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"Transition East" features two new pieces of music created by Angel Bat Dawid in response to Emma Warren's 2019 book "Make Some Space" – i.e. the book that chronicles the history of London DIY music institution Total Refreshment Centre.Angel Bat Dawid, who first met Emma Warren at Total Refreshment Centre in 2017, composed & recorded "Transition East" alone in her space on the Southside of Chicago, originally to be accompaniment for the audiobook version of "Make Some Space." Angel conceptualized & named the song in commemoration of the storied Chicago community center that was a hub for the AACM and icons from the Black Arts Movement in the 1960s, and was recently revived by one of her mentors, Eliel Sherman Storey."No Space Fo Us" was composed & recorded at a space in Salvador, Bahia, Brazil, where Angel travelled with a crew of Chicago artists (including IARC label mates Ben LaMar Gay & Damon Locks) on a collaborative mission organzied by Comfort Station, called Close to There (Perto de Lá). The track features Angel with Ben LaMar Gay and new Brazilian friends Edbrass Brasil, Romulo Alexis, Tadeu Mascarenhas, Nancy Viégas & Germano Estacio.

The first compilation from South African vinyl re-issue specialists Matsuli Music – a journey through jazz, funk, fusion and disco, detailing the incredible story and sounds behind the Soweto nightclub during the height of apartheidA night-time haunt in the backstreets of Soweto run by a well-known bootlegger should have been a prime zone for nefarious underworld activities. Instead, it nurtured an underground of a different kind. Soon after its opening in 1973, Club Pelican became a spot where musicians steeped in the tradition of South African jazz began to cook up experimental sounds inspired by communion, competition and the movements in funk and soul blowing in from the West. Located in an industrial park on the western edge of Orlando East, Soweto, Club Pelican was off the beaten track, among a matrix of railway and industrial infrastructure. In a different time and place, this would have been a prototypical nightclub location, except there was no local precedent to follow. This was Soweto’s first night club.In the intervening years, this location has served to heighten the now-defunct spot’s legendary status as a singular venue, one that ruled the night in the Seventies. Initially called Lucky’s and established in 1973, the Pelican’s impact on the Soweto cultural landscape was immediate. Lorded over by a charismatic figure known as Lucky Michaels, the club became the jewel in a nondescript collection of family businesses. It boasted a diverse pool of talent in its succession of house bands and an A-list of ghetto-fabulous singers asits cabaret stars. Its VIP section was a veritable who’s who of Soweto society and its stage, hosting a mix of the day’s pop culture infused with the creativity and individual histories of the musicians, the Pelican filled a live music vacuum.One Night in Pelican captures the halcyon seventies period with a single nightclub embodying an indomitable spirit of its troubadour players. While schooled and rooted in “standards” and local forms, the music could take any direction, at a moment’s notice. This compilation features all the key groups and players of the time: Abacothozi, Almon Memela’s Soweto, The Black Pages, Dick Khoza and the Afro Pedlars, The Drive, Ensemble of Rhythm and Art , The Headquarters, Makhona Zonke Band, the Shyannes and Spirits Rejoice.’

Tramp Records continues their pilgrimage to the soulful fringes of spiritual jazz and progressive rock and funk with their 3rd and 4th volumes of their "Peace Chant, Raw, Deep and Spiritual Jazz" series, and the world could not be more ready.As we turn together on this tiny blue ball hanging lonely in space, and as we together face existential threats ranging from climate catastrophe, the rise of brutal authoritarian regimes, the breaking of the industrial storm and the imminent collapse of empire, not to mention the raging covid-19 crisis and the continuing racial and social struggles across the globe, we are thrust into a society-wide grand awakening that has been in the making for a very long time. Of course, our musical teachers have trod this path before us, and have worked out solutions to these problems, the songs of the Peace Chant series ring out loud and clear as our ancestors' proof of concept. They say history repeats herself, maybe it's because we weren't listening the first time. Thanks to Tramp Records, we have been granted another opportunity.Today, the musical and spiritual truths enshrined within the spiritual jazz diaspora seem to be more and more sought-after, and crucial at a time when we as a society seek higher and farther for those bold truths. With each generation, that truth doesn't change, and the artists featured in the series speak those truths along a continuum that ranges from the late-60s up to the present day.Volume 3, the first LP, features artists who use their medium to welcome the return of the sacred feminine as in Lenny Marcus Trio's Mother's Day, and speak on afrocentric themes like Roland Hayes with his heartfelt Africa The Beautiful. Mineral King renders epic orchestral rock while Natural Life takes us even further on a ten-minute epic quest from a progressive fusion head, to searing tabla, into virtuosic guitar jamming and finally dropping into heady fuzz-soaked riffs and free-jazz fusion with their theme song. Rama Dyushambee sings a devotional song about divine source and healing, while Jule Farmer's Muhammad Ali stands strong at the crossroads between black spirituality and black power. Black Is provides a vibey lo-fi flute jazz meditation in their Themes and Variation while The Supa Lowery Brothers provide the requisite hard modal freedom funk.Peace Chant is the center of the mandala, representing the nucleus of the post-bop, modal jazz, avant-garde, transcendental, spiritual, ethnic, and freedom music universe without necessarily suggesting anything immediately identifiable as any of the above. This is the soundtrack to the raising of human consciousness and the salvation of society's very soul.We give thanks to Tramp Records for leading our thirsty hearts to this rich fountain.

Moving musis is out with it's third Soundtrack release, the 1982 Norwegian cult feature "Carl Gustav, the Gang and the Parking Bandits" A teenage flick set in the outskirts of Bergen. A Band of black dressed greedy corporate thugs are converting all the playgrounds in the area to parking lots. This doesn't fit well with the local youth, Carl Gustav and his friends finds all the clues, traces down the thugs and get their revenge at the castle finale. Well respected Norwegian director Ola Solum again hired Pete Knutsen (see also Operasjon Cobra MM02 ost) and his bandmates from Popol Ace for the job to make the score. And the result is a brilliant small group funky rock outfit with plenty of open breaks, quirky instrumentation and interludes. Songs from the film includes vocal tracks by famous Norwegian pop artist Jahn Teigen and the punk group Alle Tiders Duster.Never before released and remastered from multitrack tapes by Timmion Finland, this score is long overdue but finally available for the first time! Comes with downloadcodes and limited to 500 copies!

TBMO first revisited the works of elders Batsumi and Malombo whilst on tour in Europe during 2018 and 2019. In collaboration with Matsuli Music an idea was seeded to record these works specifically for a vinyl release.With these recordings, TBMO work to re-stitch a torn cloth. These songs are critical shards of a fractured sonic, social and political inheritance. They are the sound-work of the elders – Mongezi Feza, Johnny Dyani, the Malopoets, Batsumi, and Philip Tabane, and they come with a blessing from Moses Taiwa Molelekwa. Called into the circle for this session, they speak old wisdom in new voices, and what they have to give is not measured in distance from a so- called original version.TBMO is a South African performance art and music ensemble from Johannesburg formed in 2009 by brothers Nkululelo and Siyabonga Mthembu whilst watching an episode of the US TV-drama The Wire. The name is a misconfiguration of a fictional character, The Brother Mouzone, from The Wire. Since 2009 they have released two albums, A New Myth (2013) and The Golden Wake (2015).