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    Horace TapscottLive at I.U.C.C. (1979)Soul Jazz Records

    NB This product is available CD/ Digital only

    “I love Horace Tapscott! I love his music, his philosophies, and everything he did for the community that I grew up in” KAMASI WASHINGTON

    Soul Jazz Records are proud to release the first in a series of albums by the legendary Los Angeles radical jazz artist, Horace Tapscott and The Pan-Afrikan Peoples Arkestra. Horace Tapscott is the key figure in the Los Angeles political and underground jazz scene of the late 20th century – his stridently independent and radical music, as far-reaching, cosmic and spiritual in scope as it was rooted in the Watts community of Los Angeles where he lived.

    This superb rare, deep and spiritual jazz opus album was recorded at the Immanuel United Church of Christ, Los Angeles, in 1979, and has been unavailable on vinyl for over 40 years. ‘I had a vision of the inside of this church, and I went there, and it was just like I had dreamed it.’ This location remained the residence of the musical collective for most of the 1970s.

    The music of Horace Tapscott and The Pan-Afrikan Peoples Arkestra is part Sun Ra Arkestra, part John Coltrane, part Art Ensemble of Chicago. This ground-breaking and monumental album (released here for the first time ever on expanded triple vinyl and double CD) explores the multi-faceted deep and spiritual jazz of Tapscott – Afro-centric rhythms, hypnotic bass lines, Tapscott’s stabbing modal piano playing and stunning flute and horn arrangements. ‘The Pan-Afrikan Peoples Arkestra ‎– Live at I.U.C.C.’ is a true high point in the cannon of great independent underground jazz music recorded during this era.

    Tapscott’s Pan-Afrikan Peoples Arkestra was set up as a musicians’ collective in Los Angeles in the early 1960s, part of the Underground Musicians Association (UGMA), later Union of God’s Musicians and Artists Ascension (UGMAA), an umbrella organisation for musicians, poets, dancers and painters in the neighbourhood. Out of this group came many leading players including Black Arthur (Arthur Blythe), Azar Lawrence, Dwight Trible, Phil Ranelin (originally from Tribe), writer Stanley Crouch, David Murray, Adele Sebastian, Jesse Sharps and hundreds more.

    At the start of the 1960s Tapscott was part of a radical underground jazz scene on the west coast that included Don Cherry, Ornette Coleman and Eric Dolphy. But while these other artists sought international success and the magnetic pull of New York City, Tapscott chose to remain in Los Angeles music and stayed firmly rooted in the Watts community, organising the long-standing Pan-Afrikan Peoples Arkestra and the Union of God’s Musicians and Artists Ascension.

    This musical and artistic collective was part of the larger Black Arts Movement that spread across the USA during this time - in similar fashion to African-American community arts collectives such as The Association for the Advancement of Creative Musicians (and Art Ensemble of Chicago) in Chicago, the Tribe collective of musicians in Detroit, Amiri Baraka’s Spirit House in New Jersey, and The Black Artists Group in St Louis.

    After Tapscott’s debut album for Impulse Records in 1969, Tapscott and the Pan-Afrikan Peoples Arkestra recorded two albums with Elaine Brown, the only woman to lead the Black Panther party. ‘Seize the Time – The Black Panther Party’ also featured the artwork of Emory Douglas, graphic designer and Minister for Culture for the Black Panthers. Tapscott was closely aligned to the Los Angeles chapter of the Black Panthers, at one point working out of the same two-story building in South LA – while upstairs they planned revolution, stockpiled weapons and hosted revolutionaries such as H Rap Brown, Angela Davis and Stokely Carmichael, downstairs Tapscott ran the Arkestra, a number of which were also Black Panther members. Through this association and after the UGMAA building was raided in the Watts Riots, Tapscott was watched by both the FBI and the CIA and effectively black-listed from further recording sessions.

    Despite this, throughout the 1970s Tapscott continued to create music as a community experience, performing and running workshops mainly at local parks and recreation events and in churches around the Watts area of Los Angeles. The group performed for free, sometimes requesting an entry fee of a food donation which was distributed to poor families in the area.

    Tapscott’s music remained undocumented throughout the 1970s. It was not until 1978 when a new record company, Nimbus West, was especially set up by Tom Albach, specifically to record the music of Tapscott, The Pan-Afrikan Peoples Arkestra as well as a number of solo projects by group members.

    The music, ethos and influence of Horace Tapscott among Los Angeles artists is profound, McCoy Tyner commenting that in the 1970s there was no music coming out of LA that wasn’t linked to Horace Tapscott and The Pan-Afrikan Arkestra. In the 1990s a new generation of artists took inspiration from Tapscott; The West Coast Get Down collective, including Kamasi Washington and Thundercat, was involved in similar processes of cross-pollinisation across the arts in South Los Angeles working with Kendrick Lamar, Pan-Afrikan Arkestra vocalist Dwight Trible, Flying Lotus and his Brainfeeder label and others.

    ‘Our music is contributive, rather than competitive’ HORACE TAPSCOTT

    Originally released independently in 1979, this ground-breaking album is extremely hard to find and is issued here in glorious expanded double CD and digital with a bonus track and with all its original striking artwork.

