Joao Selva
Passarinho

Various ‎– Le Congo Danse reissue A1 –Orchestre O.K. Jazz* Lumumba Heros National 6:10A2 –Orchestre Bantou* Monsieur, On Va Se Marier 4:36A3 –Orchestre Beguen Band Tshanana 3:20A4 –Paul Ebeny Et L'Orchestre Ambiance Jazz* Malea Ma-Bobe 3:10A5 –Orchestre O.K. Jazz* Ah! Ne Croyez Jamais A Ces Belles Paroles 4:20B1 –Orchestre Cercul Jazz Brazza Tu Capital 4:15B2 –Orchestre Bantou* Mobali Ya Lisano 3:50B3 –Paul Ebeny Et L'Orchestre Ambiance Jazz* Ndo-Ndo 3:15B4 –Orchestre O.K. Jazz* Natali Yonso Pamba 4:50B5 –Orchestre Bantou* Carraguao Alante 4:10

On its' original release in 2002, Tony Allen's HomeCookin album was arguably a little overlooked. Like its' predecessor, 1999's Black Voices, the set updated the legendary drummer's Afrobeat sound for a new millennium. As this timely reissue proves, it was a particularly successful exercise. The album's genius lies in the Nigerian sticks-man's combination of traditional elements - most notably his loose, skittish polyrhythms, guitars and punchy horns - with elements of future-jazz, modern soul (see the brilliant Eska collaboration, "What's Your Fashion") and hip-hop. British rapper Ty excels himself on a number of killer cuts, though it's a more traditional Allen style dancefloor workout - the sublime "Crazy Afrobeat" - that really stands out.

The Doubling Riders were born in the middle of the '80s from the ashes of the great experimental / minimal wave project A.T.R.O.X. around the trio of Francesco Paladino, Pier Luigi Andreoni, and Riccardo Sinigaglia (Professor of Electronic composition at Milan's Conservatory) .Starting from an electronic music approach and working freely with ethno, folk and wave elements, the sound of the Doubling Riders was extremely original and hard to classify. Mostly quiet meditative stuff, with folk, experimental electronic influences and some unusual vocalisations, some sang in a strange italian dialect.Even if often compared to the more intellectual electronic experimental bands like Tuxedomoon, Coil or Vox Populi, Doubling Riders can be easily considered a unique project within the Italian new music scene.Remastered from the original files. 180 gr vinyl with insert. Edition of 500.FP / THE DOUBLING RIDERSDoublings & Silences: Volume 1 (reissue)BFE US

Regan began writing 100 Acres of Sycamore whilst living on the island of Majorca. Regarding the album's composition Regan stated: “I think if you could bottle a bit of the atmosphere and put it into the record, it's there. In saying that, I think it's spliced with walking in the woods in Ireland.”The album was recorded to tape using analogue methods, with Regan noting, “I just love the sound of it, I love the process. I love the idea that there's a master tape. It's a very potent thing.” Regan and co-producer Sean Read recorded using the same console that The White Stripes used to record their fourth studio album, “Elephant”.Regarding the stylistic differences between 100 Acres of Sycamore and his previous album, The Shadow Of An Empire, Regan noted, “The last album was kind of like a chrysalis and this is the butterfly. I think sometimes that everyone has to remember that you don't get 'this' without 'that'. This album wouldn't have happened without the last record. The second one wouldn't have happened without the first one. I think sometimes after the first record there might have been a feeling that, because I was on to a good thing, to just repeat it but I wasn't interested in that. It's very important for me to do what feels right at the time.” Regan also noted, "My previous record, The Shadow Of An Empire was me looking out of a window at the world. With this one, it’s a clear look in.”Fionn Regan is a unique poetic voice in music and has been consistently critically acclaimed. Over the course of six sublime albums Regan has been nominated for the Mercury Music Prize as well as the Choice, Meteor and Shortlist awards. His song “Abacus” was sampled by Bon Iver on his GRAMMY® Nominated album, 22, A million. Regan was recently made an ‘Honorary Member’ of the Trinity College Dublin Literary Society, its chairman saying, “In his music, Mr. Regan has done more than many artists to erode the boundaries between music and literature, with his lyrics always possessing the most beautiful poetry." regan also appeared beside celebrated actor Cillian Murphy in the music video for his song “The Meetings of the Waters” which has now had over 50 million streams worldwide.

Lorsque l’on parle du renouveau du folk britannique, il ne faut pas oublier une figure clé comme Ian A. Anderson, un auteur-compositeur à part entière et un véritable moteur de la scène locale. Actuellement rédacteur en chef du magazine de musique du monde fRoots, Ian A. Anderson s’est d’abord produit dans sa ville natale de Weston-super-Mare en tant que membre du Backwater Jook Band et s’est fait connaître en tant que membre de la scène country blues de Bristol du milieu à la fin des années 1960, se produisant en concert et sur disque, à la fois en solo, avec Al Jones et Elliott Jackson au sein du trio Anderson Jones Jackson, et en duo avec le « globe-trotter » et ami de longue date Mike Cooper. Après deux EP, il enregistre son premier album, Stereo Death Breakdown, sous le nom de Ian Anderson’s Country Blues Band, qui sort chez Liberty/United Artists en 1969. En décembre 1969, avec John Turner, il conçoit le label The Village Thing, pour lequel il est également producteur. Le label a sorti deux douzaines d’albums entre 1970 et 1974, dont des albums influents de Wizz Jones, Sun Also Rises, Pigsty Hill Light Orchestra, Steve Tilston, Dave Evans, Lackey & Sweeney, Chris Thompson, Dave Peabody et d’autres, ainsi que trois albums d’Anderson lui-même. Royal York Crescent » est le premier album solo enregistré le 13 novembre 1970 et est toujours considéré comme un précurseur du mouvement acid folk. Son fingerpicking léger était soutenu par les bongos – Ian Turner – et la basse/piano – John Turner – fournissant un effort dynamique pour son lyrisme spectaculaire. Ce classique perdu depuis longtemps est enfin réédité pour votre divertissement nécessaire.