Oiro Pena Jooklo Sextet
Jazzpelle / LSD Mingus Post Blackout

Helen Umebuani Nee Nkume was born in 1943 at Nbiabike Amekpu Ohafia. Though her father was a prominent member of the community, her family moved to the bigger city of Umuahia, capital city of Abia State, while she was still young. She received her education there and while in secondary school she met her future husband, Umebuani Onwuzulike. Their marriage was blessed with three wonderful children.Helen started her musical career in the early 70s, forming a group known as the Young Timers. They recorded their first couple of Highlife albums for Tabansi, both of which became hits in the east side of the country. By the late 70s she self-produced and released her two best albums: "Young Timers Band" and "Vol.IV", which were pressed in very limited editions and distributed mainly in the area where the group was active, Umuahia and its surroundings.The music on those albums have a certain progression to them. The "Young Timers Band" LP is mostly still steeped in the highlife mood that distinguishes her earlier work but one track, "Umo Imo Special", stands out from the rest. It's a fusion between highlife, jazz and afrobeat and totally dance-floor friendly - what we would call “Countryside Afrobeat”."Vol.IV" has a more defined Afro Funk sound but the tracks "Music" and "Onye Ije" are clearly among the most loved of that Countryside Afrobeat genere. (We'd like to note here that on this last track we decided to maintain its original sound as much as possible. In fact, the production is somehow quite lo-fi, with the music relatively low and in back compared to the up front vocals, a style that we believe was intended by the group.)By the early 90's Helen had become born again and started performing on gospel Albums, eventually becoming one of the most successful Nigerian gospel musicians of the 90's.Helen Nkume albums are some of the most elusive produced in Nigeria during the 70s and finding her family has been as complicated as finding clean copies of her albums!We remember the first time we found her orange album. We didn't know what it contained but something about the cover shouted “pick me up”! We were in a village near Umahia, had no light nor way to listen to it on our turntable but when a cover speaks to you that way - you have to trust it. Once we got back to our room we played it and were happily surprised. Our minds started mulling over the idea of making something special and we started to talk with all our friends, musicians and artists in the area in order to find some info about her. For 2 years though – nothing, apart from discovering that she had passed away in early 2000. Luckily our good friend Austin from The Combats was able to locate her daughter and son in Umuhaia and we were finally able to license the music from them. Sadly, not much material was left, only one very, very damaged picture.

10th Anniversary Edition reissueAntibalas' first album on Daptone RecordsLimited time album download includedThe unstoppable, irresistible rhythms and melodies of Antibalas have influenced scores of artists across rock,hip hop, afrobeat and beyond.Born in a Brooklyn warehouse in 1997, the 12-piece ensemble Antibalas is credited with introducing Afrobeat to a wider global audience, influencing countless musicians and developing a live show that is the stuff of legend. Members of Antibalas served as musical directors and the house band in the Broadway hit FELA! and penned original music for the show. Members have also recently collaborated/performed with Iron and Wine, Sharon Jones & The Dap-Kings, Mark Ronson, TV on the Radio and The Roots.On the heels of the hit musical FELA!, Antibalas ended up reuniting with former member and producer GabrielRoth, who was at the helm for their first three albums. This self-titled album was their first on Daptone Records.

Off the back of their incredible debut Time Lapse EP in 2021 and keyboardist Mali-I's phenomenal debut LP 'In Session', Monzanto Sound return with new vocalist Mimi Koku to deliver exceptional new 4 track EP 'Tomorrow, Tomorrow and Tomorrow'.Early support for the EP has come from Jamz Supernova on 1Extra, Music Is My Sanctuary, Worldwide FM and Spotify's Fresh Finds Jazz playlist.Expect psychedelic neo-soul grooves, deep dub jams and krautrock-inspired experimentalism

Juan Pablo Torres was one of the best trombone players in the Latin-jazz community of the second half of the 20th century.He was the director of Algo Nuevo and a member of Irakere, two of the leading exponents of Afro-Cuban jazz in the 1970s and 1980s. He has also directed various Cuban supergroups such as Estrellas de Areito and Cuban Masters.Almost all of his albums were made for Areito de La Habana, Cuba.‘Cuba Disco’ was the only album released in his name in Europe; recorded in Milan in 1984 and produced by Aldo Pagani. In Italy in the same year he participated in two records by Pino Daniele and one by Astor Piazzolla.Accompanied by his faithful Gruppo Algo Nuevo, with the addition of some guests such as the Italian jazz guitarist Angelo Arienti, his traditional Afro-Cuban vein is contaminated by disco and balearic moments; as in the case of the magnificent ‘Bermuda Triangle’ which anticipates the current atmosphere of Nu Genea.Limited edition. Released from the transfer of the original master tape.

A group of musicians invited by Devin Brahja Waldman and Ziad Qoulaii for a recording session in Montreal, QC. This music speaks about freedom and evolution of consciousness. The album could be categorized as improvised Gnawa Jazz Krautrock: a combination of sounds we are able to discover for the first time thanks to the artists involved.KADEF: Karma, Agape, Discernment, Enactment and FreedomKarma: choice and consequence based inAgape, meaning Love: to honor the sacred boundaries of Human Beings and the intelligence of the Universe; for which we requireDiscernment: in order to disentangle truth from deception and identify the voice of conscience towardsEnactment: to heal and evolve our hearts and minds in order to manifest wise action which leads us toFreedom: the birthright condition of the human species and all sentient beings of the Earth;

In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days. Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there.Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki.Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again.Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma).The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974.“I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.”Jérôme “Kalcha” Simonneau