "La Neta," which switches times signatures halfway through, or the Theo Parrish-penned opener "Do Better," which has a sense of virtuosity and drama that's uncommon in modern music. Eglo boss Floating Points is a lynchpin to the operation, having produced five of the record's 12 tracks. His partnership with Fatima has created two of the best cuts here: the climactic "Do Better" and the comparatively pared down "Biggest Joke Of All." The latter is simply a boom bap beat, an amazing vocal performance and a keyboard jam, but its simplicity is exactly what makes it work.
Other guest producers here include Scoop De Ville, Oh No and Knxwledge. None of these are huge names, but all have cult followings in the world of leftfield beatmaking, and every one of these collaborations is a winner. Particularly worth singling out is "Circle," produced by Computer Jay and the ever-impressive Shafiq Husayn of Sa-Ra.” – Resident Advisor
Item description:
|
Artist: |
Fatima |
|
Title: |
Yellow Memories |
|
Label: |
Eglo Records |
|
Format: |
Vinyl, LP, Album |
|
Pressing: |
UK |
|
Release Date: |
12 May 2014 |
|
Genre: |
Electronic, Hip Hop, Jazz, Funk / Soul |
|
Style: |
Soul |
|
Catalog No: |
EGLO36 |
|
Condition: |
New |
$58.00
Item Description:
|
Artist: |
Dur Dur of Somalia |
|
Title: |
Volume 1 ★ Volume 2 |
|
Label: |
Analog Africa |
|
Format: |
3 × Vinyl, LP, Album, Compilation, Limited Edition |
|
Country: |
|
|
Release Date: |
14 Sep 2018 |
|
Genre: |
Funk / Soul, Folk, World, & Country |
|
Style: |
|
|
Catalog No: |
AALP 087 |
|
Condition: |
New |
$45.00
“Chris Bowden’s debut album Time Capsule was first released on Soul Jazz Records in 1992 to universal and widespread critical acclaim. Now 20 years on a new wave of current jazz artists led by the likes of Kamasi Washington in the USA and a host of British artists - Shabaka Hutchings /Sons of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - have brought this original ground-breaking album into the limelight once more as a pivotal starting point, sharing many of the aesthetics of these current artists at work today.
Musically all are inspired by the spiritual jazz of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry et al paired with a modern electronic music sensibility. Chris Bowden’s Time Capsule has stood the test of time like few other albums (as the title of the album suggested), and remains a pivotal, wholly-successful and original experimental musical collage, a radical inspiration and forebearer to many of the best progressive jazz and electronic artists working today.” – Sounds of the Universe
Item description:
|
Artist: |
Chris Bowden |
|
Title: |
Time Capsule |
|
Label: |
Soul Jazz Records |
|
Format: |
2 × Vinyl, LP, Album, Reissue |
|
Pressing: |
UK |
|
Release Date: |
This reissue: 28th September 2018 | Original: 1996 |
|
Genre: |
Jazz |
|
Style: |
- |
|
Catalog No: |
SJRLP140 |
|
Condition: |
New |
$39.00
“Negro Swan is the fourth studio album by Blood Orange, an alias of British musician Dev Hynes. It was released on 24 August 2018, through Domino. The album was preceded by the singles "Charcoal Baby" and "Jewelry". On 19 July 2018, Hynes shared a teaser video of the album featuring a snippet of new music, before announcing the album and making it available for pre-order later the same day. The cover art features an image of Kai the Black Angel sitting on a car's front window with a white do-rag on his head and wings clipped to his back…
…In a press release, Hynes described the album as "an exploration into my own and many types of black depression, an honest look at the corners of black existence, and the ongoing anxieties of queer/people of color. A reach back into childhood and modern traumas, and the things we do to get through it all. The underlying thread through each piece on the album is the idea of hope, and the lights we can try to turn on within ourselves with a hopefully positive outcome of helping others out of their darkness." The press release also stated that the album was entirely written and produced by Hynes." – Wiki
“On his fourth studio album as Blood Orange, musical polymath Devonté Hynes explores the comforts and complications of living a life as both/and—of being treated, to borrow from Thelonious Monk, as an ugly beauty. Negro Swan captures the scattershot, jittery, anxious, blissed-out-depressive feeling of what it’s like to be a marginalized person at a toxic and retrograde moment in global culture and politics. “No one wants to be the Negro Swan,” he laments on “Charcoal Baby.” “No one wants to be the odd one out at times…/Can you break sometimes?” Hynes goes for the anachronistic “Negro” to suggest the history of racial abjection—just like the phrase “Charcoal Baby” evokes 19th-century blackface performers who used burnt cork, or charcoal, to darken their faces for white audiences. The album’s cover photo, shot by the designer-photographer Ana Kraš, drives home the ugly beauty idea: A black man perches on a car windowpane, rocking a white, studded do-rag, eyeshadow, and wings on his back.” – Pitchfork
Item description:
|
Artist: |
Blood Orange |
|
Title: |
Negro Swan |
|
Label: |
Domino |
|
Format: |
2 x Vinyl, LP, Album |
|
Pressing: |
Europe |
|
Release Date: |
5th October 2018 |
|
Genre: |
Hip Hop, Funk / Soul, Pop |
|
Style: |
Contemporary R&B , Indie Pop |
|
Catalog No: |
WIGLP421 |
|
Condition: |
New |
$39.00
Real World Records Ltd.
