[engl] Praised as heirs of amazonic psychedelia and chicha traditions, as well as sound innovators, peruvian band Bareto mix exciting versions of cumbia classics with their own, unique compositions, in concerts that should be promoted as dance parties. Performers at Womex 2016, have toured Europe and North America, including Roskilde Festival 2015 and Montreal Jazz Festival 2017, among others. Recorded just before the Covid pandemic between Lima and Bogotá, “El amor no es para los débiles” is Bareto’s second effort with Colombian producer Felipe Álvarez. The album marks the debut of singer Javier Arias in duets with some renown peruvian figures such as creole diva Bartola and technocumbia queen Rossy War. The album also features sonero and comedian Melcochita, and a bunch of Colombian guests, including singer María del Rosario Cardona and percussionist Chongo. The first single is “Tu Recuerdo”, a song that mixes cumbia with an Andean flavor. The promotional video is based in drawings by artist Amadeo Gonzalez, who also is responsible for the album artwork. The group’s musical explorations began around 2003 with Jamaican ska and reggae, but quickly, and not giving up that original influence (which produced their first release, “Boleto” in 2006), Bareto then focused in Amazonian Cumbia and its psychedelic universe. Soon the experiment took shape in the studio album “Cumbia”, released in 2008, which pushed Bareto to a national success in their hometown, a peak never reached before by a band from the alternative circuit. Thentheyreleased“Sodomay Gamarra”in2010to consolidate their national success. Both their last two records of original material,“Ves lo que quieres ver”(“You see what you want to see”, 2013) and “Impredecible”(“Impredictable”, 2015), have been nominated for the Latin Grammy Awards. The band’s next step forward leads them to become a confirmed reference of contemporary music in Perú, which Bareto spreads around the world during various tours to USA and Japan between 2009 and 2012, and then adding Europe, where they’ve toured consistently since 2015. Bareto played at the Para Panamerican Games Lima 2019 opening ceremony, in front of a packed National Football Stadium and for an audience of thousands worldwide via TV and streaming. That same year, they traveled for a North American Tour in July, and then a European Tour in December, which included their debut in Tel Aviv, Israel. Last tour consisted in a month-long trip connecting 7 concerts in Canada (with their debut at the prestigious Montréal International Jazz Festival) and 12 dates among Europe, including Portugal, Spain, France, Austria, Sweden, Stonie and their first ever concert in Russia. Bareto was also part of the Atlantic Connections Showcase in Womex 2016 in Santiago de Compostela, Spain.

[engl] “Good Evening Black Buddha” is Black Jesus eXperience’s seventh studio album. Inspired by the land we live on and the connection to all that have gone before and will follow, inspired by the multicultural power of our community, inspired by the paradox of the story of the Black Buddha. From the perversity of the pandemic and its imposition of separation comes “Good Evening Black Buddha”, celebrating togetherness. Darkness is light. At the heart of Black Jesus eXperience’s inspiration is Ethiopian/Australian singer Enushu Taye. Enushu’s openness and poetic insight, delivered with unique beauty in her own Amharic tongue, lie at the core of “Good Evening Black Buddha” and all that Black Jesus eXperience (BJX) do. MC Mista Monk (Liam Monkhouse) compliments and contrasts with rhymes and flow born of Africa and outback Australia. BJX are joined by their great friends powerhouse singer Vida-Sunshyne, and crystalline new voice Gracie Sinclair. The songs on “Good Evening Black Buddha” rove from the lightness of touch of a trio to BJX’s full fourteen piece polyrhythmic, polymetric, polytonal Ethiofunk juggernaut with six-piece horn arrangements. Soloists include living national treasure Bob Sedergreen on keyboards, Peter Harper on saxophone, Ian Dixon on trumpet, Zac Lister guitar, Larry Crestani guitar and his own invention ‘kraartar’, over the deep grooves of Richard Rose bass, James Davies kit, and Kahan Harper percussion. Black Jesus eXperience is also proud to be joined by our friends conga player Louis Poblete, kraar and masinko virtuoso Endalkachew Yenehun, proud Kuku Nyunkal man and master yiki yiki (dijeridu) player Sean Ryan.

[engl] Gyedu-Blay Ambolley and Hi-Life Jazz is the new album from revered Ghanaian highlife and Simigwa Do exponent Gyedu-Blay Ambolley, known for his deep, soulful, and funky highlife sound and sometimes referred to as the “James Brown of Ghana.” A 360-degree musical tour de force as evidenced by his impressive and eclectic back catalogue, Gyedu-Blay Ambolley and Hi-Life Jazz makes his 35th album release to date. His third release on the German Agogo label, the release sees him breathing new life into some jazz classics, revisiting works by John Coltrane (Love Supreme), Thelonius Monk (Round Midnite), Wayne Shorter (Footprints) and Miles Davis (All Blues) alongside some brand new compositions, powered by polyrhythms and his signature highlife style. The record coincides with multiple live dates through October visiting Paris, Amsterdam, Rotterdam, Lisbon, Copenhagen, Brussels, Gothenburg, Malmo, Saubriges & Mugron. Since his breakthrough in the early 1970s with his own Simigwa style he has shared stages and studios with some of Ghana's greats like Ebo Taylor and Sammy Larteh with whom he played In the Uhuru Dance Band. Together they founded the Apagya Show Band in 1974. He has since continued to push back boundaries, embrace, explore, create and cultivate an impressive catalogue of work. In recent times, he has become a go-to example of Ghana's rich traditional music form, so much so that he has performed tirelessly through Europe and US and most notably at Utrecht's Le Guess Who Festival and the Montreux Jazz Festival. Gyedu-Blay Ambolley and Hi-Life Jazz jumps right out of the blocks with 3 straight-up, groove-laden highlife numbers in Sankumagye, Yekor Ye A Yea and Enyidado, a spontaneous mix of Afro-soul and groove with Ambolley's deep tonal and vocal interventions giving a sense that the influence of Afro-American soul music is never far away. Things continue to heat up as the maestro and bandleader approaches various songs from the songbook of classic modern jazz. The rhythmic pulse within each standard is pushed and pulled, ensuring the original is recognisable yet rooted in Ambolley's ancestral home. In John Coltrane’s Love Supreme he proclaims “John Coltrane said love is supreme & we heard him in Africa very loud and clear.” Taking a very different but direct approach filled with Ghanaian swing Ambolley matches the colours and energy with a rhythmic dexterity and an African spiritual sensitivity that immediately draws you in, allowing a space for the spiritual to rise. The Wayne Shorter classic Footprints receives a similar treatment - it's a toe-tapping workout that leaves you wanting more. Round Midnite, a Thelonious Monk staple, has been covered so many times as a ballad yet here Ambolley gives things an uptempo re-work, a wholly unique inception that makes total sense when you hear it. All Blues by Miles Davis is a well-loved staple of jazz players the world over and is known as a vehicle for endless improvisations and here, in the hands of this master craftsman, is a mesmerising and unapologetic dance floor journey. Polish, panache, melodic and harmonic invention run riot throughout Gyedu-Blay Ambolley and Hi-Life Jazz. It's so much more than an experiment in bringing a Ghanaian pen to jazz standards rather a wonderful collision of Ghanaian roots, highlife and Ambolley's Simigwa stylings with Afro-American jazz, soul and funk.

