Le 2ème album de Karl Hector & The Malcouns, toujours chez Now-Again Records.

Fusion Afro-Space-Rock-Kraut-Funk... from Germany. Big Up!

"Now-Again nous emmène cette fois pour un voyage funk aux couleurs africaines commencé dans le sud du Sahara et enregistré en Allemagne. Sahara Swing est porté par les excellents musiciens de Poets Of Rhythm et Whitefield Brothers ayant rapportés dans leur Munich natal les influences de l'Est autant que de l'Ouest Africain. Le résultat est une aventure au coeur des polyrythmies de l'Afrique de l'Ouest, de l'Afrobeat de Fela Kuti, de la musique Ethiopienne de Mulatu Astatke, du jazz sud-africain de Hugh Masekela, des expérimentations de Sun Ra et de Can, et du groove de James Brown. Cet album n'a pourtant rien d'un disque de musique du monde, c'est un album reflétant le monde". Cultura.com

Encore des fatales compiles de chez Tramp Records, cette fois bien plus orientées smooth jazz que les autres... Bless.

Dans la série Return Of Jazz Funk, chez P-Vine Records, le volume consacré au label Black Jazz Records. Explored 70's styles such as Funk, Free Jazz & Soul Jazz. Big Up!

Black Jazz Records was a jazz record company & label founded in Oakland by pianist Gene Russell & percussionist Dick Schory. The label was created to promote the talents of young African American jazz musicians and singers and released twenty albums between 1971 and 1975.
Black Jazz Records was considered at the time to be one of the first jazz label started by an African American. The legacy of Black Jazz Records has been kept alive by reissues of its albums, remixes and samples by DJ's and hip-hop artists.

« Personne n'oserait aujourd'hui contester la valeur du regretté Ray Charles dans l'histoire des musiques populaires américaines. Créateur d'un idiome culturel majeur, la Soul-Music, il symbolise à lui seul l'émancipation religieuse de la communauté noire au tournant des années 60. En détournant les codes et rites des Negro-Spirituals, le «Genius» a bousculé l'une des formes d'expression séculaires de l'Amérique profonde. Il ne faudrait cependant pas réduire la genèse de la Soul-Music à ce brillant symbole de résistance et de courage artistique... Bien avant que l'esprit frondeur de quelques instrumentistes audacieux ne redessine les contours du paysage sonore outre-Atlantique, les germes de cette quête identitaire nourrissaient déjà les répertoires sacrés et profanes. Il suffit d'écouter le blues de Blind Willie Johnson en 1928, les mots scandés du révérend Benny Campbell en 1938 ou l'humeur rock de Roy Brown en 1950, pour comprendre que la Soul-Music existait déjà dans le vocabulaire des orateurs d'antan. Grâce aux recherches encyclopédiques du musicien, dessinateur, photographe et auteur, Bruno Blum, ces évidentes racines de l'âme noire rejaillissent à travers une sélection de 72 titres réunis dans le coffret «Roots of Soul» (Frémeaux & Associés) qui met en lumière la puissance émotionnelle du peuple noir durant la première moitié du XXème siècle. Si cette anthologie Soul donne du relief à des classiques universels comme «Please, Please, Please» de James Brown, «These arms of mine» d'Otis Redding ou «Stubborn kind of fellow» de Marvin Gaye, il est plaisant de se plonger dans un patrimoine méconnu grâce aux archives dépoussiérées de Louis Jordan, Dinah Washington ou Sister Rosetta Tharpe. Au-delà de l'intérêt musicologique, ces œuvres parfaitement restaurées narrent le combat de valeureux interprètes au service de causes justes et dignes : le respect, l'égalité, le partage... »
Par Joe FARMER – « L’EPOPEE DES MUSIQUES NOIRES » RFI

Bless.

Unique album pour ce groupe des Barbades, entre funk, calypso, ballades jazzy... Bless.

Excellent album, voici le wiki d'Anthony :

Anthony "Rebop" Kwaku Baah est un percussionniste ghanéen né le 13 février 1944 à Katongo au Ghana, et mort le 13 janvier 1983 à Stockholm (Suède). Il est surtout connu pour avoir fait partie des groupes Traffic et Can.