Bokanté + Metropole Orchestra , conducted by Jules Buckley – What Heat
$39.00
“There is commendable ambition and skill behind this collaboration between Bokanté, the self-styled “super group” founded by Michael League of the New York jazz-funk outfit Snarky Puppy, and the renowned Dutch big band Metropole Orkest (active since 1945). League was inspired to form Bokanté to showcase the Guadaloupe-born singer Malika Tirolien, with whom he writes, most of their songs being delivered in Creole. Charismatic on stage, her vocals are supple, capable of both delicacy and force, and with hip-hop inflections. For this second album, League has added cinematic heft to Bokanté’s melange of Caribbean, Middle Eastern and jazz influences, helped by the arrangements of the Orkest’s Jules Buckley.” – The Guardian
“Bokanté could have easily been a one-time project and Strange Circles a monolith, with a legacy crystallized. Instead, improbably enough, the group scaled up for sophomore album What Heat. Recorded in tandem with the Netherlands-based Metropole Orkest and its conductor, Jules Buckley, the album shows Bokanté widen its already impressive scope. In many ways, What Heat builds on Strange Circles – in heart, in musicianship, in melody – but in even more, it diverges.
What Heat has an epic quality to it. Half of the tracks break the seven-minute mark; none fall below five. The Orkest's sweeping accompaniments make every song a miniature suite with long, richly textured instrumental breaks. Hefty lyrical themes include the deadly travails of forced migration ("Bòd Lanmè Pa Lwen"), rights and equality for members of the African diaspora ("Réparasyons") and women ("Fanm"), and even a possible future in which a leader simply called "Donny" is thrown out into the streets and the world works to repair the damage he has done ("Don't Do It"). What Heat is an album that could just as easily be a masterpiece of socially relevant modern dance as a sophomore record.” – Pop Matters
Item description:
|
Artist: |
Bokanté + Metropole Orchestra , conducted by Jules Buckley |
|
Title: |
What Heat |
|
Label: |
Real World Records Ltd. |
|
Format: |
Vinyl, LP, Album, Stereo |
|
Pressing: |
Europe |
|
Release Date: |
28 September 2018 |
|
Genre: |
Jazz, Folk, World, & Country |
|
Style: |
- |
|
Catalog No: |
LPRW221 |
|
Condition: |
New |
$48.00
“Jordan Rakei hails from Brisbane, Australia, a continent that produced the acclaimed jazz-funk ensemble Hiatus Kaiyote, and harbors a soul scene in thrall to the nu-funk stylings of early ’00s America. Rakei’s debut, Cloak, harkens back to that same sound; it has the jittery, “boom-clap” kick drums made famous by J Dilla, and the warm and enveloping keyboards that turned up on D’Angelo’s Brown Sugar and Kool & the Gang’s “Summer Madness.” Its centerpiece is “Midnight Mischief,” a five-minute swirl of seduction garlanded with hi-hat percussion and Rakei’s jazz-inflected vocals. On “Rooftop,” Rakei describes the sensation of a first kiss in blushingly intimate terms. Throughout, his voice is quietly insistent, luxuriating naturally within the groove; but he’s just as effective when he picks up the pace. “Talk to Me” combines strummed guitar with Latin jazz rhythms, and on “Toko,” Rakei sings, “Time flies inside of me” over a splintering hard-bop beat. And while Cloak is mostly an album about introspection, Rakei keeps moodiness at bay. On “The Light,” he sings, “life is better when you’re open”; Cloak is the sound of relaxing and letting go.” –Bandcamp
“Jordan Rakei’s Cloak is the kind of album that you’ll want to spend time with. And as a double LP, it does necessitate that time, yet none of the nearly one hour of listening feels at all like a chore. The debut full-length of the Brisbane, Australia-born, now London-based musician, the genre-blending work is polished, ambitious, and completely delightful. It's hardly believable as a first go at an album.