[engl] The Legendary Gyedu Blay Ambolley from Ghana, West Africa and his Sekondi Band has 29 music albums to his credit. “Ketan” is his number 30. Ambolley was born in the city of Sekondi-Takoradi (an area called Ketan), in the Western Region of Ghana, in West Africa. The multi-talented, International, Ghanaian Musician celebrated his “Silver Jubilee” in music in 1998. Ambolley taught himself to play the flute as a first instrument in his early years of musical interest dating back to the age of eight, when he began playing with his father’s flute. The young music enthusiast continued to learn the rudiments of music from the late’ Sammy Lartey and Ebo Taylor. During the sixties, the young aspiring musician was impressed with the music he heard on the popular radio show, “Voice of America Jazz Hour.” That sixties show featured such jazz giants as Jimmy Smith, Max Roach, Wes Montgomery, Charlie Parker, Clifford Brown, Miles Davis, John Coltrane, Ella Fitzgerald and Billie Eckstie… all of whom became part of Ambolley’s early musical experience. This versatile, irrepressible singer, songwriter, producer and “musical- life-force” exploded on the music scene in 1973 with a jazzy highlife sound called ‘SIMIGWA-DO’. He has toured throughout West Africa, Europe, Canada, and the United States and has performed on the same stage with some of the world’s most celebrated artistes such as; Miriam Makeba of South Afrika, the late Fela Anikulapo-Kuti of Nigeria, the late George Howard, Angela Bofill, Norman Connors, Manu Dibango, Lakeside, Chikuzan Takahashi of Japan, Ricardo Estrada of Cuba, Mayuto Correa of Brazil and toured Ghana with Oscar Brashear and Michael Session. The celebrated musician has received numerous prestigious awards, for example a lifetime achievement award and Inducted into the music hall of fame by Charles R. Drew University of Medicine and Science in California and an award from the Board of Supervisors and the City Council of the State of California for bridging the gap between Africa and African American music. He also received a lifetime achievement award at the Ghana Music Awards in 2013. Gyedu-Blay Ambolley has crafted the ability to combine a unique sound and melody with funny lyrics and dancing to his music as is well documented that “the genre of his music is entertainingly elevating and spiritually inescapable”, such that its uniqueness transcends all musical categories.

[engl] La Dôtu Lado swings as much as it seduces. It maps new musical routes linking the Cape Verdean island sounds of batuque and funaná, with deep candomblé inspired rhythms and the heart tugging sway of fado. And in doing so, it has opened up a fascinating narrative on the slave trade, spirituality and love. Coladera are two musicians from Brazil & Portugal, who have invited various musicians from other Portuguese-speaking countries like Cape Verde and Angola to participate on this album. Their first official international release have crafted an exquisite and exploratory sound, adding new layers upon their individual and rich traditions. Singer-guitarist Vitor Santana from Belo Horizonte, Portuguese singer-guitarist Joao Pires are named after one of Cape Verde’s musical traditions, Coladeira – a form that borrows melodies from fado and rhythms from Brazil and Angola. Sung mainly in the Portuguese language but with a couple of songs in Cape Verdean creole, La Dôtu Lado features guest percussionist Marcos Suzano, a Brazilian pandeiro master, and seamlessly pulses between the traditions of each country and also percusssionist Miroca Paris, who has been playing for many years for the Queen of Morna, Cesária Évora, with poignant lyrics about the spirits of the Orishas, deities worshipped by slaves who were shipped across the Atlantic to Brazil from West Africa often via Cape Verde. Indeed, Cape Verde was an empty island until the Portuguese empire found it in 1456 and it wasn’t long after when Cape Verde was central to the Portuguese’s triangular trade system strategy. Coladera have released a previous long player back in 2013 but with little fanfare. Despite the modest release, they played at New York’s Summerfest and Joe’s Pub amongst other festival dates around Europe. Whilst both albums have flirted with Cuban rumba with striking Andalusian guitar flourishes, the project has always been Lusophone and inspired by close friendships and travel. For Vitor, a guitarist with grounding in classic bossa nova, the music of Coladera at times felt like a nostalgic trip exploring the dulcet and minimal groove of the guitar and voice. All musicians have, at different points, lived or been at the coalface of their respective musical cultures within the Lusophone Atlantic triangle. Joao grew up listening to and learning fado, studied flamenco in Andalusia and has lived in Cape Verde, and Vitor lived with Joao for two years in Brazil and has lived and performed throughout Europe. As Vitor explains, “In Brazil there is a lot of DNA from Cape Verde and West-Africa. You can find this DNA in many rhythms. One of them is coladeira. It’s a little bit samba, a little bit Bahia. Cape Verde is in the middle”. Vitor is particularly vital to the positive vibe that pervades the record. He practises the Afro Brazilian tradition and meditation of candomblé, originally brought over to Brazil by slaves from West Africa. The track ‘Luz de Yayá’ perfectly encapsulates the spirit of the Coladera collaboration, named after the candomblé god of the sea, Iemanjá.