Après avoir rencontré Traffic lors d'une tournée en Suède, il rejoint le groupe en 1971. Il travaille alors sur les albums Welcome to the Canteen, The Low Spark of High Heeled Boys, Shoot Out at the Fantasy Factory et On the Road avec le groupe anglais. En parallèle, il enregistre ses propres albums et participe en 1973 à l'album Eric Clapton's Rainbow Concert d'Eric Clapton.

Après le split de Traffic en 1974, il joue sur le premier album de Steve Winwood en 1977, puis rejoint, en compagnie du bassiste Rosko Gee, le groupe de Krautrock Can, avec qui il jouera jusqu'à la séparation des musiciens en 1979. Il apparaît néanmoins sur les albums Saw Delight, Out of Reach et Can.

En 1983, il collabore avec le groupe Zahara pour un album, toujours en compagnie de Rosko Gee, mais meurt peu de temps après, d'une hémorragie cérébrale, en plein concert à Stockholm. Son album, Melodies in a Jungle Mans Head, sortira à titre posthume, bien qu'inachevé.

Bless.

Super groupe de Leeds, dont plusieurs membres font également partie d'autres groupes qu'ont a déjà vu sur ce label, notamment les fameux The Sorcerers, ainsi que The Magnificent Tape Band. Deux albums assez différents, le premier étant dans un style qui nous rappelle les Sorceres justement, le second clairement plus orienté Latin-Jazz. Bless.

Recorded April and May, 1973 at Van Gelder Studios

Prelude is the eighth studio album by Brazilian keyboardist with the signature track « Also Sprach Zarathustra » an arrangement of the theme from « 2001: A Space Odyssey ». Prelude would become the most successful recording for Deodato and CTI Records.

Recorded September 1972 at Van Gelder Studios. Engineer by Rudy Van Gelder.

Eumir Deodato. Born the 22nd of June 1942 (or June 21, 1943) in Rio de Janeiro, Brazil and by 1967 moved to the USA.
Musician, composer, arranger & producer. Known for his 1979-1982 production work for Kool & the Gang & composing TV & film scores.
Primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, and symphonic or orchestral music. Mainly, his records can be categorized as pop/jazz or crossover jazz. His successes as an original artist (keyboards) occurred mainly in the 1970s...

Soul Jazz Records latest excursion into the Crescent City vaults delves deep into the roots and history of the Voodoo world of New Orleans Funk.
Packed to the brim with serious break-heavy, heavyweight funk tunes from classic New Orleans artists including Eddie Bo, Betty Harris, Dave Bartholomew, Johnny Adams and Eldridge Holmes (with the ever-present Allen Toussaint and The Meters as always behind the scenes).
There is also a host of rare cuts from a number of lesser-known second line New Orleans artists, whose fame rarely reached past the walls of the city, including Gus ‘The Groove’ Lewis, James K-Nine, Norma Jean, Bob French, Chuck Colbert, Zilla Mayes and Joe Haywood.
In the 1960s the syncopated beat of New Orleans Funk developed out of a gumbo mix of New Orleans local flavours – rhythm and blues, Mardi Gras Indians, the street percussion Second Line of the Jazz Funeral and Marching bands, Caribbean rhumba and mambo rhythms – all of which are in full effect. Even Zydeco, the rhythm and blues offspring of Louisiana Cajun music, had the funk as the King of Zydeco, Clifton Chenier, shows us here.
New Orleans music and Voodoo both have their roots in the African-American free black and slave gatherings held at Congo Square from the 18th century onwards. Here Voodoo king Doctor John (the original one!) and Voodoo queen Marie Levaux held court over their followers, and here also could be heard the first sounds of New Orleans jazz music.
Soul Jazz Records latest album describes how these two cultural forms are inextricably inter-related.

This new episode of New Orleans Funk subtitled 'Two-Way-Pocky-Way, Gumbo Ya Ya and the Mardi Gras Mambo' features more classic New Orleans funk in all its forms.