In many ways, though, the accomplishment is unsurprising. The artist, who has played piano since he was young, has gained a following in his native country and beyond, earning radio play for his unique blend of R&B, hip-hop, and jazz; producer credits on a number of tracks; and a feature on Disclosure’s “Masterpiece” from last year’s Caracal alongside the big names of Miguel, Sam Smith, and Lorde, among others. Rakei’s soulful voice held its own against all of them…
…Cloak is Jordan Rakei’s first full-length album, but it also feels like a culmination of sorts—a realization of a career that has been slowly building in Australia and London. The artist, though, doesn’t seem to believe in culminations much. As he says about the album’s theme in a song guide for Faster Louder, “it’s always going to be OK as long as you trust the process.” Whatever Rakei’s process, hopefully it will bring more music like this.” – Thrdcoast
Item description:
|
Artist: |
Jordan Rakei |
|
Title: |
Cloak |
|
Label: |
Soul Has No Tempo |
|
Format: |
2x Vinyl, LP, Album |
|
Pressing: |
Australia |
|
Release Date: |
01 September 2016 |
|
Genre: |
Electronic, Jazz, Funk / Soul |
|
Style: |
Soul, Hip Hop |
|
Catalog No: |
SHNT002 |
|
Condition: |
New |
$45.00
“Oddisee’s abnormal virtuoso use of versatile instrumentals on his records has always been charming and often times downright incredible. You can expect no less on The Iceberg, for this record is filled with a great deal of instrumental creativity on every turn. Each track has its own unique instrumental or stylistic method, but Oddisee always manages to make it all seem grounded enough to never stick out and disrupt the impeccable flow of the record. You might encounter a soft guitar riff here, then a classic rhythmic beat there and some brass sprinkled over it, with occasional synth-marbled bass gravy. All of that mixed with Oddisee’s confident, self-aware delivery and the fantastic song-writing, which makes each tracks pop out with increasingly more dizzying atmosphere, and you’ve got yourself a near-perfect, light-flowing, opinionated Hip-Hop record.
And those lyrics. Sure enough, you’ll have to get over Oddisee’s socio-political opinions, but even in spite of them, the wordplay and the seemingly natural rhymes and smooth verses are nothing less than punching. But Oddisee wants you to focus on the messages of social acceptance, class differences, and racial tension. For that reason is the music never too booming or overwhelming, instead slowly building a certain atmosphere that’d seem almost meditative (and at times even ambient) without the vocal contributions. It’s so that it never distracted from what really matters. But everything blends into itself seamlessly and flawlessly. Everything stands straight, bravely and confidently. Everything is in its place. And that’s just the tip of the Iceberg.” – Sputnik Music
“As with every Oddisee record, The Iceberg adheres to a high concept; in this case he's taking aim at the tendency to accept surface-level information and forget about underlying complexities. Much to his credit, and possibly disdain, the entire album can be enjoyed for its musicality alone; his production skills are on point as always, if a little less organic and broader-sounding than the more overtly jazz-leaning Odd Tape. However, much like an actual iceberg, the album's true mass lies in the underlying message, which Oddisee actively encourages the listener to consider -- see opening track "Digging Deep" -- and ultimately invest in for greater reward. Both approaches to The Iceberg seem appropriate by design; Oddisee's keen ear for both vocal and melodic hooks becomes something of a test, a challenge even, to divide those who critically analyze and those who just want to hear a good beat. With a surface that sounds this smooth and soulful, it's easy to imagine casual listeners -- particularly those who aren't aware of Oddisee's worldview -- accepting it at face value. This is no more exemplified than by second track "Things," with its uplifting tempo and catchy chorus belying the lyrical plea to remember that we all have relative problems to deal with.” – All Music
Item description:
|
Artist: |
Oddisee |
|
Title: |
The Iceberg |
|
Label: |
Mello Music Group |
|
Format: |
Vinyl, LP, Album, Glacier Ice (Clear with Light Blue) |
|
Pressing: |
US |
|
Release Date: |
7th April 2017 |
|
Genre: |
Hip Hop |
|
Style: |
