Naoito
DotA

Far Out Recordings est ravi de présenter Mora ! et pour la première fois en vinyle, Mora ! II. Percussionniste mexicain-américain et ancien membre du Sun Ra Arkestra, Francisco Mora Catlett a enregistré et sorti son premier LP solo en 1987 en tant que presse privée, mais la suite qu'il a enregistrée au cours des années suivantes avec une section de cuivres jazz élargie à Detroit a été mise en veilleuse pendant des décennies. Mélange panaméricain de rythmes afro-cubains hypnotiques, de batucadas frénétiques et de sambas enflammées, Mora I & II sont les saints graals du jazz latin, dirigés par un héros méconnu du genre. S'installant à Detroit après ses années passées avec l'Arkestra, Francisco s'est mis au travail pour ses débuts éponymes, rassemblant un ensemble de musiciens comprenant le claviériste Kenny Cox, fondateur du légendaire Strata Records, le bassiste Rodney Whitaker du Roy Hargrove Quintet et les percussionnistes Jerome Le Duff, Alberto Nacif et Emile Borde. La suite Mora II est enregistrée peu de temps après avec un line-up élargi qui comprend la légende de la trompette Marcus Belgrave, célèbre pour son travail avec Ray Charles, Charles Mingus, Hank Crawford, Eddie Russ et Wendell Harrison.

White vinyl. Produced by Leon Michels !

This album is a tribute to Pastor Wylie Champion, whi died while we were in the process of releasing this , his first record, and his wife, Mother Champion, who died a few months earlier.We met Pastor Champion a few years ago while we were putting together another release, The Time for Peace Is Now: Gospel Music About Us. We found him in a collection of YouTube videos from the37th Street Baptist Church in Oakland, California, put together by the pastor there, Bishop Dr. W.C. McClinton. There was quite a lot of talent in those videos, and among them was Pastor Champion whom we liked so much that we decided to make a record with him.Pastor Champion wasn’t like any other pastor you’ve ever met. As an itinerant preacher, a carpenter, and a father of five, he made a name for himself traveling up and down the California coast with his electric guitar. He traveled alone and he played alone, well into his seventies. The easiest way to describe him would be as an outsider gospel artist. Other than these bare facts, we never learned much about him—except that he was also the brother of the well-known soul singer Bettye Swann. In fact, most of what we knew about him we got from his sister’s Wikipedia page.We decided that because we met Champion through the 37th Street Baptist Church, we would record him there too. We recorded him live on a two-track Nagra reel to reel, as we wanted the album to be analog in the style of traditional gospel recordings. Over the course of two evenings (when the workday was done), Champion taught his band—musicians who had never played together before—a handful of songs, a small selection of the nearly 2,000 fragments of songs and sermons that he regularly performed. We listened in as they all got more familiar with the material and each other over time. At some point, we mentioned to Champion that he would have to be interviewed by someone to write notes for the album. He wasn’t too pleased with this idea, saying he’d had a hard life and he didn’t want to talk about it. Over the next few months, we kept asking Champion to talk to someone about his life. He told us that he didn’t want to talk about growing up in Louisiana, his mother being accosted by the Klan, or that his father was a gambler. He didn’t want to talk about being jailed for 90 days for using a whites only bathroom, being in gangs or having a street name. We told him that was fine—he could talk about what he wanted to talk about. And he told us that he didn’t want to talk about anything.You know, there are times when you make a record where it’s already made in your mind before you start. But then in the end, the record you thought you were making is not the record you made. We spent years puzzling over this one, trying to figure out what it was saying, who it was for, and how to get people to pay attention to it.But Champion knew that this record wasn’t going to be for everyone. He didn’t really care. The important part for him was just getting the message out there in the same way that he always had, travelling alone with his electric guitar. “I want to say what I mean,” he said, “be practical, precise, to the point, and, at the same time, diplomatic.” In other words, he just wanted to be a good man. "

Pendant des décennies, la voix de Jean Carne a été un élément crucial du paysage musical américain, reliant des générations d'artistes de jazz, de gospel et de rhythm and blues. Nombreux sont ceux qui reconnaîtront Jean Carne pour sa production au début des années 1970, aux côtés de son mari de l'époque, Doug Carn, pour le label Black Jazz. En tant qu'artiste solo, choriste et coach vocal, elle a contribué et collaboré avec des artistes comme Norman Connors, Doug Carn, Dexter Wansel, Phyllis Hyman, Lonnie Liston Smith, Michael Jackson et bien d'autres. À 74 ans, elle ne montre aucun signe de ralentissement. Sa dernière collaboration avec Ali Shaheed Muhammad et Adrian Younge est une démonstration claire de la référence continue au passé pour éclairer l'avenir.

Leur première sortie mondiale est une compilation de leurs chansons signatures + 2 nouveaux morceaux en exclusivité dont une reprise de "Don't Stop 'Til You Get Enough" de Michael Jackson. Le collectif de carnaval et fanfare basé à São Paulo combine des cors rétro avec de la cumbia, du baile funk, du jazz… Le collectif, dirigé par Thiago França - mieux connu en tant que membre fondateur des explorateurs afro-punk Metá Metá - il est l'un des cornistes les plus demandés de São Paulo avec des crédits sur des albums de Criolo, Elza Soares, Céu et Lucas Santtana… Formé en 2013, A Espetacular Charanga do França est le groupe de carnaval le plus en vogue de São Paulo, attirant régulièrement des foules allant jusqu'à 15 000 personnes - en 2020, le groupe s'est produit au carnaval avec 60 cuivres et 30 percussionnistes !