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Mixing creole poetry, heavy-grooving cosmic synths and folk mysticism.

Martinique artist Gratien Midonet is the subject of a new compilation from Time Capsule, called A Cosmic Poet from Martinique 1979 – 1989.

A Cosmic Poet from Martinique 1979 – 1989 collects thirteen tracks taken from Midonet’s first four albums, which were recorded between 1979-1989.

“Midonet’s musical world is cosmic, mystical and he has created his own idiosyncratic style around it: not plain folk, not bélé, chouval bwa, beguine or gwoka, but rather a transcendental fusion of all these and a true reflection of his personality,” explains curator Cedric Lassonde in the liner notes.

This music was influenced by “smells and colours… subliminal noises… fruity notes, the memories of funeral wakes, the bombastic organ of the cathedral and the gasps of the drums…” from his childhood in Martinique, shares Midonet. – The Vinyl Factory

Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way to America, settling with his family in California. 

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He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton’s innovative quintet featuring Charles Lloyd. Urged by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the energy music of Charles Lloyd’s fiery and underrated quartet featuring Ron Carter and Tony Williams.

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Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and ""Gypsy Queen,"" the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late ’60s. The emergence of rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more commercially oriented forms of jazz.

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During the ’70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style. From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop, Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the ’70s, finding opportunities to perform brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday. – Light In The Attic

Fantastic work from a group who are way more than just the sum of their name! The combo is definitely jazz, only a bit rock, and really provide a funky experience on most of their numbers – in the same sort of wicked blend of acoustic and electric jazz elements that you'd find on MPS Records at the start of the 70s! The musicians here are Swiss, but come from the same mindset as that famous German label – and like some of their contemporaries across the European scene, they were young players who were really open to new ideas – which they let flow from their fingers over the course of these cool long tracks!

The lineup shifts a bit over the course of these recordings, and there's some real surprises in the roster of musicians –w ith players who include Bruno Spoerri on electric tenor and sopranino sax, Dave Lee on vibes, Hans Kennel on trumpet, Christy Doran on guitar, Freddy Meier on tenor, Kenny Schmidt on drums, Hans Foletti on bass, and even a young Irene Schweizer on electric piano. Titles include "If It Wasn't For Dicky", "Krivo Sadovsko Choro", "The Starter", "Sometimes I Feel Like A Motherless Child", "Cheyenne", "Blues No Blues", and a version of the James Brown tune "Let Yourself Go" – Dusty Groove

RATGRAVE is Max Graef and Julius Conrad with their 2nd album Rock -  blending a mix of that electro funk, 80s electronica, P-funk, soul, rock and the ocassional use of breaks and UK inspired funk.

In their own words: “Rock is the essence of energy and vibration we felt in different styles of music, almost like a parallel component connecting all things we like. In the process of recording the new album we kept coming back to this essence no matter what style the original idea was. There was the raw and brutal energy of Jazz-Rock, a lot of video game influences that somehow adhered this essence just as well as quieter Pop and Psychedelic passages that we recorded. Among other things we absorbed a lot of heavy music during the time of the recording like Blue Cheer, Black Sabbath, Frank Zappa or Jimi Hendrix and realized while writing our own music how much impact they had even on quieter songs. This is why ‘Rock’ felt like the perfect title although the music ranges from P-Funk and Spiritual Jazz to various styles of Pop and beyond.” - Taken from Piccadily Records

Led by guitarist/vocalist Keisuke Yamamoto, Piper was formed in Hamamatsu in Shizuoka Prefecture. A move to Tokyo was followed by the release of their first single on Yupiteru Records, thanks to original guitarist Yuji Suzuki who had became an A&R man for the label. Citing British bands like Wishbone Ash and Camel as influences, Yamamoto and Piper nevertheless conjured up classic American sounds on Piper’s recordings, utilizing unusual recording techniques and new technologies like Linn drums to effortlessly blend styles of funk, soul and fusion and simultaneously evoking summer vibes, autumnal breezes, and wintery shimmer. – Bandcamp

Seattle-raised, Brooklyn-residing Kassa Overall is a jazz musician, emcee, singer, producer, and drummer. His second, full-length album, I THINK I’M GOOD, is the work of an artist whose voice has ripened to its own hard-earned, provocative conclusions, erasing the need to talk about dissolving barriers between hip hop and jazz because he has begun a new conversation.