Conscious |
|
Catalog No: |
MMG-0095-1 |
|
Condition: |
New |
$48.00
"Mule Musiq has announced a reissue of jazz pianist Fumio Itabashi's 1982 album Watarase. Mule compares Itabashi's playing to Keith Jarrett's on the landmark live LP The Köln Concert. The Japanese label has remastered the record, Itabashi's second solo piano full-length, for a reissue. Watarase kicks off with Itabashi's version of the jazz standard "Someday My Prince Will Come," and the album also includes interpretations of material by South African pianist Dollar Brand and Russian-American composer Vernon Duke. Itabashi surfaced on Mule back in 2010, playing keys on Henrik Schwarz & Kuniyuki's "Once Again." The trio will reconvene for a new version of "Watarase" to celebrate the reissue."– Resident Advisor
“That Fumio Itabashi’s Wikipedia entry is a sparse four sentences long is a disservice to his years of playing in Japan’s evergreen jazz scene. Championed by renowned world music DJ Gilles Peterson, Itabashi’s work has been recently reissued by the Tokyo label Mule Music. Recorded at Nippon Columbia in 1981 and originally released in 1982, Watarase showcases the piano virtuoso in fine form. With a style that exhibits a constant push and pull between the heavily rhythmic and sweetly melodic, this solo piano outing is consistently driven by his willingness to jump into whatever idea pops into his head with just enough confidence to pull it off.
Itabashi is playful and at ease as he slowly warms into a tight groove around “Someday My Prince Will Come.” With a deft touch, he sets chiming melodies off like chain reactions, each one sparkling brightly before a lightning fast downward run of notes appear to offset the calm. After a teasing intro of pounding trills, Itabashi loosely slides into the main melody in an almost sly fashion — his subtly casual approach belying a keen ear for wrapping compact segments of melody into bursts of energetic and quick fills that can come on with jaw-dropping speed. Itabashi tackles another jazz standard, Vernon Duke’s “I Can’t Get Started,” with a similar gusto as he cooly approaches the song’s laidback melody.” – Spectrum Culture
Item description:
|
Artist: |
Fumio Itabashi |
|
Title: |
Watarase |
|
Label: |
Mule Musiq |
|
Format: |
Vinyl, LP, Album, Reissue |
|
Pressing: |
Japan |
|
Release Date: |
This reissue: 2018 | Original: 1982 |
|
Genre: |
Jazz |
|
Style: |
Contemporary Jazz, Post Bop |
|
Catalog No: |
MM218 |
|
Condition: |
New |
$48.00
A TAV Essential Listening Album.
A TAV Curator’s Pick.
“Vibes From the Tribe is a fine record. The title track (here versioned three times, and I'm not complaining) is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds from the Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.
"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.” - BBC
“In Detroit, 1971, trombonist Phil Ranelin and saxophonist Wendell Harrison started a band, a recording company, and a magazine, and called them the Tribe. Though the three organizations lasted until 1978, Ranelin's Vibes From the Tribe, issued in 1976, was the last of eight records issued by Tribe/Time Is Now Productions…
…Vibes From the Tribe is the sound of a city no one knew existed, a place vibrant with a cultural vision that included everybody. The Tribe was an organization that was focused on that vision, so much so that it could only last for so long; because it was so busy developing its homegrown identity and getting its talent to voice itself, it didn't have the time -- or the person with the influence -- to carry that vision outside its borders. Having grown up in the city and seen this band over a dozen times, I can say that the Tribe was one of the most unique and gifted jazz ensembles that the '70s ever produced. Until techno, the world didn't know how lucky it was to have a post-Motown Detroit; the evidence is now available to suggest that it should have been paying attention all along. If jazz is your thing, then get this. Period.” – All Music
Item description:
|
Artist: |
Phil Ranelin |
|
Title: |
Vibes From The Tribe |
|
Label: |
Tribe, Pure Pleasure Records |
|
Format: |
Vinyl, LP, Album, Reissue, Remastered, 180 Gram |
|
Pressing: |
UK |
|
Release Date: |
This reissue: 2018 | Original: 1976 |
|
Genre: |
Jazz, Funk / Soul |
|
Style: |
Soul-Jazz, Modal, Funk |
|
Catalog No: |
TRCD4008 |
|
Condition: |
New |
$39.00
A TAV Essential Listening Album.