    • – Macrame
    • – Future Sally's Time
    • – Noissessprahs
    • – McKowsky's First Fifth
    • – Village Dance
    • – L.T.T.
    • – Desert Fairy Princess
    • – Lift Every Voice
    Soul Jazz Records presents Eddie RussFresh Out (1974)Soul Jazz Records

    Soul Jazz Records are re-releasing keyboardist Eddie Russ’s seminal debut deep jazz LP Fresh Out (and the first album ever released on Soul Jazz Records!) in a new limited edition COLOURED vinyl 1000 copies worldwide (+ free download code) and new CD edition.

    Eddie Russ's Fresh Out was independently released in Detroit in 1974 and has remained a collector's item ever since. Russ was an important figure to emerge from the vibrant underground jazz scene that thrived in Detroit in the early 1970s, existing in the cultural and economic desolation of the city after the departure of Motown in the late 1960s.

    This scene included the musical collective Tribe (including members Wendell Harrison, Marcus Belgrave, Phil Ranelin, Harold McKinney and Doug Hammond) and Kenny Cox’s Strata Records. Eddie Russ’s Fresh Out was first released in 1974 on the independent Jazz Masters record label.

    As well as including the classic jazz dance cut The Lope Song, Eddie Russ’s Fresh Out featured the debut of the group The Mixed Bag who subsequently recorded for both Tribe and Strata Records. Eddie Russ released two further classic jazz funk albums in the late 1970s, See the Light and Take a Look at Yourself.

    • Eddie Russ – The Lope Song
    • Eddie Russ – All But Blind
    • Eddie Russ – Shamading
    • Eddie Russ – Hill Where The Lord Hides
    • Eddie Russ – You Are The Sunshine Of My Life
    • Eddie Russ – Watergate Blues
    Studio One Black Man's Pride 3 : None Shall Escape The Judgement Of The AlmightySoul Jazz Records

    This is the latest new installment of Soul Jazz Records’ on-going collection of Rastafarian music at Studio One, featuring classic material from legendary roots and culture artists The Gladiators, Horace Andy, Freddie McGregor, Sugar Minott and the Wailing Souls, alongside a superb selection of rarities from Sir Coxsone’s musical empire made up of one-off and practically unknown Rastafarian artists who recorded on a myriad of Studio One off-shoot labels in the 1970s – The Manchesters, Mellodies, The Nightingales and others.

    In this new collection, we see that once again the prescient Clement Dodd was a man who saw the wider picture. In the 1960s it was Sir Coxsone who identified the creative potential of The Wailers, Toots and the Maytals, Heptones, Burning Spear and many, many others. In the 1970s Studio One released an untouchable selection of the finest as styles moved from reggae to deejay to dub and, in the latter half, the emergence of dancehall.

    But what is also clear is that throughout this era Studio One released an incredible amount of roots music, and not just the most commercially obvious. For alongside the career-building catalogues of Burning Spear, The Wailing Souls, The Gladiators and so on, one needs to be an ardent Studio One collector to know some of the truly raw Rastafarian music featured here. Groups such as The Manchesters or The Nightingales feel as if they were recorded straight out of the churchical chants of the mansions.

    Black Man’s Pride explains the links between the ideology of Clement Dodd at Studio One and the Rastafarian faith, which was the creation of Afro-Jamaicans and concerned above all else with a black consciousness and empowerment, a rediscovering of the personal and racial identity of black people. The movement began in the 1930s and, in tandem with this black consciousness, called for a rejection of the British imperial culture that dominated Jamaica, while creating an identity based on a re-appropriation of an African heritage.

    The Rastafari movement was like a pivot, bringing together and balancing many vectors of ideologies. Marcus Garvey’s Back to Africa movement, trades union discourse, anti-colonialism and nation independence, maroon self-definition and independence, the spirit of African rebellion in the Caribbean. For Clement Dodd, a black man and producer growing up in Kingston in this era, Rastafari was simply a part of his everyday world – from witnessing Count Ossie’s grounations to the faith of many Jamaican artists at Studio One – from the Skatalites onwards.

    Featured here alongside these classic and rare tracks from Studio One are new and extensive sleeve notes with track-by-track notes by Rob Chapman, author of the acclaimed Downbeat Special and Never Grow Old Studio One books.

    The album is released as double heavyweight gatefold vinyl (+ free download code), CD with slipcase and booklet, and digital album.

    • Horace Andy – Conscious Dread Lock
    • The Gladiators – A Prayer To Thee
    • Freddie McGregor – Beat Down Babylon
    • The Manchesters – Selassie Bandman
    • The Mellodies – Dread Oppression
    • Big Joe – Jah Jah Help Us
    • Horace Andy – Oh Lord Why Lord
    • Lloyd Jones & The Super Natural Six – Get Up and Try
    • The Wailing Souls – Can't Catch Me
    • The Nightingales – Jehovah
    • Alphanso Stewart – It's No Secret
    • Errol Dunkley – Satisfaction
    • Mr Manchester – Give Natty Dread Glory
    • Lincoln (Sugar) Minott – Wrong Doers
    • Noel Campbell & The Gladiators Band – Sufferation
    • African Brothers – No Cup No Brock
    • Zoot Simms – When The Time Comes
    • Glen Miller – Whey No Dead
    Soul of a Nation 2Soul Jazz Records

    Soul Jazz Records’ new release ‘Soul of A Nation: Jazz is the Teacher, Funk is the Preacher’ is a powerful new collection of radical jazz, street funk and proto-rap made in the era of Black Power (1969-75).

