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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

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

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

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

First time ever official reissue of the second and last album by the legendary oriental and fusion jazz ensemble led by Leonid Atabekov, where folk and ethnic arrangements meet smooth jazz. Mastered from the original tapes, contains full-size insert with the band's history in English and Russian Languages. Check it out!

“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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Earth Rot (1970) set Axelrod up for his final stage as an architect of jazz fusion and ensured that his productions would help future architects of hip hop. This reissue is a gatefold 2/LP containing a bonus second album with Earth Rot’s instrumentals, never before released. Axelrod himself requested the release of the instrumentals before his death; it was this request that started the process that led to the issue of his Capitol Trilogy on Now-Again, with his family and Estate’s participation and approval. - Now Again Records

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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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