[engl] Gyedu-Blay Ambolley was born on the 11th Street in Sekondi, Ghana 72 years ago. on the cover photo you can see on the right side the house of his birth which was also his parental home. The Ghanian legend’s latest release shows off a pride of heritage, and his honed talent for mixing highlife with other genres like rap, Afro-funk and Disco Ghanaian highlife star and renowned saxophonist, singer and guitarist Gyedu-Blay Ambolley returns with 11th Street, Sekondi, his 31th album since his debut in 1973. The charismatic stage personality, no stranger to mixing humour into his music and who has performed alongside Afrobeat legend Fela Kuti and highlife bandleader Ebo Taylor, has been a record collector’s staple since his appearance on the seminal Ghana Soundz compilation on Soundway in 2002, which re-introduced the world to his trademark ‘Simigwa’ style. Highlife, which started in Sierra Leone and Liberia, took hold in Ghana in the 1940s as a coming together of the musicians fed up with the foxtrot and quickstep parties originally hosted by English colonists. It began with big band horns and happy lyrics, popularised by artists such as E.T Mensah, before opening up in the ‘50s and ‘60s with a wave of guitar-driven, socially conscious and more danceable Afro-funk hits -- a product of the easy movement of people between Nigeria and Ghana. It was then that Ambolley’s trademark baritone vocals burst onto the scene, under the tutelage of close personal friend Ebo Taylor. Already an accomplished flautist, drummer, guitarist and singer, Ambolley joined Tricky Johnson’s Sextet -- a band led by ET Mensah’s former guitarist -- as a 15-year-old vocalist in 1963. This was followed by spells with highlife legend Sammey Lartey’s Railways band, then with Taylor in the Stargazers and the Uhuru Dance Band. Ambolley’s musical development was also informed by a love of popular ‘60s US radio show ‘Voice of America Jazz Hour’, a programme packed with artists including Miles Davis, John Coltrane and Ella Fitzgerald. These influences, and a fearless ability to mix highlife with funk, blues, soul and disco were drawn together for Ambolley's 1973 solo album Simigwa, later re-released on Essiebons. The musician says his spoken style not only created a new genre -- inspired by the melodic ravings of a man in his hometown -- but was the first ever example of commercially-recorded rap, six years before the Sugar Hill Gang’s Rapper’s Delight. Ambolley's English and Fanti language tracks then appeared in records and tours throughout the US and the UK, most recently with his band The Sekondi Band International, but it was not until Soundway Records produced the Ghana Soundz compilation in 2002 -- the result of painstaking research by DJ Miles Cleret -- that the highlife artist’s other albums, including ‘Party Time' and ‘The Sekondi Man’, were rediscovered and re-released. This recent resurgence in his career has led to performances at prestigious festivals, such as Montreaux and sees a forthcoming performance at Le Guess Who? In Holland. Ambolley’s latest album, 11th Street, Sekondi, named after the area of West Ghana in which he grew up, is a look back at the area and musical styles that shaped the musician’s life. Black Woman is a funky number that opens the album with Ambolley on a tenor sax solo, while tracks like Little Small Girl showcase his renowned James Brown-influenced vocal flourishes. Soul, jazz, blues and comedy are present -- in keeping with his fervent belief that music must always be entertaining for the listener. The album is the second of his to be released on German label Agogo records, after acclaimed 2017 hit, Ketan. It also stays true to highlife's social ambitions, with reflections on the misguided pursuit of European ideals ahead of African values. Ambolley's career has been filled with accolades, including a Lifetime Achievement Award from the Charles R Drew University in Los Angeles, and formal recognition from the Ghana Embassy in Washington DC for producing the first ever commercially recorded rap album.

[engl] The “Hoodna Orchestra” is an 11-piece orchestra established in 2012 in South Tel Aviv by a group of young musicians who became a central force in the Tel Aviv Groove scene. At the beginning of their journey the Orchestra focused on learning and playing Afrobeat, and over time, following the experience of playing diverse musical genres and collaborations with different musicians (Esther Rada, Kutiman, Karolina, Abate Berihun, Gili Yalo and others), the Orchestra developed a unique musical line and sound, characterized by the fusion of different musical styles. During the years 2013-2015, the Orchestra played every major festival in Israel, as well as all the main venues around the country. In June 2015 the Orchestra launched its debut album titled “Let Go”. The album includes original compositions in the spirit of Afrobeat. The album was launched at the Barby Club in Tel Aviv and was very well received by the public. At the end of 2015 the Orchestra launched a new show titled “The Ethiobeat Orchestra.” It featured members of “Adyabo” ensemble (a trio specializing in traditional Ethiopian music), singer Tesfaye Negatu and dancerchoreographer Aviv Abebe Yosef. The show premiered at the InDNegev Festival and was a success, both in the Indie scene and within the Ethiopian community. The “Ethiobeat Orchestra” marked the next stage in the evolution of the Orchestra. Their deep study of East African music and the rich culture of Ethiopian music in particular, generated fertile ground and inspiration for new, striking, original creations, compositions with breadth and expression, as well as new and exciting collaborations. In February 2017, the Orchestra released a new single titled “YELBEN,” the first in a series of collaborations with Ethiopian singers and musicians. YELBEN (“my heart” in Amharic), a collaboration with singer Tesfaye Negatu was released in 7? Vinyl format and won great interest among collectors and fans of music from all over the world. The second release in the series was “ALEM” (“a world” in Amharic), which was written and sung by the singer and poet Demisu Belete. “ALEM” was launched at the 2017 Red Sea Jazz Festival, in which the Orchestra hosted Belete, who arrived especially from Ethiopia for the occasion. In the summer of 2018, the Orchestra was invited to perform in the “African Tage” festival in Vienna. The show featured the singers Tesfaye Negatu and Yaakov Lilay, and marked the end of an era in the orchestra’s life cycle In April 2019, the Orchestra’s second album “OFEL” will be released under the German label Agogo Records. “OFEL” ?(darkness in hebrew) ?is a concept album that includes nine instrumental pieces written and arranged by Ilan Smilan. The various compositions in the album demonstrate the assimilation of the various musical languages played by the Orchestra in recent years (African music, Afrobeat, Ethiopian music and Ethio-jazz), and in combination with the vocabularies of rock, funk and Israeli/Mediterranean music, brings to life a new and original masterpiece. The themes in the album’s pieces are dark and ominous in tone; they come to “illuminate” the harsh aspect of everyday reality that prevails in Israel, and in many parts of the world. Feelings of alienation and disconnection, the rupture of the social fabric, intergenerational and socio-economic gaps, the clash of nations and religions, and the strengthening of various political forces that undermine global stability. These complex themes are addressed by the Orchestra through the use of various tools. One of the main tools chosen by the Orchestra is the use of Ethiopian musical scales, especially Anchihoye and Tezeta minor. Anchihoye, in the Ethiopian tradition, is associated with religious singing, both in Sigd (Ethiopian Jewish holiday) and in the Ethiopian Coptic Church. In addition, songs of war are played on this scale. Tezeta minor is used to express wishes, dreams, and feelings of nostalgia and sentimentality. The new and different interpretation of the Orchestra when playing these scales, together with the horn section in combination with the percussion section’s tight sound create dark and intense melodies and rhythms. Another technique used by the Orchestra to convey to the listener the ominous and dark atmosphere of the album is the use of analog and old recording equipment. This equipment enables the manipulation of sound waves and creation of distortion. The use of these recording techniques creates a compressed and rough sound that suits the general atmosphere of the album. The album was recorded live in the Hoodna Orchestra’s studio in Tel Aviv. The members of the Orchestra built the studio themselves, to give them the creative freedom to achieve their finest work. The entire album production (recording, mixing and mastering) was done by Ilan Smilan.