    This is the second ‘Soul of A Nation’ album released by Soul Jazz Records to coincide with the exhibition ‘Soul of a Nation – Art in the Age of Black Power’, critically acclaimed and enormously successful when it opened at the Tate Modern in London last year (as was Soul Jazz Records’ accompanying first album ‘Soul of A Nation – Afro-Centric Visions in the Age of Black Power 1968-79’). The blockbuster international exhibition is now at the Brooklyn Museum, New York and then travels to Los Angeles in 2019.

    This new album features a number of important and ground-breaking African-American artists – The Art Ensemble of Chicago, Don Cherry, Funkadelic, Gil Scott-Heron and more – alongside a host of lesser-known artists all of whom in the early 1970s were exploring new Afrocentric poly-rhythmical styles of music – radical jazz, street funk and proto-rap – while at the same time exploring the Black Power and civil-rights inspired notions of self-definition, self-respect and self-empowerment in their own lives.

    During this era African-American jazz musicians ripped up traditional definitions – rejecting the term ‘entertainer’ to redefine themselves instead as ‘artists’. They worked outside of the mainstream music industry perceiving this artistic relationship to be fundamentally exploitative and politically flawed. Artists instead formed their own pan-arts community-centric collectives, set up their own record labels, ran concerts in alternative performance spaces – art galleries, parks, lofts, community centres – all as a way of taking control of their own creative destinies.

    At the start of 1960s jazz musicians had embarked on an intense period of musical experimentation as artists John Coltrane, Ornette Coleman and Don Cherry sought to dismantle the traditional definitions of jazz by creating new music that broke free from its establishment shackles. By the end of the 1960s, forward-thinking African-American jazz musicians had absorbed the ideas of this radical and avant-garde path but also began to introduce many new elements – not just civil rights concepts of freedom but also black power ideas of self-respect, righteousness and anger.

    Their music developed into a radical and intense Afrocentric mix of jazz, funk, soul and street poetry, all in search of a new musical language that could better represent artistic African-American cultural expression.

    All of the featured artists here were involved in this search in different ways; A shared sense of Afrocentric collectivism joined the dots between the deep avant-garde experimentalism of The Art Ensemble of Chicago (here featuring soul singer Fontella Bass singing the powerful ‘Theme de Yoyo’) to the hyper funk psychedelia of George Clinton’s Funkadelic.

    The poetry of Gil Scott-Heron and Sarah Webster Fabio performed with a backdrop of street funk and heavyweight percussion laid down the template for the birth of rap. The Har-You Percussion Group, a group of young Harlem teenagers, showed how government-sponsored social initiatives helped create great art and music. Gary Bartz and The Oneness of Juju offer spirituality and cosmology. Collectives like The Pharaohs and Detroit’s Tribe add deep jazz and street funk in equal measures. And so on.

    Influenced and radicalised by Black Power and civil rights, all these artists were involved in creating – in the words of the Art Ensemble of Chicago – ‘Great Black Music: Ancient to Future.’

    This album is available as heavyweight triple vinyl (+free download), full and extensive text, exclusive photography, with house inners, and as deluxe CD with slipcase, 40-page outsize booklet and jewel case.

    • The Art Ensemble Of Chicago – Theme De Yoyo
    • The Har-You Percussion Group – Welcome To The Party
    • The Pharaohs – Damballa
    • Baby Huey – Hard Times
    • James Mason – Sweet Power, Your Embrace
    • Byron Morris and Unity – Kitty Bey
    • Funkadelic – Nappy Dugout
    • Rashied Ali & Frank Lowe – Exchange Part 2 (II)
    • Gary Bartz NTU Troop – Celestial Blues
    • Oneness Of Juju – Space Jungle Funk
    • Sarah Webster Fabio – Work It Out
    • Tribe (Wendell Harrison and Phillip Ranelin) – Beneficent
    • Gil Scott-Heron – Whitey On The Moon
    • Don Cherry – Brown Rice
    • 1. The Art Ensemble Of Chicago – Theme De Yoyo
    • 2. The Har-You Percussion Group – Welcome To The Party
    • 3. The Pharaohs – Damballa
    • View full info and tracklisting
    Brown SugarI'm In Love With A Dreadlocks: Brown Sugar and The Birth Of Lovers Rock 1977 - 80Soul Jazz Records

    Soul Jazz Records are releasing this first ever collection of the pioneering British reggae Lovers Rock group Brown Sugar including rare singles, dubs and extended mixes. The album comes with extensive sleevenotes and interviews with Dennis Bovell, Pauline Catlin, John Kpiaye and Winston Edwards (Studio 16).

    Brown Sugar were formed by three young teenage girls – Pauline Catlin, Caron Wheeler and Carol Simms in South London in 1976. In the short period of time 1976-1980, the group – working with Dennis Bovell on the mixing desk and John Kpiaye (‘Brownie T) in the studio – recorded barely a handful of singles on the new Lovers Rock label, a number of which went to the top of the UK reggae charts. But success stopped there, and with no album release and no industry support the group broke up in the early 1980s.