The syncopated percussion beat of the second line jazz parade bands, the secret language and dances of the Mardi Gras Indians, the mambo and latin rhythms of Professor Longhair and the city’s many piano players help make New Orleans a unique musical melting pot.

New journey into the heart of New Orleans and a guide to the City’s finest Funk Music produced in the late 1960s & early 1970s. Featuring everyone from The Meters to Eddie Bo, Lee Dorsey to Betty Harris, this is a who’s who of the Crescent City’s most famous and most funky!

 César's Salad ‎– The Latin Beat

When the unique percussionist Cesar Granados and his latin-jazz quartet play only three things count: groove, groove and more groove! On "The Latin Beat" Cesar's Salad play a selection of their favourite Latin and Brazilian jazz tunes from the likes of Mongo Santamaria, Weldon Irvine Jr, Marcos Valle, Gil Fuller and more.

Cesar Granados (congas, vocals) from Panama City is one of Europe's leading percussionists. He is joined by Jo Junghanss (piano) who lives and works in New York City, Jerker Kluge (bass) and Hajo von Hadeln (drums), who have played together as a rhythm-section for years and are the foundation for this band.

César’s Salad ‎– The Latin Beat Vol.2

The « Man from Panama » is back in action again – and even harder-hitting now! Percussion master Cesar Granados is back - burning every bit as hard as on Volume 1, and we dare say: burning even harder.

Cesar Granados and his group are in top form throughout – serving up a blend of afro-cuban grooves and 60s soul and jazz influences that few other artists of our time could deliver in such an energetic and dynamic manner.
Listen to the complex, highly intriguing rhythms and the great interplay of this fantastic percussion and drum section, delivering a groove that burns mightily across all tracks.

Titles include the classics Watermelon Man, Song for my Father and A Night in Tunisia, as well as new compositions like Yenyeré, The Man from Panama, La Serpiente and Pushing Space.
In addition to his mighty Conga grooves, Cesar contributes infectious vocals on three tunes (Yenyeré, The Man from Panama and El Dynamico and delivers two outstanding timbales solos!

The Rhythmagic Orchestra is an All-star project featuring members of the Nostalgia 77 Octet, the Plumstead Radical Club, the Alex Wilson Band, Jazz Jamaica and Ska Cubano.

Red Onion : la ligne de Bass la plus Deep de Richard "Groove" Holmes. Samplé Par Jeru The Damaja.

Big Up à Hesope!

LA BASS DANS TA FACE

"...To all my brothers claiming that they‘re Hispanic and Latino
You’re African, Aztecs, Indian and Taino
Now that I showed you how this nations gained their wealth
I hope I keep your interest so check it out for yourself" Jeru The Damaja

BLACK LIVES MATTER

Recorded By Rudy Van Gelder. Originally released in 1969 (Prestige 7765)

L'album culte du chef d'orchestre belge Nico Gomez (Joseph van het Groenewoud)

Born of a Dutch father and a South American mother, Nico Gomez, he spent his entire youth in Curaçao in the Antilles. Later, with his family, he moved to Cuba and stayed in most of the other islands of the Caribbean Sea. Passionate musician and already a skilled guitarist, he soon became familiar with the typical rhythms of those regions, thus accumulating an uncommon experience in South American music.
Rich in these notions, he arrived in Europe and settled in Holland and Belgium, where his musical career took place. As a guitarist and as a singer he was part of numerous Dutch-Belgian orchestras in his first years of activity; later on he formed a typical orchestra of nine elements which soon became one of the most appreciated by the public of those countries.
In the musical environment he is also highly appreciated as a composer and arranger; in addition to his work for the orchestra of Chakachas.

Plusieurs Rééditions :
P-Vine Records (2001)
Lupita Records (2005)
Mr Bongo (2013)

ELIEL LAZO, virtuose des congas a commencé tout jeune à jouer avec Oscar Valdes et son groupe Diàkara et avec le Habana Ensemble au Jazz Café de la Havane. Il s’est installé au Danemark, où il était venu se produire à l’invitation du Danish Radio Big Band, il y a une dizaine d’années.