[engl] Jembaa Groove is a Berlin based Afro-Soul group founded in late 2020 by Yannick Nolting (Bass, Composer, Producer) and Eric Owusu (vocals, percussion, songwriter). They first met fortuitously at a playground in Berlin early 2020 whilst collecting their young sons from kindergarden and soon after realised they were onto something special. Speaking the same musical language, the two musical nomads quickly realized the fruitful outcome of their musical encounter. Digging deep into both their backgrounds and musical identities, they came up with a new and yet authentic vibe ready to be spread across the world. After seeking for the right companions for the upcoming journey and stumbling on a few of Berlin’s finest musicians, they finally formed Jembaa Groove, a 7-piece band that combines jazzy sounds from Berlin’s uprising underground music scene with traditional West-African sounds from Ghana and Mali, such as Highlife, Adowa and Wassoulou. The music of Jembaa Groove is as much influenced by the soulful rhythms and baritone chords of 70’s black America and contemporary artists like Lee Fields and Ikebe Shakedown, as it is by highlife artists such as Ebo Taylor and Pat Thomas, with whom Eric has been touring and recording for many years. Garnering a smattering of support from the media world like KEXP, KCRW, Worldwide FM, Rinse FM,WDR Cosmo and enough stations round the world off the back of their “Bassa Bassa” track, Jembaa Groove are causing a storm with their hybrid West African meets US soul & jazz sound.

[engl] An organist, a saxophonist and a drummer – the classic organ trio has been arousing special expectations to Jazz listeners since the glory days of Jimmy Smith, Groove Holmes and the McDuffs and McGriffs. The organist can spread out, the saxophonist can follow him and the drummer swings and provides the groove “in the pocket”. With their album “B-3 Vol.1” the Hanoverian Lutz “Hammond” Krajenski aka krajenski. on the B-3 organ, Ben Kraef from Berlin on the saxophone and Peter Gall from southern Germany on the drums break new ground even if the old path of the Hammond-infected Blue Note refinement always remains in view. Kraef-Krajenski-Gall do their thing and that very consistently. They play with the different readings of the format with reflections from Jimmy Smith to Larry Young. They play with expectations and play around clichés with sophisticated twists and tongue-clicking rhythmic and harmonic treasures. We owe this resurrection of the classic format “Hammondtrio” to three musicians who are gliding to revitalize jazz history. Lutz “Hammond” Krajenski – It is no coincidence that it has been nicknamed “Hammond” since the first career steps. His organ collection now includes 15 instruments; ascending trend. Not only is he a brilliant instrumentalist, he also made a name for himself as an arranger for his own big band as well as for other ensembles and artists. Clients included musicians such as Tom Jones, Randy Crwaford, Mousse T., Ulrich Tukur, Sarah Connor and Inga Rumpf. Krajenski became known to a wide audience primarily as an arranger, pianist and musical director for Roger Cicero. His two fellow musicians on “B-3 Vol. 1” both studied in New York and belong to the crème de la crème of the German Jazz scene. The award-winning Berlin saxophonist Ben Kraef has played with greats such as Lalo Schiffrin, Archie Shepp, Phil Woods and John Abercrombie. His debut album “Berlin-New York” was released in 2010 by Act (with sidemen John Patitucci, Marcus Gilmore and Rainer Boehm). Drummer Peter Gall, on the other hand, has already shone alongside luminaries such as the Kurt Rosenwinkel Trio, the NDR Big Band, The New York Voices, Take 6, Web Web, Thomas Quasthoff, Nils Landgren, Max Herre, Joy Denalane and the Dieter Ilg Trio.

[engl] In times of deep uncertainty and radical changes it feels even more appropriate to focus on the essential things. “I have these three symbols which I always sign our records with after live shows,” Ralf Droesemyer, who is Mo’ Horizons together with Mark “Foh’ Wetzler, explains: “it is a musical note, the image of the sun and the shape of a heart” – in other words: “music sun love”. Now, in the twentieth year of their existence, there cannot be a better title for the new album by Mo’ Horizons. 2019 is all about diversity, unity and sustainability. “Our world is very much divided. Climate change, environmental issues and human rights are on top of the agenda and it seems to be common sense that they are the most important issues in the years to come, but still nationalism and backwards thinking seems to be as trendy as never before. It is very paradox,” Droesemyer says. “Mo’ Horizons are not a political band at all. But on ‘music sun love’ we incorporated so many musical styles and worked with so many musicians from all around world. It is quite amazing,” he laughs. “It all came naturally, that is how it should be: People should embrace the culture of their neighbours, rather than building walls and re-install borders.” Let it be Latin, Soul Reggae, Cumbia, Samba or music from the Balkans, Mo’ Horizons are cultural travellers and feel at home where music is alive. Over the years the duo toured the world. For “music sun love” they re-reconnected with a lot of the musicians they met on their ongoing journey. The albums kicks off with „Wagabunga Dance“, a collaboration with Stoyan Royanov from Bulgaria. The multi instrumental talent is a member of the Mo’ Horizons Soundsystem. “Rhythm Is A Dancer“ was recorded in Columbia with local musicians and you may have guessed it by now, it is Mo’ Horizons’ interpretation of the Eurodance classic by Snap, adding even more rhythm, fire and emotion to turn it into a Cumbia burner. Mo’ Horizons move on with „Mo Space“ and „Hang Loose“, recorded together with hangdrum virtuoso Patrik from the Czech Republic, who the Horizons gang met after one of their shows in Andalusia and he joined the travel party. The first single „You Gotta Know It“ is one these Mo’ Horizons sure shots, an irresistably driving rhythm with a catchy chorus sung by Noam Bar from Israel, a worldwide traveller in the spirit of music who landed in Hannover after living in Tel Aviv and Madrid. Which brings in Mr. Morski from Bulgaria, another global mover. „Little Mouse“ is his kind of theme tune, recorded with a lot of charme and even more fun. „La Vida Es Solo Hoy“ adds Ivan Camelo from Columbia to the impressive line-up. He played with Mo’ Horizons for the first time in 2017 rocking the Gran Baba, the Horizons’ favourite Chiringuito hang-out in Spain, with his unique vocal stylings. „Ella Dice“ takes “music sun love” back home, re-uniting the team with Nené Vasquez from Venezuela who adds a vibrant live feeling to the track. The list of international guests is endless. „Gypsy Ghetto Feel“ gets a groovy boost by percussionist Elvis Aljus aka Gypsy Brown who is an integral member of Australian funk favourites The Bamboos’ rhythm section and often joins Mo’ Horizons when they tour down under. Noam Bar returns for the vocal part, adding a cross cultural soul feeling to this Israeli-Australian groove venture. „Inner Melody“ closes “music sun love” in style. It is an unreleased Mo’ Horizons remix of the Reggae original by Greek DJ colleague Palov turned into a very Sixties sounding club track. “When we listened to ‘music sun love’ as a whole for the first time, we were quite surprised,” Droesemeyer recalls. “We’ve been around for such a long time and did not know if the fire is still burning.” It is indeed! “Actually, with ‘music sun love’ we feel totally re-freshed.” Indeed: Mo’ Horizons are back in the game.