    Following their split Caron Wheeler became the lead vocalist for the hugely successful group Soul II Soul, Carol Simms launched a solo career as Kofi (re-making a number of Brown Sugar songs with producer Mad Professor) and Pauline Catlin returned to education.

    Despite their relatively low-key mainstream public exposure Brown Sugar (and the label on which their first records appeared) announced to the world a new genre of reggae music, Lovers Rock, which spoke for the first time with the sensibility of a new segment of British society; that of first generation-born Black British female youth.

    And while Lovers Rock became synonymous with sweet love songs, Brown Sugar’s music in fact expressed far more; a righteous pride and consciousness in being Black and British, a political stance more often associated with UK roots groups like Black Slate, Aswad, Misty in Roots and other British reggae acts in the late 1970s. Brown Sugar were in fact their own genre of ‘conscious lovers rock’ – an expression of ideological black cultural pride.

    Brown Sugar’s handful of three-minute love songs (often plus extended dubs) somehow manage to encapsulate all the complexities of identity, sexual politics and youthful righteousness of Afro-Caribbean youth living in Britain in the 1970s. Songs such as ‘I’m in Love with A Dreadlocks’, ‘Our Reggae Music’, ‘Black Pride’ and ‘Dreaming of Zion’ spoke with a straightforward righteousness and consciousness that few roots groups could hope to match. The fact that they were all teenagers is even more striking.

    In the mid-70s British reggae came into being as first generation Black Britain was able to find a voice able to express the issues of growing up British with Caribbean roots. This came about in two different ways – the British roots music of (essentially male) groups such as Aswad, Steel Pulse and Black Slate – and Lovers Rock, the expression of a black essentially (but not totally) female consciousness – Brown Sugar, Louisa Mark, 15-16-17, Marie Pierre, Janet Kay, Carroll Thompson, Jean Adebambo and others. And significantly, while British roots music was a variant on a Jamaican style, Lovers Rock was uniquely British – the first authentic British reggae sound.

    Dennis Bovell comments, “For Lovers Rock we needed a pulpit, a way of saying ‘this is the style’. Sound systems were already saying ‘this is lovers,’ brandishing it in the dance. Our intention was to create a style of music that my generation could identify with – one that had a beat, and you could dance to with your partner in a sound system setting.”

    Dennis Bovell’s mixes for the group gave a further dimension to Brown Sugar records – a sound system mentality, adding sound effects and dub elements. ‘I’m in Love with A Dreadlocks’ was the debut release for both Brown Sugar and the Lovers Rock label, a fitting calling card for both. The record was a hit on many sound systems across the UK, reaching the top of the reggae charts.

    John Kpiaye: “They never put out an album. And all these records were seven-inch singles; when 12-inches turned up it just killed the seven-inch.”

    Although the career of Brown Sugar was short-lived, their legacy and influence remains significant and now, 40 years on from these first records, all of the members are still involved in music. Pauline Catlin has recently re-launched her career under a new moniker, Shezekiel; Carol Simms, aka Kofi, remains a successful solo artist, one of the queens of Lovers Rock; Caron Wheeler, after leaving Soul II Soul at the end of the 1980s, embarked on a solo career, before re-joining the soul super-group which she continues to front to this day.

    This new collection brings together all the groups essential recordings for the first ever time and is released as double gatefold heavyweight vinyl + free download (+ full sleevenotes), CD with large booklet, and digital album.

    • – Black Pride
    • – Our Reggae Music
    • – Hello Stranger
    • – I'm In Love With A Dreadlocks
    • – Hurtin' (with Dennis Bovell)
    • – I'm So Proud
    • – Runaway Love
    • – Dreaming Of Zion
    • – Loving Dreadlocks Dub
    • – You and Your Smiling Face
    • – Do You Really Love Me
    • – Proud
    • – Confession Hurts
    Sugar MinottSugar Minott At Studio OneSoul Jazz Records

    Long-out-of-print re-release of this classic Sugar Minott album on Soul Jazz Records bringing together the best of his classic material recorded at Studio One in the 1970s.

    Lincoln Sugar Minott was born in Kingston, Jamaica in 1956. He grew up in a poor area of West Kingston and from an early age developed a love of Reggae music and the music of Studio One in particular. As a teenager, he became selector for Sound of Silence Keystone and Gathering of Youth local sound-systems. By the late 1970s Minott had risen to become one of the biggest stars in Jamaican music.

    Sugar Minott began his career at Studio One. After auditioning in front of Clement ‘Sir Coxsone’ Dodd in the early 1970s, he became the first artist to record new songs over classic rhythms, singing over original Studio One tapes – the significance of which led directly to the birth of dancehall, as Channel One, Joe Gibbs and hundreds of other Jamaican producers quickly began releasing their own material based on these same classic Studio One rhythms replayed by Sly and Robbie, The Aggrovators, Soul Syndicate, Roots Radics and many others.

    “I knew Studio One spiritually before I knew Studio One physically. You know I grew up beside a dancehall and Sir Coxsone’s sound used to play there from when I was a boy. So from that influence you know I used to love Studio One sound so much, I became a sound selector. So that was my first involvement with getting to know Studio One music like The Heptones, Alton Ellis, Ken Booth, the whole works and that was my life from a youth.”

