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It's safe to say that starting a jazz album with a version of Led Zeppelin's "Black Dog" was quite a daring deed, to say the least. In Argentina -- back in 1977.

And yet this is something a musician with the career of Jorge Navarro could afford. Navarro belongs to a generation of musicians who shaped the history of jazz music in Argentina, starting already in the mid-50s alongside other renowned jazzmen such as Lalo Schifrin, Leandro "Gato" Barbieri, "Baby" López Furst or Jorge López Ruiz.

This tightly-knit group of musicians often looked abroad and followed the dominant current in the US, going through swing and be-bop phases, but towards the end of the sixties many started to develop their own identity, a tendency that intensified in the early 70s.

In Argentina, "con polenta" is an expression used to describe something with great energy or strength -- which perfectly defines the mood for the album. As many other musicians, most notably Schifrin and Barbieri (who enjoyed a huge international success and would only sporadically return to Argentina), Navarro had just left the country and spent several years in the USA, returning to his homeland full of energy and new ideas, which translated into his debut solo album. A rocking blend of Jazz and Funk, the album unexpectedly kicks off with a groovy cover of Led Zeppelin's "Black Dog" and includes equally wicked takes on compositions by Eumir Deodato, Keith Jarrett and Joe Farrell, as well as two self-penned originals and a funky number by Roberto Valencia, who's in charge of percussion in the album.

Modern Jazz / Jazz Rock / Psychedelia group out of Finland, Helsinki. 2nd re-press of this amazing LP - Highly recommend checking it out!

There is a Window Of Opportunity called life. A limited period of time, into which we must fit the quotidian activities of everyday life, our dreams, relationships, personal pleasures and self-discovery. Sometimes we contemplate our death, our impact on the world and the traces we’ve left. Biodiversity is one of the most serious issues of our time. We are currently experiencing a period of mass extinction mainly caused by human activity, e.g. overfishing, hunting and the spread of cities and agriculture.

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It is said that we can’t understand our own death, but is it any easier for us humans to comprehend the scale of death associated with mass extinction, the disappearance of species? Every species is an important part of the ecosystem. Furthermore, with every extinct species, a mode of being is lost. With biodiversity being in such a precarious state, it might be easy to submit to feelings of resignation. Yet, for those who seek beauty, there is still beauty to be found. And there will be, I hope. Likewise, for those who wish to express their love and compassion for the world and for the life inhabiting it, the possibility is still there. The possibility of love having a home in a human heart. – A Message from Soft Power | Bandcamp

The UK’s cosmic, psychedelic-funk ensemble issue their second album on maverick producer Madlib’s label, Madlib Invazion. 

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The Heliocentrics’ albums are all confounding pieces of work. Drawing equally from the funk universe of James Brown, the disorienting asymmetry of Sun Ra, the cinematic scope of Ennio Morricone, the sublime fusion of David Axelrod, Pierre Henry’s turned-on musique concrète, and Can’s beat-heavy Krautrock, they have – regardless of the label on which they’ve released their music - pointed the way towards a brand new kind of psychedelia, one that could only come from a band of accomplished musicians who were also obsessive music fans. Drummer Malcolm Catto and bassist Jake Ferguson are the Heliocentrics’ masterminds and producers, and they are obsessive weirdos in today’s musical climate, searching, progressive humans who are often out-of-time with current trends.

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They have been playing together for nearly two decades and their collective drive is to find an individual voice. The Heliocentrics search for it in an alternate galaxy where the orbits of funk, jazz, psychedelic, electronic, avant-garde and “ethnic” music all revolve around “The One.” With Madilb’s label Madlib Invazion for Telemetric Sounds, the Heliocentrics have returned to develop their epic vision of psychedelic funk, while exploring the possibilities created by their myriad influences – Latin, African, and more. - Bandcamp

Originally released in 1973, the record sounds simultaneously vintage and contemporary. It is akin to something Madlib might dream up whilst lost in Japan collaborating with Min'yō players at a recording session. The record features some amazing shakuhachi (bamboo flute) playing by Hozan Yamamoto, which gives the music a haunting, dreamlike atmosphere. You can almost visualise the long grass blowing in the wind, and hear the bamboo rustling in the distance on a long hot summer’s day. Takeshi Inomata, Tadao Sawai and Kazue Sawai anchor the session. Takeshi’s exceptionally funky-drum work will almost certainly get some producers dusting off and firing up their MPC's. Whilst Kazue and Tadao work their magic on the koto (a traditional string instrument).

Though certainly not an ambient record, 'Jazz-Rock' has the same meditative, other-worldly quality that invites you to sit back, listen and be transported somewhere else. Unfortunately, until now the 'Jazz Rock' album is a scarcity that commanded a high price-tag only for the most hardened of record collectors. So it is pleasure to make it accessible to all, and we hope you dig this lost, obscure future-classic as much as we do. – Mr Bongo

 When David Axelrod's Rock Interpretation of Handel's Messiah was originally released in 1971, there was something of a trend in the meeting of hippie subcultures and religious themes. The enormous popularity of Jesus Christ Superstar and Godspell had opened the gates for legions of groovy Christians and flower children of the Lord, and an underground of psychedelic Christian folk artists was building to an apex around this time. Axelrod's intentions with Messiah were removed from these trends, as the record was more a continuation of the strange work he had begun with the Electric Prunes a few years earlier on concept records Mass in F Minor and Release of an Oath. As with these records, Messiah was Axelrod's attempt at psychedelicizing a mode of music he was obsessed with and, in his words, "making Handel more accessible." – All Music

Pure literature. That's how DJ and businessman Takayuki Fujisawa（藤沢隆行）described Makoto Matsushita's（松下誠）2nd album from April 1982, "The Pressures and the Pleasures" in his review in "Japanese City Pop". Fujisawa was probably referring to the four songs/stories contained within this Matsushita magnum opus. Yup, there are eight tracks in "The Pressures and the Pleasures" but according to the singer-songwriter himself in the liner notes, those eight make up four large songs. – Kayo Kyoku Plus

Limited edition release of this funky 70s jazz-fusion LP. Only 100 copies made of this forgotten Dutch gem. A must grab for lovers of vibraphone, Fender Rhodes and interesting percussion!

“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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“Bram Weijters' Crazy Men is an adventurous take on Belgian jazz-rock and fusion from the seventies. The lineup of Crazy Men includes musicians who play in a wide array of contemporary jazz bands like BRZZVLL, Dans Dans, STUFF. and Internal Sun. The spark for this special project was ignited with the reissue of Koen De Bruyne's 'Here Comes The Crazy Man!' on Sdban Records in 2015. The original album was recorded in 1974 by pianist Koen De Bruyne who was initially active in classical music and worked as a session musician for artists like Will Tura, Johan Verminnen and his brother Kris De Bruyne. But in 1974 the 28-year-old Koen De Bruyne chose to focus on his own work and released his only studio album. The amazing result, 'Here Comes The Crazy Man!', is premium experimental jazz-rock. In that period, an inspiring crossover energy seemed to prevail in the Belgian jazz scene.” – Bandcamp

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