[engl] Mulatu was written by Mulatu, as he says, for himself. This arrangement features Mulatu on his signature instrument the vibraphone and flugelhornist Ian Dixon. Inspired lyrics from Elf Transporter pay respect to the traditional owners of Black Jesus Experience’s hometown. Ambassa Lemdi is an arrangement combining an original song taught to Enushu by her Grandmother with a traditional Ethiopian song. It tells of a mother singing for her daughter’s wedding, welcoming the groom and the joy of uniting their families. Kulun Mankwaleshi is our arrangement of a traditional Ethiopian wedding song in the uniquely Ethiopian anchi-hoye scale. Both polyrhythmic and polymetric sophistication provide the hypnotic foundation for this beautiful melody. Friends and family join the party on backing vocals climaxing with Peter Harper’s mesmeric saxophone solo. Living On Stolen Land is dedicated to the First Nations people of Australia and acknowledges the pain and injustice of their not being recognized as the traditional owners of Australia. This track features guitarist Zac Lister and very special guest Vida Sunshyne. Its moody 6/8 vamp in D is a gateway to channeling the spirits of the land. To Know Without Knowing is a suite in two contrasting movements, both using the same Ethiopian tezita minor scale over an unrelated pedal tone in the bass. It is conceived from, and is a vehicle to, a place beyond thought. Lijay originated from a simple reggae inspired jam. Lij means child in Amharic. Enushu sings of her child being the realization of her dream, and her future. Monk replies with a child’s ode to his mother. Blue Light was written for our dear friend Jeannie, for her journey from this life to the next. Originally written in traditional ballad form, this arrangement morphs to speak of the past, present and future. Mascaram Setaba is an Ethio classic that showcases Mulatu’s study of the familial links between Ethiopian and Latin music. Mascaram Setaba means ‘when September comes’. September being the New Year in Ethiopia this is a celebration of rebirth and new growth. This new arrangement puts the spotlight on legendary jazz pianist Bob Sedergreen. A Chance To Give is a 16 bar blues inspired by the joy of giving, originally conceived while street performing. It features Mulatu on vibes, Peter Harper on sax, MC Elf Transporter, and Robbie Belchamber on guitar.

[engl] The act of discovering one’s own musical heritage has never sounded more inviting, more transportative, than through the skilled hands and mellifluous voice of prize-winning recording artist, instrumentalist, composer and arranger Natalie Greffel. Through her close interrogation of identity, this rising Berlin-based talent succeeds in investigating the edges, re-sketching new borders and embracing the many facets of herself, both personally and musically. The disrupted histories of the African diaspora, the ravages of imperialism and the expressionism of a common tongue are all etched into the narrative of Natalie’s stunning debut solo album "Para Todos". The album evokes warmth and unexpected intimacy, newness and familiarity, as it gently deconstructs the paradigm of Brazlian music, reforming it not as a commodity to be sold, but as a recollection of dream-state memories. Natalie was born in post-colonial Mozambique and raised in Denmark from infancy. After moving to Berlin in 2010 to attend a music conservatory, and while engaged in various projects that exercised her stylistic flexibility, Natalie felt an increasing disillusionment with European Jazz; she instead felt drawn to the Afro-Brazlian music her mother played during childhood, which in turn began to reveal a cultural connectivity between Mozambique and Brazil. A successful application to an Erasmus programme allowed Natalie to investigate her growing interest further, and she traveled to Brazil in 2016. Over a period of six months she immersed herself in music - accepting invitations to Samba recording sessions, connecting with carnival troupes in Rio de Janeiro, exploring the spiritual songs of the Candomblé religion from less trafficked corners of the country - with the intention to learn and listen. "Para Todos" emerged in the wake of this life-changing experience, which encompassed witnessing the fervour of political impeachment, Anti-Olympics protests and the suppression of womens’ political voices; she also learned of neglected institutions like Museu do Negro (The Black Museum) and the country’s sole archive of the Atlantic Slave Trade, Instituto de Pesquisa e Memoria Pretos Novos (Institute for the Memorial and Research of the New Blacks). "Para Todos" is in essence a journal of learning and growing, a tribute to forgotten stories and untold tales, an act of remembering, and an exercise in connecting fragmented personal histories. Following her winning performance in a Creole music competition in Berlin, Natalie was introduced to the pianist of Brazilian star Ed Motta; he encouraged her to record a demo. Inspired a new by the harmonic structures of Antonio Carlos Jobim, Hermeto Pascoal, Noel Rosa, Nelson Cavaquinho, Milton Nascimento, Elza Soares, Elis Regina, Gilberto Gil and Chico Buarque - architects of Brazilian music - Natalie began to interpret these blueprints in her own unique lexicon. “Não Sabia Nem Começar” is infused with the signature accents of Samba and bustling Ambient rhythms of a Rio de Janeiro streetscape, and contrasts against the sparse bass, hi-hats and piano arrangement of “Toquei,” all elements which eventually fall away to leave the gentle everyday sounds of an introspective life. Elsewhere Natalie details interpersonal frustration with an irresistible fusion groove on “Blame,” and turns her attention to the Chico Buarque standard “A Ostra E O Vento,” a beloved tale a girl who falls in love with the wind. To rerecord her compositions Natalie recruited a new ensemble. She called on musicians who possessed the sensitivity needed for a personal project of this nature and, after only two rehearsals, she allowed each musician the space and time to play freely, to best capture the energy she transmitted. "Para Todos" is not an authentic Brazilian music album, in any sense. Rather it is a personal retelling of shared and imagined histories, and newly-formed kinships, to honour the traditions of the past and carve out a new sense of belonging.

[engl] Berlin-based quintet Onom Agemo & the Disco Jumpers follow up their 7? single „2 Feet / Kibili „ with an album of poly-rhythmic afro grooves, sax and psyched-out synths. The group has developed a unique groove and style of playing, constructing a collection of eight songs, that throws together tight and funky influences from Morocco and Ethiopia with crunchy analogue synths, spacey organs and effects, and fluid sax and flute lines for a sound that’s all their own. This LP is a collection of compositions by travelling sax man Johannes Schleiermacher, inspired by his journeys through the world. The band even travelled to Morocco for playing and recording with a quartet of percussionists/ singers in the Issawa tradition, a Sufi Trance Brotherhood in central Morocco. Onom Agemo and the Disco Jumpers have been playing together for years, and it shows. Taking Schleiermacher’s compositions, the group rehearse the songs and play them live to finalize the arrangement before recording the tracks to different 4-track tape machines, mostly at drummer Bernd Oezsevim’s rehearsal space. Take the track „Cool Runnings“ for example: locked in the groove, the intertwined sax and synth melody moves up and down the Anichihoye scale. Not to be confused with the comedy of the same title, the track is named after a bar in Berlin-Friedrichshain, where friends of the band put on their night Tropical Timewarp. This interlocking of groove and melody is a signature element, and also inspired the title of the album. Cranes and Carpets alludes to changing patterns, and how the parts of a wider whole can work together in synchronicity. Combine an almost telepathic group intuition with the fact that Schleiermacher also engineered and produced the record, and the pieces start to add up to why the Disco Jumpers sound like they do. It’s an authentic mix of North African rhythms and modes, live jazz musicianship and analogue synths that’s reminiscent of electronic African pioneers like William Onyeabor and Manu Dibango as much as modern ensembles like The Heliocentrics. While the album sounds like it could have been discovered on a dusty old tape down a Marrakesh marketplace, it has a modern twist in the neat craftsmanship and tight arrangements that ensures a blend of styles that couldn’t be anyone else.