    After Sugar Minott’s debut many other artists followed suit at the label such as Freddie McGregor, Johnny Osbourne, Lone Ranger and Michigan & Smiley leading to one of the most creative periods for the label. This is the first retrospective of Sugar Minott at the label and most of these recordings have never been widely available outside Jamaica.

    • Sugar Minott – Vanity
    • Sugar Minott – Please Be True
    • Sugar Minott – Hang On Natty
    • Sugar Minott – Never Give Up
    • Sugar Minott – Jahovia
    • Sugar Minott – Give A Hand
    • Sugar Minott – Try Love
    • Sugar Minott – Roof Over My Head
    • Sugar Minott – Jah Jah Lead Us
    • Sugar Minott – Is It True
    • Sugar Minott – Love Gonna Pack Up
    • Sugar Minott – Give Me Jah Jah
    • Sugar Minott – Jah Jah Children
    • Sugar Minott – Party Time
    • Sugar Minott – Change Your Ways
    • Sugar Minott – Jah Almighty
    Venezuela 70Cosmic Visions of A Latin American Earth: Venezuelan Experimental Rock In The 1970s and Beyond VOLUME TWOSoul Jazz Records

    This is the second collection of music from Venezuela in the 1970s and beyond to be released on Soul Jazz Records. The album once again features innovative figures in the history of underground Venezuelan music, mostly unknown outside of their home country – their music a blending of progressive rock, jazz, experimental electronics and disco –created mainly in the 1970s – during a time when the country was both a cultural and economic powerhouse in Latin America.

    While much of 1960s Venezuelan rock music emulated British and USA styles, and salsa dominated the dancefloors of Latin America, the 1970s saw the evolution of a new generation of creative local artists such as Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera who all explored the possibilities of mixing together rock with elements of electronica, funk, jazz, latin rhythms simultaneously exploring their links with Venezuelan roots music, creating a new sound which blended a multitude of new and old world influences, uniquely Venezuelan.

    Most of these artists featured on Venezuela 70 remain practically unknown outside of Venezuela’s borders and yet their progressive forward-thinking music is some of the most sophisticated in the world – a stunning ‘melting pot’ mix of sounds from the cosmic and psychedelic rock of Vytas Brenner to the Moroder-esque disco experimentation of Daniel Grau, and the tropical funk of Un Dos Tres Y Fuera and beyond.

    Aside from the relatively known Vytas Brenner and Daniel Grau, most of the music on this album is incredibly rare (even in Venezuela)! The album is released as heavy double gatefold vinyl with full colour inners, exclusive text on artwork, CD with slipcase and large booklet, and digital album.

    • Vytas Brenner – Agua Clara
    • Daniel Grau – Dejando Volar El Pensamiento
    • Un Dos Tres Y Fuera – Relafica Negra En Tiempo De Siembra
    • Orchestra Julian – Do It With Class
    • Vytas Brenner – Gavilan
    • Fernando Yvosky – Estoy Viviendo
    • Daniel Grau – Delirio En Fa Menor
    • Vytas Brenner – Mandingo
    • Un Dos Tres Y Fuera – Machu Picchu Dos (El Niño Anciano)
    • Vytas Brenner – La Sabana
    • Johnny Lamas – Noches En Caracas
    • Aldemaro Romero Y Su Onda Nuevo – Moilendo Cafe
    • Vytas Brenner – Morrocoy
    • Daniel Grau – Voy Caminando Feliz
    • Grupo Bota – Solos
    • Vytas Brenner – Tragavenado
    • La Cuarta Calle – Camino A Casa (On My Way Home)
    • Aldemaro Romero Y Su Onda Nuevo – Una Por Una
    • 1. Vytas Brenner – Agua Clara
    • 2. Daniel Grau – Dejando Volar El Pensamiento
    • 3. Un Dos Tres Y Fuera – Relafica Negra En Tiempo De Siembra
    • View full info and tracklisting
    Studio One Lovers RockSoul Jazz Records

    Soul Jazz Records new Studio One album is a fantastic selection featuring all-star legendary Studio One vocalists – Alton Ellis, Marcia Griffiths, The Heptones, Horace Andy, Freddie McGregor, Sugar Minott – alongside a host of classic and super-rare Lovers Rock cuts all of which Clement Dodd recorded at the Brentford Road studio.

    Lovers rock brought together many elements and here you will find sweet harmonies, late 1960s rocksteady, 1970s soul covers, discomixes, recuts and new rhythms – which all fit together in a timeless twilight of love & harmony – as if lovers silhouetted by a Kingston sunset.

    Here you will find stone-cold classic Studio One tunes – Marcia Griffiths ‘Truly’, Horace Andy’s I’ll Be Gone super-rare cuts like Carlton and The Shoes killer 70s versions of Never Give Your Heart Away and Let Me Love You (vocal cut to Jackie Mittoo’s mighty Wall Street), The Invaders sweet lovers rocksteady bomb ‘Sweet Soul Rocking’ (currently for sale at £2,500 on discogs!) and many more!

    This new album comes with sleevenotes by Lloyd Bradley, the acclaimed author of Bass Culture, Sounds Like London and Reggae: The Story of Jamaican Music. The album is pressed on heavyweight double gatefold vinyl (+ free download), deluxe slipcase CD and digital.