A TAV Curator’s Pick.
“Cadet and its sister label Argo were jazz subsidiaries of renowned blues and soul label Chess during the 60s and 70s. These labels frequently produced high-concept, soul-driven fusion that was distinct both from Jimmy Smith-derived soul jazz, and the rock-based fusion of Miles and descendants. Most titles remain hard to find today. Richard Evans was a frequent producer for this label, creating such confections as the Soulful Strings a group whose very name explains their modus operandi. While Afro-Harping is credited to harpist Dorothy Ashby, it’s very much Evans fancy. The killer opening cut "Soul Vibrations would still rock any (down-tempo) dance floor, and seems to take a tip from Evans brief stint in Sun Ra’s Arkestra. Other tracks deploy Evans heady formula of rich orchestration, ersatz Afro/Latin percussion and Ashby’s heavenly leads throughout. Ashby gives it her all, transforming even "Theme From Valley of the Dolls into easy-grooving classics. Albums like this paved the way for Earth Wind and Fire, with whom many of the musicians on this album, Ashby included, later collaborated.” - Exclaim
“Cue up “Soul Vibrations,” the first track on Verve’s reissue of Dorothy Ashby’s Afro Harping, and revel: a one-note syncopated bass line over a slamming drumbeat that you’re sure you’ve heard sampled somewhere. Enter the double-tracked theremins, followed by swoopy strings. Next, over the relentless beat, an echo-plexed harp solo by Ashby, during which the strings return with 16-notes; then the theremins run the groove into a fade-out. And there you have it: 3’15’’ of pure aural time capsule in all its mod glory.
Afro Harping was arranged by producer Richard Evans (see also Groovin’ With The Soulful Strings ) and recorded by Ashby with unknown musicians for Cadet Records in 1968. As an example of Ashby’s talents as the undisputed master of the jazz harp (the stringed instrument, by the way, not the harmonica), it is not ideal; her earlier straight-jazz records make a better case for her instrument in improvised music. But as a groove-heavy slice of late-'60s lounge, it’s unbeatable. Actually, there are two styles on the album: a heavy funk, psychedelic groove showcased on the two side-openers, “Soul Vibrations” and “Afro-Harping”; and a genial, insinuating pop-jazz feel with more extensive displays of harp prowess. Both are lightweight and certain to garner the derision of jazz purists, but those with open ears will enjoy the record as a cheesy but delightfully fun artifact of a less self-conscious time.” – All About Jazz
Item description:
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Artist: |
Dorothy Ashby |
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Title: |
Afro-Harping |
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Label: |
Cadet, Geffen Records |
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Format: |
Vinyl, LP, Album, Reissue, Stereo |
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Pressing: |
US |
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Release Date: |
This reissue: 14 Sep 2018 | Original: 1968 |
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Genre: |
Funk / Soul |
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Style: |
Jazz-Funk |
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Catalog No: |
LPS-809, B0028591-01 |
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Condition: |
New |
$39.00
“Nasir (stylized in all caps) is the eleventh studio album by American rapper Nas. It was released on June 15, 2018 through Mass Appeal Records and Def Jam Recordings. It succeeds Nas album Life Is Good, released six years prior in 2012. The album features an appearance from Kanye West, as well as Puff Daddy, 070 Shake, Tony Williams, and The-Dream.
