Download card included.
Ten years after our initial survey of Afro-Latin accented rhythm &
blues from the mid-century, Jazzman proudly presents a fourth
installment, packed with as many musical surprises as the first. With
music plucked from an era spanning the late 1940s into the early 60s,
Jukebox Mambo IV highlights yet again the unparalleled musical
creativity of the post war era, and shows how the infusion of afro-latin
rhythms was key to these revolutions.
Lovingly and painstakingly researched and curated, the album boasts 23
tracks, many previously uncompiled, touching on jazz, blues, doo wop,
calypso, rock & roll, gospel and more. Featuring individual track
notes for every song along with some never seen before photographs of
the artists, Jukebox Mambo Vol IV maintains the same high production
values of each previous volume, and indeed the wider Jazzman catalogue.
Formed in 1980 by guitar prodigy Leonardo Vela Rodriguez, Sonido Verde
de Moyobamba created some of the hardest, craziest Cumbia to emerge from
the Peruvian jungle. With distorted, surf-addled guitar facing off
against lysergic organ and hyperactive tropical rhythms, Sonido Verde
conjured the organic sound of the dense forests surrounding their
hometown while riding their dance-party grooves to dizzying psychedelic
peaks.Compiled by Analog Africa, Sonido Verde de Moyobamba
presents eight ultra-rare tracks of guitar and organ madness drawn from
the band’s five albums recorded for Discos Universal between 1981 and
1987. Pressed on Sun Yellow colored vinyl, housed in a screen-printed
jacket and strictly limited to 2000 copies, Sonido Verde is a definitive
trip into the heart of the jungle.
Less than a hundred miles inland from the capital city of Lima lies the
great Peruvian jungle, an untamed land of impenetrable forests and
endless winding rivers. In its isolated cities, cut off from the
fashions of the capital, a unique style of music began to develop,
inspired equally by the sounds of the surrounding forests, the roll of
the mighty Amazon and Ucayali Rivers, and the rhythms of cumbia picked
up from distant stations on transistor radios. With the arrival of
electricity, a new generation of young musicians started plugging in
their guitars and trading in their accordions for synthesizers:
Amazonian cumbia was born.Powered by fast-paced timbale rhythms,
driven by spidery, treble-damaged guitar lines, and drenched in bright
splashes of organ, Amazonian cumbia was like a hyperactive distant
cousin of surf music crossed with an all-night dance party in the heart
of the forest. While many of the genre’s greatest tracks were
instrumental, and others were simple celebrations of life in the jungle,
the goal of every song was to keep the party going.Radio stations in Lima remained unaware of the new electric sounds emanating from the jungle, but a handful of pioneeringrecord producers ventured over the mountain passes to the cities of Tarapoto, Moyobamba, Pucallpa – even Iquitos, a cityreachable only by boat or plane – and lured dozens of bands to the recording studios of the capital to lay down their besttracks. Although many became local hits, few were ever heard outside the Amazonian region … until now.With eighteen tracks from some of the greatest names in Amazonian cumbia, Perú Selvatico is both the improbable soundtrackto a beach party on a banks of the Amazon and a psychedelic safari into the sylvan mysteries of the Peruvian jungle.
Gypsy Woman is Joe Bataan's 1967 debut album featuring the King of Latin
Soul's classic swinging and vibrant sounds, led by the musical
direction of Fania Records cofounder Johnny Pacheco. The title track is a
nod to The Impressions' 1961 hit of the same name. Other highlights
include the boogaloo jam "So Fine," and Bataan's signature, soulful tune
"Ordinary Guy." This reissue features all-analog mastering from the
original tapes by Kevin Gray at Cohearent Audio and is pressed on
"Havana Meets Kingston Part 2"ist
ein zeitloses Album, das keinem aktuellen Pop-Trend verfolgt. Der
modernste Track ist "Beat con Flow", ein sehr kubanischer uptempo
Disco-, Funk-, Soul-Hybrid mit Cimafunk, der inzwischen ein Superstar in
seiner Heimat ist.
This is the sound of independence, righteous and hot jump-up sounds from the 1950s and 60s, an exciting period of endless new musical styles that would travel across the world – Mento, the Jamaican precursor to reggae; mambos and descargas from Cuba, Dominican merengue, Haitian compas – and more.