    • Alton Ellis – Tumbling Tears (12" Discomix)
    • The Heptones – I Hold The Handle
    • Carlton and The Shoes – Never Give Your Heart Away (70s 12" Version)
    • The Minstrels – Yours Until Tomorrow
    • Jerry Jones – Oh Me Oh My
    • Horace Andy – I'll Be Gone
    • Carlton and The Shoes – Let Me Love You (12" Discomix)
    • The Invaders – Soulful Music
    • Sugar Minott – Ghetto Girl
    • Marcia Griffiths – Truly
    • Devon Russell – My Woman's Love
    • Billy Cole – Rock All Night
    • Freddie McGregor – I Don't Know
    • Cornel Campbell – Didn't I
    • Horace Andy – Wanna Be Free
    • The Heptones – My Ting A Ling (12" Discomix)
    • Alton Ellis – Someone (Extended Mix)
    • The Righteous Flames – I Was Born To Be Loved
    • 1. Alton Ellis – Tumbling Tears (12" Discomix)
    • 2. The Heptones – I Hold The Handle
    • 3. Carlton and The Shoes – Never Give Your Heart Away (70s 12" Version)
    • View full info and tracklisting
    Poor Boy RappersThe D.J. RapSoul Jazz Records

    NEW!!!! Bumpin' old school hip-hop BOMB!

    This is second of two KILLER LA private press low-rider original electro rap groovers from the early 80s rap group Poor Boy Rappers

    MASSIVE tune + seriously hip twisted electro instrumental courtesy of the great Rich Cason. BUMPIN!

    SUPER-RARE Originally released in Phoenix, Arizona 1982, new edition LOUD 12" on Soul Jazz Records.

    Limited edition, one-off pressing!!!


    • Poor Boy Rappers – The D.J. Rap
    • Poor Boy Rappers – The D.J. Rap (Instrumental)
    Chris BowdenTime Capsule (1992)Soul Jazz Records

    The stunning and ground-breaking album from the composer and saxophonist Chris Bowden back in print 20 years on!

    “This is the album that connected it all.” Gilles Peterson 2018

    Chris Bowden’s debut album Time Capsule was first released on Soul Jazz Records in 1992 to universal and widespread critical acclaim. Now 20 years on a new wave of current jazz artists led by the likes of Kamasi Washington in the USA and a host of British artists - Shabaka Hutchings /Sons of Kemet, The Ezra Collective, Moses Boyd, Nubya Garcia, Fourtet, Yussef Kamaal, Tenderlonious, Binker & Moses - have brought this original ground-breaking album into the limelight once more as a pivotal starting point, sharing many of the aesthetics of these current artists at work today.

    Musically all are inspired by the spiritual jazz of John Coltrane, Alice Coltrane, Pharoah Sanders, Archie Shepp, Don Cherry et al paired with a modern electronic music sensibility. Chris Bowden’s Time Capsule has stood the test of time like few other albums (as the title of the album suggested), and remains a pivotal, wholly-successful and original experimental musical collage, a radical inspiration and forebearer to many of the best progressive jazz and electronic artists working today.

    The album has been fully hi-spec re-mastered and is available as a limited-edition heavyweight double-vinyl release with gatefold sleeve (+ free download code), slipcase CD and digital album.


    A selection of original reviews:

    “Lush strings and woodwind with a powerful combination of dub beats and classical orchestration. True future music.” The Face

    “A divine soundtrack that Miles Davis would rise from his grave for. Heaven-sent laid back lusciousness.” Muzik

    “Reminiscent of Miles Davis, Stravinsky and Star trek. Drop dead gorgeous.” True

    “A beautiful and mysterious record.” Mixmag

    “Out on the left field, past the edge of the solar system, music exploring new territory, forging new alliances with outer space and the future.” DJ

    “A vibrant filmic quality. Bowden is out on his own. Essential.” Straight No Chaser

    “True futurism: Satie, Webern and attitude creating a serious listening experience.” Echoes

    “An ambitious and adventurous excursion. A deep, complex and ever-changing piece that makes the competition look half-baked.” Observer

    “Sounding like a Michael Nyman tune that took a wrong turn and bumped into a Miles Davis record.” (Album of the week) The Guardian

    “Supreme” NME

    “Astro-jazz, luxurious strings and psycho-acoustic electronica. A journey to the centre of the head” ID

    • Chris Bowden – Natural Selection
    • Chris Bowden – Mother And Daughters Now Mothers
    • Chris Bowden – Forbidden Fruit
    • Chris Bowden – Epsilon Transmission
    • Chris Bowden – Epsilon
    • Chris Bowden – Love Lies Bleeding
    • Chris Bowden – Time Capsule
    • Chris Bowden – Mind And Matter
    • Chris Bowden – Retrospective
    • Chris Bowden – Solo
    • Chris Bowden – Extra Vehicular Activity (EVA)
    • Chris Bowden – Life Support
    • Chris Bowden – Telescopic One
    • Chris Bowden – Telescopic Two
    • Chris Bowden – Telescopic Three
    • Chris Bowden – Sane
    • Chris Bowden – Angel Falls
    • Chris Bowden – Mothers Too
    • Chris Bowden – Deaf Out
    Studio One Freedom SoundsSoul Jazz Records

    Studio One Freedom Sounds is the new collection from Soul Jazz/Studio One focussing on the intense period in the second half of the 1960s when Studio One’s vast and unbeatable output of ska, soul, rock steady and reggae made it literally one of the hottest musical empires in the world.