[engl] Ever since Onom Agemo & The Disco Jumpers broke the dreaded curse of the difficult second album by releasing “Liquid Love”, a cocktail so spicy and delectable that it could warm the cockles of the grumpiest man alive’s heart, even in the most Arctic conditions, everybody wondered how the Onom crew could top that one. But now you have an opportunity to whip out your “Magic Polaroid” as proof that this wasn’t an impossible Project. Never before has the band so successfully captured their full-on live sound as they do here, thanks to three days of recording frenzy at Daniel Nentwig and Sebastian Maschat’s Butterama studio, a haven of analog hardware hidden in a remote part of Berlin’s Neuko?lln district. The exploding kaleidoscope of styles that make up this album, perfectly reflected by the stunning cover artwork from Nick Henderson and photography by Christoph Rothmeier, means that they can no longer be confined to their early description as an “Afro-Funk Quintet” or merely described as a lively tribute to the artists which have influenced them: their sound is 100 per cent pure uncut Onom Agemo, even though every track feels like a new beginning. The presence of a charismatic in-house vocalist who brought her own lyrics along has also boosted their confidence considerably and provided a further knock-out punch to their onstage performances. And no one will be disappointed as soon as the first bars of “The Trumpets Of Denmark” stomp on stage like a boisterous fanfare, with Johannes Schleiermacher’s impressive wall of sound production making the musicians sound like a much bigger band than what their line-up suggests (with Maria Schneider from Andromeda Mega Express Orchestra adding some extra percussive clout) and just the right amount of dizzying cross-rhythms to steer it away from potential bombast. When Onom Agemo’s powerhouse vocalist Natalie Greffel starts chanting what at first sounds like a string of Onomatopoeia, it soon becomes clear that she’s laying down her manifesto for a nostalgic Space-Age yet to come, with a few key words serving as Mantra (Focus, patience, tears and creation): an invitation to drive off the Information Superhighway and its endless litany of polite noises, to redirect our gaze inside ourselves and learn to understand and sometimes question how others perceive us. Conceived by bassist Kalle Enkelmann in Morocco on a diet of mandarins and bananas, “Bonne Trance” enthralls with its lush keyboard arrangement and flute interjections, enhanced by the insistent punctuation of qarqabas, those indispensable accessories of Gnawa folklore that recall the sound of castanets, transporting the listener into a virtual hinterland halfway between Essaouira and Andalusia. Not recommended for trance- phobics, but possibly the ideal panacea for dancing away your fears. Whenever the word „fusion“ crops up in conversation regarding music, perhaps because of its culinary connotations, one tends to be immediately reminded of lukewarm leftovers and excessively fussy presentation. But this notion is quickly dispelled by copping an ear to “Welcome Eko” (which wasn’t named, as one might think, as a tribute to the ancient name of the city of Lagos, but in honour of the Italian manufacturers of middle-range electric instruments that flourished in the mid 60’s and have acquired a cult aura ever since). On this sterling example of trance-fusion in excelsis, our five crack instrumentalists have distilled a particularly potent brand of Ethio-Gamelan laced with guitarist Kalle Zeier’s razor-sharp riffs. In this age of immediate gratification and digital wizardry, there is something almost quaint but quite moving about the antiquated magic of an instant camera, where the Moment is captured for posterity, with unpredictable fluctuations of picture quality and no possibility of further embellishment (no face-saving Photoshop action allowed here). “Magic Polaroid”, the song, celebrates the recollection of such ephemeral pleasures made possible by this simple, compact device. Johannes Schleiermacher’s unbelievably complex, almost Steve Reich-like arrangement echoes the mysterious chemical reactions that take place during the transfer of that fleeting image on film while Bernd Oezsevim’s driving rhythms propel the song like the pair of rollers that will eventually eject that magic snapshot out of the camera. Changing pace and shooting back into space, we meet the “Broken Satellites”, the closest the band comes to jazz of a somewhat spiritual nature, albeit with a strongly psychedelic-flavoured intro. Modern society encourages us to fill our bodies and minds with way too much junk, but we tend to forget all the junk that humankind has left behind in space. Natalie Greffel’s inspired performance, ably supported by exuberant sax lines and cascading keyboard runs, hints that as the decommissioned satellites were heading down to crash back on earth, they probably crossed paths with the Voyager Spacecraft, which had been hijacked by extra- terrestrial music fans who, after poring over every detail of that famous Golden Record that came as a surprise package with its contents, had stumbled on a couple of hidden bonus tracks by Abbey Lincoln and Jeanne Lee which fired their imagination. Finally we arrive at the final stretch of our grand tour, a short stopover on a virtual Co?te d’Azur going by the name of “Super Cannes”. The garden party at the Villa has already started, the guests are lounging around the heart-shaped pool but someone has spiked the punch bowl and some torrid activities are about to commence. The soundtrack is provided by that master of improbable juxtapositions, Jo?rg Hochapfel, who expertly segues the jaunty opening melody with a waltz-tempo groove before bursting into a funkalicious synth solo full of suggestive grunts and squeals. Or maybe that was just the sound of a few unfortunate earthlings being abducted from their jacuzzi by aliens who’d jumped onboard a falling satellite. C’est chaud!

[engl] This is the second collaboration between the Berlin based groove-outfit ONOM AGEMO and the Malian guitarist, singer and songwriter AHMED AG KAEDY. After the release of their first project, a 7" single titled “Onin Okalan” in 2017, they are now presenting a full album which they recorded in Berlin and Bamako between 2018 and 2020. the title “Tartit” roughly translate to “unity”, as it unifies not only Funk Psychedelica with Desert Blues, but also unites musicians whose backgrounds are as different as can be, but whose musical tastes are surprisingly in tune.