Record Store Day 2021 Exclusive
On sticker : "Sometimes the demo recording of a song has a vibe that cannot be duplicated. Whether that first recording is a voice memo on your phone or half haphazardly recorded with one mic in the room, there’s an undeniable charm to these recordings. If you spend some time listening to them, when the “real” recording is made, many times one has a hard time letting go of the demo. The medical term for this is called “Demoitis”. On that note, Big Crown Records is proud to present Demoitis Vol.1, a compilation of demos that went on to become album cuts on the label."
Los Bitchos sind eine internationale Surf/Psychedelic-Instrumentalband, deren Mitglieder aus allen vier Himmelsrichtungen kommen: UK, Australien, Schweden und Südamerika. Ihr Sound bewegt sich irgendwo zwischen peruanischer Chicha, Cumbia, türkischem Psych, Surf-Gitarren und natürlich ein bisschen schwedischem Pop. Serra Petale (Gitarre), Agustina Ruiz (Keytar), Josefine Jonsson (Bass) und Nic Crawshaw (Schlagzeug) haben sich aber auf nächtlichen Hauspartys oder durch Freunde kennen gelernt. Daher kommt auch ihr einzigartiger Sound. Es ist ungefähr so, als wenn ihre spirituellen Cousins Khruangbin - die übrigens auch Fans von Los Bitchos sind – sich eine Nacht im Shacklewell Arms in Dalston mit billigem Mezcal zudröhnen würden.Ihre Instrumentalstücke erinnern an Szenen, in denen man in einen Wüstensaloon stolziert und eine Reihe flammender Sambucas anzündet, mit einer Tarantino-Heldin auf dem Beifahrersitz mitfährt, oder mit all seinen Freunden unter einer riesigen Piñata die Fiesta seines Lebens feiert. Der Opa der Keytaristin ist ein uruguayischer Cowboy, was kann einen also da noch wundern. Ihr Debüt “Let The Festivities Begin!” erschien am 04.02.2022 und wurde von Alex Kapranos (Franz Ferdinand) in den Gallery Studios in London produziert - dem Aufnahmeraum, der Phil Manzanera (Roxy Music) gehört.
The sound of independence, righteous and hot jump-up sounds from the 1950s and 60s in Mambo, Calypso, Goombay, Merengue, cult and compas music from the Caribbean, i.e. from the Jamaican, Cuban, Dominican and Haitian corners
"APKÁ!" is the name of the fifth album by the Brazilian pop icon Céu from Sao Paulo and, like its predecessor "Tropix" (2016), it was produced by French electronic musician Herve Salters (aka General Elektriks). In contrast to her previous albums, which consisted exclusively of her own compositions, on "APKá!" Céu also interprets a song each by the Brazil legend Caetano Veloso and the musician Dinho, a member of the psych-rock band Boogarins, for the first time.
In the course of her career, Céu received four Grammy nominations and reached #1 on the Billboard World Charts.
info sheet from distr.
Mokomizik Records presents the first-ever reissue of this ultra-rare Latin-Jazz masterpiece. The Fantastic Variety in the Music of Panama - The Winsor Style and Calypso Impressions was privately released in the early 1960s by Panamanian pianist and songwriter Alonso Wilson De Briano.
Alonso described Panama as a country "with a foot in each side", referring to its unique geography that connects North and South America. The blending of Latin and English-speaking cultures had a big influence on Alonso, whose work draws on elements from West-Indian, Afro-Cuban and Panamanian folk musical styles. From the upbeat mambo rhythms of "Amigo" to the unusual combination of Calypso and Tamborera styles used in "My Brother, Too," Alonso weaves a rich musical tapestry into his arrangements. Back in 50s Panama, Alonso enjoyed relative success, with the likes of Orquesta Armando Boza and Tito Contreras performing his songs. So distinctive were his compositions that people had started referring to them by their own style - El stylito Winsor (the Winsor style), a reference to a club that Alonso performed at. Throughout his music career, Alonso worked with a number of renowned musicians, several of whom appear on the record, including Cuban-Jazz pioneer Arsenio Rodríguez's main bassist, Alfonso Joseph; and saxophonist and flutist Gene Jefferson to name a few.
Sadly, not many copies remain of Alonso's music today and the few that have surfaced over the years have naturally demanded high asking prices. This limited reissue aims to shed new light on Alonso's work and make it available for a new generation of listeners to enjoy. Great care has been taken to restore this record, using quality mastering to ensure maximum listening pleasure and retaining the original artwork with lyrics and the song descriptions written at the time. Each record comes with an insert containing restored photos and detailed biography, which features quotes from a rare interview with Alonso from the 1980s along with information gathered from his family and Alfonso Joseph, the only musician we could reach who plays on the record.