    During this highly successful period, Clement ‘Sir Coxsone’ Dodd released hundreds and hundreds of superlative singles seemingly on an almost daily basis, in the process making huge stars out of Jamaican singers such as Alton Ellis, Delroy Wilson, The Wailers, Slim Smith, Jackie Opel and many more.


    Powered by the finest in-house musicians working in Jamaica, whether it was The Skatalites, Jackie Mittoo’s Soul Brothers, The Sounds Dimension or The Soul Vendors, Studio One functioned as hit factory on the scale of Motown in the USA, shaping and defining reggae music for decades to come.


    Singlehandedly Studio One’s founder Clement Dodd was able to create the most successful vertically-integrated record company that Jamaica had ever known with pressing plant, printers, studio, shops, and sound systems all running at once, with over 50 employees and hundreds of artists working with Studio One during this time.

    Studio One Freedom Sounds tells the story of Studio One in the 1960s with a stunning set of ska, soul, rock steady and reggae killer tunes as well as informative sleevenotes and track-by-track info by Noel Hawks. The album is released as heavyweight double vinyl (+ free download code), deluxe CD and digital album.

    • Don Drummond & The Skatalites – Rain Or Shine
    • The Gaylads – Morning Sun
    • Delroy Wilson – Just Because Of You
    • Alton Ellis – Sunday Coming
    • Jackie Opel – I Am What I Am
    • Peter Tosh – I Am The Toughest
    • Delroy Wilson – Get Ready
    • Mr Foundation – Timo-Oh
    • Roland Alphonso & The Soul Brothers – Provocation
    • Leroy & Rocky – Love Me Girl
    • Slim & Delroy – Look Who Is Back Again
    • The Skatalites – Spread Satin
    • Barrington Spence – Contemplating Mind
    • Ernest Ranglin – Psychedelic Rock
    • Bob Marley & The Wailers – Destiny
    • Roland Alphonso – Reggae In The Grass
    • Zoot Simms – We Can Talk It Over
    • Jackie Mittoo – Hi Jack
    • 2xLP + Download Code£23.00
      Out of stock
    • CD£12.00
      In stockAdd to Bag
    • MP3 Release£7.99
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    Poor Boy RappersLow Rider RapSoul Jazz Records

    NEW £1000+ KILLER LA low-rider electro rap groover.

    MASSIVE tune + seriously hip twisted electro instrumental courtesy of the great Rich Cason. BUMPIN!

    SUPER-RARE Originally released in Phoenix, Arizona 1982, new edition LOUD 12" on Soul Jazz Records.

    Limited edition, one-off pressing, ONLY AVAILABLE DIRECT FOR 2 MONTHS!

    This is one of two KILLER Poor Boy Rappers 12" - next one coming soon!

    • Poor Boy Rappers – Low Rider Rap
    • Poor Boy Rappers – Low Rider Rap (Instrumental)
    Black Man's Pride 2 (Studio One)Soul Jazz Records

    This is the second installment of deep roots Rastafarian reggae at Studio One and features classic music from some of the most important figures in reggae music – Alton Ellis, The Heptones, Jackie Mittoo, The Gladiators – alongside a host of rarities and little-known recordings, such as a truly rare Mystic Revelation of Rastafari seven-inch single, Willie William’s first ever recording ‘Calling’ and Horace Andy’s righteous (and equally rare) masterpiece ‘Illiteracy.’

    Black Man’s Pride 2 extends the legacy of Studio One’s ground-breaking path in roots reggae which began at the end of the 1960s and continued throughout the 1970s. The album tells the story of how the rise of Studio One Records and the Rastafari movement were interconnected, through the adoption of the Rastafari faith by key reggae artists – everyone from the Skatalites and Wailers in the 1960s, major singers such as Alton Ellis and Horace Andy at the end of the decade, through to major roots artists such as The Gladiators in the 1970s – and how Clement Dodd consistently recorded this heavyweight roots music throughout Studio One’s history.

    The extensive sleeve-notes to this album also discuss the links between Rastafari and Studio One in time and place, noting how both the religion and Clement Dodd’s musical empire had their roots in the intense period of pre-independence Jamaica in Kingston, expanded in the 1960s following the visit of Haile Selassie in 1966, and how roots music then came to dominate reggae music in the early 1970s. Also discussed is how the outsider stance of both reggae music and the Rastafari movement relate back many hundreds of years to the original rebel stance of the Maroons, escaped slaves who set up self-sufficient enclaves in the hills of the Jamaican countryside.

    There is also a track-by-track history by the noted Studio One writer Rob Chapman (Never Grow Old). This new album comes as heavyweight gatefold double vinyl (+ download code), deluxe CD and digital album.