I THINK I’M GOOD is a window into the real life of Overall, a Bushwick-based artist wrestling with the abhorrent American prison system, the ebbs and flows of romantic relationships, and perils of trust, all seen through the kaleidoscopic lens of a brilliant 21st century composer. The backdrop to these varied themes is Overall confronting his experience with mental illness, which included a manic episode and subsequent hospitalisation when he was a student. Themes of incarceration and claustrophobia weave through the record, but never drown out the feeling of a fragile but vital hope. - Bandcamp

Greece is maybe not the first country that comes to mind when you think of Afrojazz. Afrodyssey Orchestra unexpectedly hit the scene some time ago after we released In the Land of Aou Tila, their debut album — while that first album was going to the hands of the few lucky ones who managed to discover the band back then, Afrodyssey Orchestra were already booking more studio time in order to start working on further recordings. Three years later, we’re proud to present you Under the Sun, with seven new compositions that reflect the logical evolution the band has experienced during this time, including some fine-tuning in their line-up. A melange of African polyrhythms, jazz, a scent of the Balkans and a fling with Afrobeat that holds hands with their beginnings — all this devised through the prism of the vast Greek musical universe. – Alter Cat

If you can imagine the gathering of a group of Australian session musicians channelling the sounds of Herbie Hancock Headhunter’s and Marc Moulin’s Placebo, recording an album out of hours at a TV studio and then releasing a privately pressed hard hitting jazz funk record then what you have is Arena, one of Australia’s most revered and scarce rare groove records. This was the name given to a pick-up group of session players led by Ted White, a veteran of the British big band jazz scene (an associate of Ted Heath and Basil Kirchin) who had immigrated to Australia in the 1960s to work in the burgeoning television industry. This one-time studio project (recorded only to test out the facilities for a new studio) barely yet thankfully saw an LP release in 1975. Pressed in minute quantities only with limited distribution, the album was subsequently forgotten and obscured by time, only to be resurrected in the 90s by DJs and collectors seeking out lost and rare records. The album has since become one of the country’s most celebrated and collectible jazz funk recordings and has proved to be a pivotal point in Australian jazz, marking a shift from the modern jazz and R&B sounds of the previous decades to the cross pollinating electric jazz funk of the 70s. Characterized by the heavy use of electronically treated saxophone, psychedelic guitar, Moog and spacey Fender Rhodes, the album is a classic of the genre. While acknowledging the often compiled and sampled breaks track, The Long One, the complete album offers much more, exemplified by its complicated and obsessive jazz rhythms, abstract and middle-eastern horn lines and pulsing electric funk. The Roundtable & Northside Records are pleased to offer this long awaited reissue of this highly collectible Australian rare groove LP. – The Roundtable

Mathias Modica's Kraut Jazz Futurism compilation is evidence of a new musical wind blowing through Germany - especially in Berlin. After years of having been the techno capital of the world, the city now is embracing a much wider musical palette, attracting a new generation of sonic adventurists: international jazz musicians as well as German talents. These highly skilled performers are searching for something new, merging different styles and influences. It's a fact: jazz no longer 'smells funny.' And after London and L.A., Berlin is on its way to becoming a new hotspot for the next generation of jazz-influenced musicians, thanks to its free hedonistic spirit as well as a blossoming scene of new live clubs, festivals and happenings.

This compilation showcases some of the most interesting artists on the new German scene to date. Yet, while other new jazz movements are more influenced by hip hop and R&B, these young German musicians have audibly steeped themselves in their own heritage: Krautrock and electronic music. The majority of the tracks on this compilation were composed exclusively for this release or have only seen a limited release via the artists' own channels. - Kryptox

In the summer of 1986, inspired by gypsies from Turkey and the Balkan region, a Kurdish immigrant and six Austrians locked themselves in a small rehearsal room in Vienna's 5th district. What came out of these sessions sounded rather unusual for the local music scene. 

Using songs from the Eastern Mediterranean and Middle East as a vehicle for improvisations based on odd scales and rhythms, and looking for ways to adapt them to their instruments and European feel, the band gave birth to its own sound signature. Delivering some of the tightest oriental jazz fusion recorded that decade.

Submitted by soundman Michael Fitsch as his end of the year project at audio engineering school, the album was ultimately released on his teacher Hans Hartel's Ha Ha Soundwave imprint. Mostly sold in venues during legendary performances, Oriental Groove fatally faded from memory since the group disbanded a few months after its release.

To conclude a year of investigation and continuous efforts to put the band members back in touch 30 years later, Hot Mule Records is proud to bring this groundbreaking record back to life with an official reissue, carefully remastered from the original source. - Bandcamp

The cosmic fusion group skewers the jazz-trio format as it’s typically understood, flipping the minimalist palette into an electrifying, apocalyptic sound. - Pitchfork  

"Soul Jazz Records are re-releasing Airto Moreira’s classic album ‘Samba de Flora’, out of print for 30 years ever since its original release in 1988. The album is very limited to just 1000 copies only, pressed on both vinyl and CD."

"...The impact of Airto Moreira in both the world of American jazz and in Brazilian music is unparalleled. At the start of the 1970s Airto was invited to join Miles Davis’ groundbreaking ‘electric’ group, which with albums such as the seminal ‘Bitches Brew’ helping Davis regain his title from John Coltrane as the most important jazz artist of all time." - Soul Jazz Records

Golden-era, 1977, Brazilian jazz-funk-fusion album from the legendary, Azymuth.

