Ayizan
Dilijans

Must have classic in great condition. French press of the hit combination between wonderful singer & guitarist George Benson and legend Quincy Jones. Released in the summer of 1980, Give Me the Night was produced by Quincy Jones and released on Jones's start-up label Qwest Records, in conjunction with Warner Bros. Records. It charted at number one on both the Top Soul Albums and Jazz Albums Chart as well as number three on the Billboard Pop Albums charts.The album's success was due mainly to its lead single, also titled "Give Me the Night," which rose all the way to the number one single on the Soul Singles chart. Another selection on the album, "Moody's Mood," was recorded with R&B singer Patti Austin. Certified Platinum by the RIAA,[3] Give Me the Night was the only album Quincy Jones produced for Benson.This album won Benson three Grammy Awards in 1981; Best Male R&B Vocal Performance, while "Moody's Mood" received Best Jazz Vocal Performance, Male and "Off Broadway" received Best R&B Instrumental Performance. Quincy Jones and Jerry Hey also won the Grammy Award for Best Instrumental Arrangement for the song "Dinorah, Dinorah."

Utheo debutes on Lyskestrekk with a heavy oriental inspired groove on the A side and a mystique mountain vibe on the flip.

Gilles Peterson has partnered with Jean-Paul “Bluey” Maunick to reinvigorate the loose, protean energy of the early-80s Brit-funk scene. STR4TA sees them mine new musical possibilities outof that shared formative era. On “Aspects”, they revisit thatimportant period and the spirit that guided it: self-taught, DIY vitality, and a raucous energy built on live performance. Bringing a fresh slant to a sound first developed by groups like Atmosfear, Hi-Tension, Light of the World and Freeez – with Maunick, it should be noted, also a member of the latter two bands – it’s the first material that Maunick and Peterson have released together in over a decade.It’s an idea that had been in the works for a while, but which was encouraged by a surprising catalyst: the award acceptance speech by Tyler, the Creator at the 2020 Brit Awards, where he shouted out the influence of “British funk from the 80s”. It was an acknowledgement of the particular sound that Maunick and his peers had honed, where their US influences were reoriented through their own circumstances. “Like everybody else who plays music, we tried to emulate our heroes,” Maunick says. “But we didn’t have the tools, we hadn’t studied music: were all playing by ear, and we were coming off bits and pieces that we liked off certain records.” This record is guided by the same ethos. An array of musical touchpoints have fed into the album’s direct, no-frills entries: each track’s parts are cut back to the bare bone. In writing and recording the album, the pair of them would work together to strike upon the point of departure – more naive, less considered – that had produced that killer Brit-funk sound. Peterson would dig out records that showed particular flashes or moods as jumping off points, and Maunick would then work with collaborators to build new directions out of those prompts or suggestions.It’s the latest chapter in a story that started with Peterson interviewing Maunick in his parents’ garden shed, the first interview that the former had ever conducted. Later, they would reconnect to put out a string of celebrated Incognito albums on Peterson’s pioneering, now-defunct Talkin’ Loud imprint. Now, linking up once more, they unpick an under-appreciated flashpoint in a vital musical lineage, one which each of them has been instrumental in shaping.

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.

Inspired by the slightly unlikely collision of the Thai music of the '70s and The Shadows, Khruangbin - the name means 'aeroplane' in Thailand - are purveyors of a deliriously mellow and beguiling form of jammed-out power-trio guitar music - far removed from standard notions of psych and dreampop, partly owing to its pan-global influences, its nonetheless both psychedelic and dreamy, not to mention possessed of an unhurried, reflective and spacious lilt that renders this Texan-London outfit a rare treat in an information-saturated age, taking on delicate soul and funk with exotic atmospheres and making the journey feel both blissful and effortless.