The EP album is executively produced by West; the fourth of five seven-track albums he produced in what has become known as the "Wyoming Sessions",[1][2] with each album being released weekly. It follows the release of Pusha T's Daytona, West's Ye, and West's collaboration with Kid Cudi entitled Kids See Ghosts, and precedes the release of Teyana Taylor's K.T.S.E. Nasir was met with mixed reviews from critics, and debuted at number 5 on the Billboard 200, while the song "Cops Shot the Kid" charted at number 96 on the Billboard Hot 100 songs.” – Wiki
Produced by Kanye West, Mike Dean, Plain Pat, Benny Blanco, Cashmere Cat and a handful of Ye’s other repeat collaborators, NASIR revisits the Watch the Throne format with Jay-Z’s former adversary, but does so using production that eschews the opulence of the former to embrace the fraught themes of the “Strange Fruit” sample that drove “Blood on the Leaves” and his infamous post-Katrina hot take, “George Bush does not care about black people.” Rooted in an allusion to the cautionary language of Langston Hughes’ “Warning” poem, NASIR is an examination of the savage inequalities at the root of American life punctuated by choice samples, found sounds, and language that is both socially conscious and aspirational. – Consequence of Sound
Item description:
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Artist: |
Nas |
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Title: |
Nasir |
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Label: |
Mass Appeal, Def Jam Recordings |
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Format: |
Vinyl, LP, Album, Gatefold |
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Pressing: |
US |
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Release Date: |
21 September 2018 |
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Genre: |
Hip Hop |
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Style: |
- |
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Catalog No: |
MSAP0058LP |
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Condition: |
New |
$39.00
“An authentic slice of Brazilian disco from the vaults and a timely reminder of what a soulful singer Tim Maia is. This album dates from 1978 and that means whirling disco strings, female background choruses, but above all this the voice of Tim Maia stands out. A funk-tinged ditty in , ‘Acenda o farol’, emerges as a contender for the album’s choicest cut, with another catchy chorus. The English language, ‘All I want’, hints at what Maia could have achieved had he descended the Atlantic Ocean down to North America, and this could have been re-titled, ‘To be happy’, because it is chanted by the female singers so many times. Irrespective, it is a soulful groove with moody Fender Rhodes into the bargain.
For this project, Maia needed a change of direction, since he was financially destitute and had joined a religious cult. Not the obvious backdrop to recording a disco album, perhaps, but he created a new band with quality session musicians (such as drummer Paulinho Braga) who were the equivalent of say the Funk Brothers in Detroit and the jazzy arrangement and keyboards of Lincoln Olivetti. Gospel influences come to the fore on the otherwise brass and hand clapping accompaniment to, ‘Sossego’. Side two on the vinyl is where the music diversifies and a lovely song composed by Cassiano, ‘Murmu ú rio’, showcases the gentler side to Maia’s work that is further exemplified on the guitar-driven number, ‘Juras’. Earth, Wind and Fire harmonies are a feature of the downtempo, ‘Se me lembro faz doer’, and the mid-tempo, ‘Jhony’ (sic) that ends the album on a more uplifting note.” – UK Vibe
Item description:
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Artist: |
Tim Maia |
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Title: |
Disco Club |
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Label: |
Mr Bongo, Atlantic |
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Format: |
Vinyl, LP, Album, Reissue |
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Pressing: |
UK |
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Release Date: |
This reissue: 23 March 2018 | Original: 1978 |
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Genre: |
Latin, Funk / Soul |
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Style: |
MPB, Soul, Funk, Disco |
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Catalog No: |
MRBLP156, BR 30.068 |
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Condition: |
New |
$39.00
“First new album in nine years by a musical visionary and hugely influential figure in new music. Forty years since its creation, Jon Hassell's Fourth World aesthetic remains a powerful influence on modern electronic music. Continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing, fragments of performance are sampled, looped, overdubbed and re-arranged into beguiling unexpected shapes. Hassell applies the painterly technique of ‘pentimento’ to the arrangements, teasing out texture by the overlaying of sound upon sound, or a carefully timed reveal of the delicate bones pinning the frame of a track together. – Bandcamp
"Listening to Pictures (Pentimento Volume One), his new album and the first on his Warp sublabel Ndeya, sounds like it has benefited from its extended gestation period. Its eight tracks are teeming with strands of melody and unbound rhythms that have been meticulously constructed into groaning towers of sound. The material fits perfectly into the continuum of Hassell’s entire career and steps beyond the cozy, hypnagogic compositions that made up Last Night. Where that album felt like an extended period of deep, restorative slumber, Listening to Pictures takes us slowly from that state into a stretch of twitchy, eyes-darting REM sleep. Even as many of the tracks on this new album soothe, they are still marked by a flickering, hallucinatory energy, built around stuttering beats that flood the stereo field through which little phrases of trumpet, synth, piano, and violin poke through." - Pitchfork
Item description:
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Artist: |
Jon Hassell |
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Title: |
Listening To Pictures |
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Label: |
Ndeya |
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Format: |
Vinyl, LP, Album |
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Pressing: |
Europe |
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Release Date: |
08 June 2018 |
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Genre: |
Electronic, Jazz |
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Style: |
Ambient, Contemporary Jazz, Leftfield |
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Catalog No: |
NDEYA1LP |
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Condition: |
New |
$39.00
Label - We Release Whatever The Fuck We Want Records
Colored Music – Colored Music | 2018 Reissue | Limited Edition
$39.00
“An incredible mix of cosmic new wave, unconventional disco, avant-garde synth pop, and hybrid electronic funk, Colored Music is enchantingly unique, a sort of experimental and magnetizing take on David Bowie’s Berlin Trilogy with a psychedelic Haruomi Hosono touch. From the groovy post-punk glam title track to the proto-house dance floor killer "Heartbeat", Ichiko Hashimoto and Atsuo Fujimoto hit all the right (and sometimes not-exactly-right-but-truly-genius) notes to create the odd and beautiful, an unparalleled audio escape to the best elsewhere you can think of.