Lush Rhodes, soaring synths and fusion guitars from Malheiros and Bertrami combine with the inimitable drum grooves from Ivan “Mamao” Conti that create the signature Azymuth sound.

The album moves from mellow soulful moods, into screaming disco-jazz-fusion, samba funk, synth boogie and ends with a tough 160bpm Batucada workout.

This is actually the first Azymuth album that we have released on Mr Bongo, which came as a surprise to us too.

Official Mr Bongo reissue. Licensed from Warner Music. - Mr Bongo

“Cykada is a band of established musicians on the London scene, having played in groups including, Myriad Forest, EZRA Collective, Maisha, Where Pathways Meet, Family Atlantica and Don Kipper. Bassist Jamie Benzies is the spine of the project, along with Tilé Gichigi-Lipere, also a fellow former member of the legendary band Myriad Forest and Drummer Tim Doyle aka Chiminyo, together were the first members of Cykada. Jamie mentioned in one interview:

'I became more keen on doing something which has a longer vision. Where you get together with people you know you can work with, people you love sharing a space with and you take your time, you make sure you’re enjoying your music and as that comes, everything else comes.'

Trumpeter Axel Kaner-Lidstrom, Saxophonist James Mollison and secret weapon Guitarist Javi Pérez complete the ensemble. Tilé shows a unique and indispensable role within the band, aside from playing keys, he is programming, processing and modifying the sounds of the instruments, a massive factor in creating the distinctive vibe of the band. Cykada’s unique vibe is a testament to its members and the crucial role they each play in the creative process.” – Bandcamp

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“Harold McKinney was one of Detroit's jazz legends as both an artist and as a cultural figure. His Voices and Rhythms of the Creative Profile was issued on the city's cooperative independent Tribe label -- which also boasted outings from Marcus Belgrave, Doug Hammond, Mixed Bag, Wendell Harrison, and Phil Ranelin -- in 1974. McKinney's approach to jazz in the 1970s may have been funky and electric, but it was also idiosyncratic and vocal. Harold and Gwen McKinney handle the lead vocals, while a backing chorus of seven helps out on other pieces. This is an adventurous set, and along with his deep, funky electric piano grooves is a killer alternately swinging and soulful horn section fueled by Harrison and Belgrave, drummer Ron Jackson, percussionists Charles Miles and Billy Turner, as well as bassist Ed Pickins and Daryl Dybka on Moog! The highlights of the set are the stunning "Out of These Blues" with McKinney's Rhodes underscoring beautiful head and solo work by the horns, the stomping bop meets science fiction of "Corner Stone," and fine covers of Eddie Harris' "Freedom Jazz Dance" and Herbie Hancock's "Dolphin Dance" (with a set of lyrics by McKinney).”– All Music

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“Tumi, born in 1987 and already an accomplished drummer on the Jo'Burg scene, was at the time studying music at the Tshwane University of Pretoria where he became close friends with opera singers working on the same campus. So unlike some of his US peers Tumi's beliefs are not 'religious'…

This album is neither a jazz mass like Mary Lou William's Black Christ of the Andes, nor a compilation of devotional pieces like Donald Byrd's Christo Redentor. Project Elo stands for Project Elohim, the angelic entities of the spiritual scriptures which are in the drummer's philosophy, a symbol for accomplished human beings. The spirituality the album conveys is attuned to a 21st century syncretic, non dogmatic vision infused with esotericism. Recorded live with no overdubs in two days by a group of friends, this album captures a moment of Eternity and will defy any idea you may have of what South African jazz is. Tumi's music transcends labels and styles. When composing or playing he is only concerned with being true to the primodial source of life, which cannot be confined to any genre.” – Bandcamp

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“The new pieces have little in common with the bebop and cool jazz influences of the old Naura quintet.” So wrote journalist Siegfried Schmidt-Joos in his 1970 liner notes to pianist and bandleader Michael Naura’s album Call. Joos went on to say that Naura had assimilated “the contemporary sounds of free jazz and rock” as well as “the collective playing styles of the younger generation of musicians.” His first album in eight years definitely showed Naura in a new light. Two members of his old quintet, vibraphonist Wolfgang Schlüter and drummer Joe Nay were still in on it, and both had effortlessly mastered – as had Naura – the new rock and blues-oriented styles. With the addition of Eberhard Weber, a jazz-rock trendsetter had stepped into the band. “This musician from Swabia with the face of an old Botticelli angel,” as Naura described the electric bassist, had a substantial impact on the new quartet’s sound. The pieces on this MPS recording are all written by Naura. Born in 1934, Naura broke off his journalism studies in Berlin to become a musician. Vibraphonist Schlüter was with him when Naura formed a band in the 1950’s. This first band was heavily influenced by pianist George Shearing’s style. Naura and Schlüter have continued to play together on into the new century. Drummer Joe Nay, who Naura prized as “the perfect incendiary”, died in 1990.” – MPS Music

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