[engl] “One of the finest albums I’ve heard in a while. Tight, Fela-esque horns, big clubby drums with chunky guitars holding it all together, this record is constantly engaging and is at times reminiscent of Quantic at his best. Can’t say fairer than that!” Adam Gibbons/Lack Of Afro Were David Hanke to pass on from this mortal coil tomorrow, Nevertheless might prove his perfect epitaph. It’s a refreshingly honest and somewhat autobiographical long-player that harks back to his early twenty first century musical influences but actually has its route much earlier in this self-styled Renegade Of Jazz’s life. The album’s appellation refers back to Hanke’s first live concert experience when in 1984, at the age of six, he went to see a Blues-rock band called Nevertheless whose guitarist was none other than his own father. With music clearly already running through Hanke’s D.N.A. this was the moment that, perhaps subconsciously, triggered his life long love affair with soulful sonic creativity. Nevertheless sparks into action with the irresistibly uplifting Lemon Squeezers, a suitably life affirming opener complete with exhilarating guitars and as the man tells us, “(the) basic characteristic, the beat!” and it’s a rock solid beat at that. With some Renegades Of Jazz trademark horns added for extra spice, and of course everything programmed by Mr Hanke himself, this is the perfect introduction to this man’s scintillating style. Nautical nugget, Big Fish, continues the brass obsession. It has a more sonorous, almost big band feel, even though we all know this is being delivered solely by one pair of hands and that singular, special musical brain. Hanke adds some nifty piano work for extra cheekiness, which is a theme that’s continued on Another Day (Going In Too Deep) where Hammond style keys and perfectly chosen vocal samples do battle with more foot friendly beats, before we go in deep with Afro flavoured licks and horn riffs. The title track starts life as something of a moment of calm with a more introspective feel, but not for long as we make way for more trademark beats and vocal loops, and more of those irresistible horns! It’s the prelude for a watershed moment on the album as Hanke then introduces his first guest in the shape of Bristolian rapper Donnie Numeric (one half of Delegates of Rhyme) on the scorching Hot Wired. It’s the perfect illustration of our producer’s love for the Hip-Hop art form, and Donnie’s smooth lyrical flow combines with those Renegades Of Jazz brass and guitar riffs to make more demands on you to move your feet. And while barely taking a breath, the heat continues with infectious, super hot funk jam Light Me Up, featuring Clair Fallows of The Impellers fame. It’s a modern take on a classic sound and having already stamped his Hip-Hop card, Hanke is keen to point to the Funk and Soul influences that have shaped his musical journey. It’s not long before we return to the Hip-Hop again though, and a track that not only harks back to some of the more relaxed, smooth sounds that were prevalent in French rap in the late 90s, but one that also showcases Hanke’s A&R skills. En Route features the vocal talents of French MC Urda, a voice that we are sure to hear more of in the coming years. The biographical feel of Nevertheless continues to be indulged on the very summery and confident, but somehow wistful, Then And Now, before things get serious with album highlight Don’t Break My Love, featuring the vocal prowess of Afrika Fuentes and lyrical writing talents of UK producer Diesler. It’s a fractured, disco flavoured club burner that’s sure to cause some dance floor havoc in 2019. Hands And Hands combines a more relaxed latin feel with some choice spoken word and chanting from Manchester based rapper, and regular member of The Mouse Outfit, Bedos Mavanubu; and Set Me Free continues to chill things out with its laid back, blues flavour enhanced by the husky vocals of folky singer- songwriter, also from Manchester, Jon Kenzie. David Hanke’s life story comes to its natural conclusion with the appropriately entitled This Journey, which could have very easily been an alternative moniker for this very personal LP. Once again David raids the current crop of exciting UK talent with up-and-coming London based vocalist Kemi Ade providing lush tones accompanied by muted horns, sparse percussion and spine-tingling, spacey keys.

[engl] After 6 years from the acclaimed album “albore”, Rhabdomantic Orchestra is back with a new full length born from the meeting with the Colombian singer Maria Mallol Moya. “Almagre” is a sort of novel in music inspired by surrealism aesthetics and south american magical realism. Set in an imaginary mediterranean, crossroads of encounters and clashes between cultures, red as the blood that keeps staining its waters, almagre is a visceral, reactionary, spiritual yet political album that marks a change of direction from the sense of purification of the previous work towards a continuous tension to the sublime. After the allusion to the white of albore, now is the time for “almagre” an arabic-hispanic word used to name the red color obtained from iron oxide. The album was composed and arranged by Manuel Volpe with the intention to create a musical Babel made up of continuous contrasts of languages and suggestions with a strong narrative approach to orchestration. Each episode develops itself in linearity through the superimposition of cyclical figures where the instruments act as characters in continuous exchange with Maria’s eclectic vocal shades. “What I would like to explore with the Rhabdomantic Orchestra is the evocative and narrative power of the arrangements to achieve a sort of magical realism where the imaginative power of music can speak for it self.”

[engl] “‘Beaches in Your Soul’ is an album that is both great fun and full of depth as it conveys an incredible, life-affirming energy. Rolf Zielke describes his music as “daydreams and visions of the future that become sounds.” There is no doubt that this album is an impressive demonstration of his outstanding abilities as a composer, arranger and pianist, as well as his important role in European jazz.” Matthias Wegner, music journalist, November 2020

[engl] RSN, producer, DJ and musician from Athens - Greece, delivers his 5rth album named “Motion” which is his 2nd one on Agogo Records. In this 9 track - album (2 instrumental songs and 7 with vocals) Rsn uses all of his music influences. From Hip Hop to Electronica and from blues to trip hop.