Also playing on the album are celebrated musicians Mansaku Kimura, Shuichi “Ponta” Murakami (Pacific, KI-Motion by MKWAJU ensemble, collaborations with Jun Fukamachi, Yasuaki Shimizu, Haruomi Hosono…) Kiyohiko Semba, Tamio "Doyo" Kawabata, Pecker (Pecker Power recently reissued by Rush Hour) and Tatsuhiko Hizawa.” – Bandcamp
Item description:
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Artist: |
Colored Music |
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Title: |
Colored Music |
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Label: |
We Release Whatever The Fuck We Want Records |
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Format: |
Vinyl, LP, Limited Edition, Reissue |
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Pressing: |
Switzerland |
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Release Date: |
21 September 2018 |
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Genre: |
Electronic |
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Style: |
New Wave, Experimental |
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Catalog No: |
WRWTFWW024 |
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Condition: |
New |
$48.00
"Every year, there are a plethora of music compilations being released. Each vying for your time and attention. Many, are simply a re-packaging of the years standout hits, or to signify a ‘season’ of sorts. Without a doubt however, the ‘Future Sounds of Jazz’ compilation series is neither of the two. The series, started in 1995 by Compost Records head, and Munich based DJ Michael Reinboth, has been exclusively compiled by himself up until now, where the torch has been graciously passed on to none other than Benjamin Fröhlich & Tom Bioly. Two names which are held in high regard here at Fiction, and what make this compilation extra special. Benjamin Fröhlich & Tom Bioly own the trail-blazing, and one of Fiction’s favorite labels, Permanent Vacation, and are incredible DJ’s and producers on their own" – Fiction Lab Music
“28 tracks by Move D, Roman Flügel, Slowdive, Isolée, Cobblestone Jazz, Luke Abbott, remixes by Avalon Emerson, Russ Gabriel, Kassem Mosse, I:Cube, among others, including three exclusive and previously unreleased tracks. Wow, a new chapter of this legendary series. This and the very first time it's not compiled by Michael Reinboth, rather by Benjamin Fröhlich and Tom Bioly, the founders and masterminds behind Permanent Vacation. Why- Simply because they both are very close friends of the Compost family, with an amazing musical and DJ-like tastefulness, with the knowledge-based trust of music in the vein of vibrant, jazzy electronica hybrids. And they are from Compost Records' hometown Munich, too. Maybe Volume 14 differs slightly to what the previous 13 brought up music-wise, but that's the score, idea, and open-mindedness of this series, as it was by the compilers, and last but not least a great time for a change, too. The first half of the release, compiled by Benjamin Fröhlich, is clubbier. The second half, compiled by Tom Bioly, is a bit more sublime downbeat/electronica or relaxed feel. Both are true listening pleasure anyway. Future Sounds Of Jazz has been voted as one of the best compilation series of all time by several publications.” – Forced Exposure
Item description:
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Artist: |
Various Artist |
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Title: |
Future Sounds of Jazz 14 |
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Label: |
Compost Records |
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Format: |
4x Vinyl, LP, Compilation |
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Pressing: |
Germany |
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Release Date: |
07 September 2018 |
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Genre: |
Electronic |
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Style: |
Deep House, Deep Techno, Disco, Dub, Techno, Freestyle, Garage House, Tribal, Future Jazz |
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Catalog No: |
CPT 515-1 |
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Condition: |
New |
A vinyl only mix by The Analog Vault selectors at The Hive (Carpenter Street) for Sights and Sounds 2018.
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