Portico Quartet
Memory Streams

Face ⵍⴰⵃⵙⵏ ⵄⴰⵇⵉⵍ Lahcen AkilLahcen Akil : lotar , chantHamid Akil : bendir, percus, chantAzdin Oaamo : bendir, chant ( track 1)Rachid Ben Ali : mains, chant (track 1)ⵍⴰⵃⵙⵏ ⵄⴰⵇⵉⵍ Lahcen Akil is born in 1969, in Tamlalt village, Upper Atlas, ⴰⴷⵔⴰⵔ ⵏ ⴷⵔⵏ Adrar n Dern , Dades valley, where he currently lives with his family , his wife and two sons , He learn early music himself, musician, composer, song and poetry writer in Tachelhit, the Amazigh, or Berber of South East Morocco .ⵍⴰⵃⵙⵏ ⵄⴰⵇⵉⵍ Lahcen Akil is a stringed instrument maker. He makes his own lutar.More info in french :lahcenakil.blogspot.comFace Louis Minus XVI duoLouis Minus duet, french free jazz band from Lille.Adrien Douliez : sax altoMaxime Petit : basse électriqueThey have spend two week in Tamlalt for review this split LP and the "Février" song.louisminus.bandcamp.com

As the final chapter in the initial run of Jazz Is Dead releases, Remixes JID010 continues the creative catharsis of an exhilarating new chapter in jazz music. Adrian Younge & Ali Shaheed Muhammad tapped nine iconic creators to reimagine their personal favorites from Jazz Is Dead’s catalogue to-date, who created striking new versions of songs by Marcos Valle, Roy Ayers, Gary Bartz, Azymuth, João Donato, Doug Carn, Brian Jackson and The Midnight Hour. Holding the line taut like a bass string, Younge & Muhammad only invited those special musical alchemists who have previously participated in Jazz Is Dead happenings, or those who are slated to share that stage soon: Cut Chemist, DJ Spinna, Georgie Anne Muldrow, Akili, Shigeto, Pink Siiffu, Dibiase, Natureboy Flako, and Kaidi Tathum. It’s a family affair.The album blasts off with Kaidi Tathum’s reinvention of Marcos Valle’s wistful beachside stroll, transforming “Gotta Love Again” into a strutting, pulsating excursion equally at home in the club and headphones. Building off of Valle’s mellifluous vocalizations, Tathum harnesses the composition’s polyrhythms to build a soulful, jazz-house track that floats over ethereal synths and stutter-steps to a propulsive beat entirely unimaginable, yet true to the spirit of the optimistic and effortless original.On his remix of Gary Bartz’s “Soulsea” Cut Chemist taps into the big-beat atmospherics of his old running partner, DJ Shadow, to craft a moody, echo-laden, percussive down-tempo saxophone meditation. Creating drama over bombastic beats, Cut Chemist layers Bartz’s searching sax refrains over sparse keyboard bars. Brian Jackson’s mellow masterpiece dedicated to the recently departed jazz vocalist, “Nancy Wilson”, receives an epic overhaul by producer Shigeto with help from harpist Ahya Simone and DJ Dez Andres. More than tripling the original’s duration while adding layers of new sounds, Shigeto’s remix weaves in and out of movements that alternately showcase Jackson’s soulful flute work, Simone’s sparkling harp and Andres’ bubbling percussion. Imagine if Dorthy Ashby and Hermeto Pascoal dropped in on Miles’ In A Silent Way sessions...It might have been a foregone conclusion that Adrian Younge & Ali Shaheed Muhammad would give their Jazz Is Dead series the remix treatment, but that doesn’t mean this is your average remix album. Just like Younge and Muhammad fused their aesthetic with the musical masters they invited to collaborate with for Jazz Is Dead, the DJs, producers and musicians tasked with remixing songs from the catalogue tapped into the same jazz ethos, resulting in imaginative and sometimes radically reimagined versions of the originals.

Après les célèbres compilations We Out Here sur les nouveaux talents Londoniens et Sunny Side Up sur la bouillonante scène jazz Australienne, Brownswood présente Indaba Is, une compilation de musique improvisée et de jazz sud-africains actuels. Le projet est le fruit d'une collaboration avec deux grands noms de la scène musicale sud-africaine, le pianiste/auteur-compositeur Thandi Nthuli et Siyabonga Mthembu de The Brother Moves On, qui agissent en tant que curateurs sur le projet. Les townships sud-africains étaient historiquement des lieux cosmopolites. L'apartheid confinait toutes les classes dans les mêmes lieux appauvris. Les migrations de tout le pays et de toute la région ont fait que les habitants des kasi maîtrisaient de nombreuses langues musicales. La musique d'église, la musique classique européenne, le jazz américain et les chansons pop de Liverpool diffusées par les stations de radio étrangères ont alimenté ce riche mélange. Indaba est né de toutes ses racines. Mais la communauté n'est pas sans poser de problèmes. Les fractures persistantes de la société sud-africaine ont été délibérément créées par l'apartheid, résultat d'une tentative d'imposer à tous des identités unitaires et construites sur une base raciale. Tous les morceaux de cette collection le contestent :ils démontrent la puissance unificatrice du travail musical collectif.

Wonderful LP definitly a must have for all fans of new auxtralien scene and contemporary JazzDavid Versace is an Australian multi-genre keyboardist, composer and producer based in Meanjin, Queensland. Growing up in a very musical household it was always important to express and embrace all types of music and sonics. His sound ranges from Jazz and Samba to ambient works and the odd dance-floor heater. David also plays in Meanjin nu-jazz dance outfit First Beige.Since late 2019, he has self released around 20 different tracks and with the most recent signing to La Sape Records David is excited to announce his debut solo album 'Okra' a conceptual body of work that flows through a culmination of raw organic concepts conceived In The Moment, and his most elegant & articulated work yet.

Probablement un des meilleurs albums de 2019 aux influences Reggae, Gospel, Highlife, Soul, Funk du Ghana .... Une oeuvre complête qui emprunte beaucoup à la musique de ces 50 dernières années sans pour autant tomber dans le plagiat. Une richesse qu'il est rare de constater, si vous voulez plonger dans la musique sub saharienne voici une porte d'entrée ! It's taken a while, but Philophon chief (and in-house producer) Max Weissenfeldt has finally managed to finish the album he started working on with Ghanaian Frafra-gospel singers Alogte Oho & His Sounds Of Joy. It's a set that has been promised for the best part of five years, so it's fantastic to see it finally materialize. Musically, it explores similar sonic territory to Oho's previous singles on Philophon (all of which featured music from Weissenfeldt), effortlessly joining the dots between traditional Ghanaian styles, local interpretations of funk and soul, dub-wise reggae rhythms and occasional nods towards contemporary electronic beats. The results are superb, making this a must have for those who love a bit of West African musical positivity.

First ever reissue from 1981 private brazilian jazz/fusion / avant garde / 180g vinyl + deluxe hard-cardboard sleeve + obi + resealable outer sleeveRaposa Velha was a notable Jazz group from Brazil, which was part of the wave of great musicians and bands in Bahia during the 1980s, such as Sexteto do Beco, Saul Barbosa and Andréa Daltro.Thus, Raposa Velha only released this album, independently in 1981. Lined between Jazz-Fusion and Avant-Garde Jazz, this LP has become a very obscure piece within the Brazilian Jazz universe and one of the rarest of Brazilian Jazz.