[engl] After the release of their playful debut album “Worldstyle” the Budapest duo returns now with their 2nd album “Brotherhood”. The songs often summons blues elements but they are also influenced by dub, funk and un petit de hip-hop. the lyrics are mainly about the social and personal problems of our times, interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter “i” in “Brotherhood” and in the other reggae-inspired song “Pass It On”. Being one of the dominant figures of the Hungarian ska movement he is an important guest on the album. As the main driving force behind the 90’s very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five and his talents and professional performances are turbocharges three completely different songs. “Revolution!“ has previously released in 2016 as a 7” single and features dazzling electro blues and Ashley’s food for thought lyrics. In “Life Is Love” he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of “People Kill People” which is a unique cover of Éric Serra’s seminal 80’s cult classic “Guns & People”. Denise M’Baye known as the MC/singer of Mo’Horizons is featured in two downtempo tracks. “Wings” is a laidback song about love while and “All My Life Is In This Bag” smuggles back a little bit of the mood of “Worldstyle”. Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With “Come Away With Me” she proves that she’s not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. “Bad Man’s Ballad is bittersweet song about the average politician of our age while “Keep Going On” on the other hand is full of playfulness and delivers a short but positive message. At last but not least we have the Ghanaian After the release of their playful debut album "Worldstyle" the Budapest duo returns now with their 2nd album "Brotherhood". The songs often summons blues elements but they are also influenced by dub, funk and un petit de hip-hop. the lyrics are mainly about the social and personal problems of our times, interpreted by talented guest vocalists from all over the world. The guest performance of KRSA puts the point on the letter “i” in “Brotherhood” and in the other reggae-inspired song “Pass It On”. Being one of the dominant figures of the Hungarian ska movement he is an important guest on the album. As the main driving force behind the 90’s very popular and recently revived British band Freak Power Ashely Slater needs no introduction. He has worked with Dub Pistols, Dublex Inc., or Fort Knox Five and his talents and professional performances are turbocharges three completely different songs. “Revolution!“ has previously released in 2016 as a 7” single and features dazzling electro blues and Ashley’s food for thought lyrics. In “Life Is Love” he proves that his talent has no barriers whether he sings lonely doo-woptempo or the dub-ska of “People Kill People” which is a unique cover of Éric Serra’s seminal 80’s cult classic “Guns & People”. Denise M'Baye known as the MC/singer of Mo'Horizons is featured in two downtempo tracks. “Wings” is a laidback song about love while and “All My Life Is In This Bag” smuggles back a little bit of the mood of “Worldstyle”. Fedora is the best-known female MC/singer of the Hungarian bass music life. She made her own solo album in 2017. With “Come Away With Me” she proves that she’s not only an bass music MC, but a great singer with deep emotions. Another guest from Hungary is the lead singer of the downtempo-funk band Mystical Plants. Bryant Goodman contributes to the album in two different tracks with his gravelly voice. “Bad Man’s Ballad is bittersweet song about the average politician of our age while “Keep Going On” on the other hand is full of playfulness and delivers a short but positive message. At last but not least we have the Ghanaian M3NSA on the board from Fokn Bois and RedRed. His lyrics in “It Works” is very motivating for everyone and spreads the message of not giving up even if the world is seemingly against you. Savages Y Suefo’s new album “Brotherhood” is a lot different from their previous one in many ways but it remained just as eclectic as its predecessor “Worldstyle” and still proves Savages Y Suefo’s wide interest and openness in music that is needed today... and not just in music.

[engl] DJ Oonops presents Volume 2 of his extensive compilation covering genres from Dub, Jazz, Funk, Soul to Beats and Hip Hop featuring pretty well known artists as well as zooming newcomers. He spent more than one year to select artists from around the globe who reflect the sounds of his “Oonops Drops” broadcast on Brooklyn Radio (NYC). be that jazzy beats or virtuoso live jazz drums, keys and guitars from Japan by Kazumi Kaneda, RF and 45 a.k.a. Swing-O, a first-time-on-vinyl dub remix by Great Britain’s Coldcut or a brass cover version of Rihanna’s “Stay” by Sly5thAve out of the US. Most of the tracks are exclusives or first time available on vinyl for this compilation, like the song “Measly Peace” by Magic In Trees out of Nashville, German beatmaker Twit One with an ill jazz instrumental or London based rapper and singer Amy Tru featuring Nubya Garcia. Also you gonna hear an unique and rump-shaking cover version of Blackstreet’s “No Diggity” by T Bird & The Breaks, John Turell’s powervoice over some heavy beats by Soopasoul, Kinny with a catchy tune, Igor Zhukovsky from The Soul Surfers & MRR Drumetrics with an exclusive, pumping psychedelic drum track and Schemes from Montreal who take all the credits at the moment from the web by Vice, Okayplayer, Music Is My Sanctuary and many more. For the artwork Oonops collaborated once again with San Francisco based artist Lindsey Kustusch who mirrored the atmosphere of New York City on point with her oil painted artwork. Be sure to get your hands on this limited peace of work before it’s gone like Volume 1. About Oonops: beside his vinyl only show on Brooklyn Radio he is spinning banging club sets to relaxed mixtures for vernissages, museums or theaters. And furthermore he works as a product designer and he’s listed in the top 50 of Germany’s best table tennis players and focuses all his skills in an event which will bring all this together.

[engl] Two Tribes Volume 2 – an intercontinental journey in rhythm, compiled by Ubbo Gronewold and Tobi Kirsch “Not long after the release of Two Tribes Vol. 1 we realized that our journey had only just begun and lots of stories still had to be told. Motivated by lots of positive response we soon put to work researching and compiling music for what you are holding in your hands right now. We put our emphasis on expanding to other European regions and on including different countries than on Vol. 1 and we also wanted to give it a bit of a different musical twist. The result are 14 tracks covering what we consider a broad and diverse spectrum but still clinging to our initial idea of building a musical bridge between the continents Africa and Europe. The immense cultural diversity of both is represented by newcomers alongside more well-known names, both of which have a strong connection to the rich musical traditions of Africa. On board are African artists living in diaspora on equal footing with Europeans that incorporate their high affinity to the African continent into their music. Exciting outernational collaborations round off the selection for Vol. 2.”

[engl] Wanubalé – nine guys from Berlin, inspired by the city’s fresh Jazz scene and distinct club culture. This band sets out to define their own, highly danceable version of Jazz, Neo Soul and Funk. Wanubalé met at school. Five of the nine in the band went to the same musical high school in Berlin. There, in a dark basement jam-packed with equipment, Philip Schilz and Heinrich Eiszmann met for whole afternoons to built unique sound castles made up of bass drums, snares and everything else they were able to get their hands on. Thus, the two drummers built the foundation for the ultra-danceable grooves that define Wanubalé. Heavy influences from Jazz, Neo Soul and Funk shape their compositions. However, electronic sounds are just as important to Wanubalé. All of the nine are in their early twenties. All of them grew up around the vibrant club culture of Germany’s capital. All of them are into Dub, Bass Music and Broken Beats. The Wanubalés are first rate musicians. They tend to take their time writing arrangements, yet they are careful not to overly emphasize their jazz skills. Songwriting is a collaborative affair, everything is developed organically. Just like the band name, which dates back to the days of fooling around in the schoolyard, playing with syllables (“nuba” came first). Sound was crucial. Some say “Wanubalé” means “brother” in Swahili. Wanubalé’s instrumental debut album was recorded by Axel Reinemer in Berlin’s Jazzanova Studio in 2018. The musicians don’t hide their influences: Snarky Puppy, Fat Freddy’s Drop, plus younger acts like Hiatus Kaiyote and Nubiyan Twist. But Wanubalé do their own thing, having produced and arranged the album. Wanubalé: four horns, two drummers, guitar, bass, keyboards. Nine musicians with a knack for funky breaks, might brass sounds and great melodies. some quotes: Radio Krimi “perfect for our jazz show” Laurent Garnier “superb!” bamalovesoul “we like this” Dom Servini “really strong. perfect balance of styles. love it!” Jazz London Radio “two tracks on our playlist” Opolopo “very nice” Global Riddims “wonderful release” Radio Helsinki “praise that !” Tim Love Lee “love this” Toshio Matsuura “excellent” DJ Maestro “nice !” Ketch A Vibe Radioshow “simply stunning. Both are a perfect crossover of jazzy beats including afro & fusion” DJ Oonops “pure fire”