    REVIEWS of Black Man's Pride:

    "Soul Jazz’s albums are different: not only have they encouraged a new, younger audience, parallel to the one that enjoys rare funk and spiritual jazz, to appreciate this music, their records are coherent. They’re not just a heap of tunes that happen to be sharing a black vinyl apartment. They’re themed and meld musically. They have a reason to exist.
    In this instance, that reason is an exploration of 70s vocal roots reggae with a theme of black pride and dignity." Record Collector

    • Horace Andy – Illiteracy
    • The Heptones – Be A Man
    • The Manchesters – Natty Gone
    • The Gladiators – Down Town Rebel
    • Willie Williams – Calling
    • Roland Alphonso & Brentford All Stars – Sir D Special
    • Keith Wilson – God I God I Say
    • Alton Ellis – Almost Anything
    • Bobby Kalphat & The New Establishment – Adis A Wa Wa
    • Peter Broggs – Sing A New Song
    • Mystic Revelations Of Rastafari – Let Freedom Reign
    • Larry & Alvin – Free I Lord
    • Ernest Wilson & The Sound Dimension – Freedom Fighter
    • Jackie Mittoo – Happy People
    • Prince Lincoln – Daughters Of Zion
    • High Charles – Zion
    • Winston Jarrett – Love Jah Jah
    • 2xLP + Download Code£23.00
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    • CD£12.00
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    • MP3 Release£7.99
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    Soul Jazz Records presents Nigeria Fuji MachineSynchro Sound System & PowerSoul Jazz Records

    ‘Synchro Sound System & Power’ features the music of Nigeria Fuji Machine, which includes some of Nigeria's finest ‘Fuji’ master drummers and singers, and is newly recorded by Soul Jazz Records in Lagos.

    Fuji is the heavily percussive and improvisational style of Nigerian popular music, at once modern and yet deeply rooted in the traditional Islamic Yoruba culture of Nigeria.

    Here on this album Nigeria Fuji Machine’s striking and powerful lead vocalist Taofik Yemi Fagbenro soars above a wild and energetic backdrop of polyrhythms played on traditional talking drums, trap drums, electronic and street percussion to create a powerful wall of intense sound.

    Fuji is hi-energy street music, heavily percussive which evolved out of the Islamic celebration of Ramadan, which became a major event in mid-20th century Lagos. Groups of young men walked through Muslim neighbourhoods at night singing improvised ‘wéré’ music to the accompaniment of pots, pans, drums, bells and anything else available, waking believers for the early morning prayer. By the early 1970s this music had crossed-over into popular Nigerian culture where it came to be known as Fuji, first made popular by the artist Alhaji Sikiru Ayinde Barrister, as the music began to be performed commonly at parties and social events.

    In the 1970s and 1980s three Nigerian artists – King Sunny Adé, Chief Ebonezer Obey and Fela Kuti – all secured international major record deals bringing popularity to the Nigerian musical styles of Juju (Adé and Obey) and Afro-Beat (Fela Kuti’s unique mixture of highlife, funk and jazz) abroad, but in the process ignoring much of Nigeria’s rich musical landscape. Fuji is, alongside Highlife, Juju, Afro-Beat, Sakara, Afro-Reggae, Waka, Igbo rap, Apala and numerous others – one of these central styles of Nigerian music.

    The singer Barrister described the music as follows: ‘Fuji music is a combination of music consisting of Sakara, Apala, Juju, Aro, Afro, Gudugudu, and possibly Highlife.’ Juju performer King Sunny Adé described the difference between the two styles of Fuji and Juju somewhat competitively thus: ‘Fuji music is more or less like my music without guitars. It’s like I’m singing in a major key and they are singing in a minor. The music itself is the music of Juju music.’

    Today Fuji remains a powerful popular music with deep and powerful Islamic roots which continues to modernise and attract new generations of young Nigerians and Nigeria Fuji Machine’s ‘Syncho Sound System & Power’ is a powerful and intense musical experience.

    This album is released as a limited-edition heavyweight vinyl edition (+free download code), deluxe CD and digital format.

    • – Iba
    • – Orin Gidi
    • – Ilu
    • – Ẹyọ-Sẹsẹ
    • – Garaje
    • – Ọrọ Owe
    • – Ire
    Soul Jazz Records presents Yoruba!Songs and Rhythms For The Yoruba Gods In NigeriaSoul Jazz Records

    Soul Jazz Records’ latest album ‘Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria’ is newly recorded in Lagos, Nigeria.

    The album is co-produced by Laolu Akins, founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo, and Soul Jazz Records label head Stuart Baker.

    This album features songs honouring the Nigerian gods of the Yoruba traditional religion – Yemoja, Obatala, Ogun, Sango and others – as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography (40-page outsize booklet in CD/ full text in gatefold double vinyl + inners) showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.

    The enormous impact of Yoruba and West African music and culture is worldwide – from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s – Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came in to existence on account the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms – from New Orleans jazz to Bronx rap, gospel, soul and more.

    Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa.

    'Hypnotic, spiritual rhythms' FACT Magazine



    • – Homage To Yemoja
    • – Homage To Esu
    • – Sakara Instrumental Ensemble
    • – Homage To Obatala
    • – Eulogy To Amila
    • – Homage To Sango
    • – Agbe Gbe-Wadele
    • – Eulogy To Ori-Ola
    • – Bata Drums Ensemble
    • – Homage To Osun
    • – Eshere
    • – Dundun Instrumental Ensemble
    • – Homage To Ogun
    Congo Revolution Box SetSoul Jazz Records

    This unique box-set edition is only available as a one-off pressing seven-inch box set which brings together a stunning five-single/ ten track selection of mind-blowingly groovy selection of African, Latin, Jazz and Funk music from the Congo.

    Absolutely killer and essential tracks (mostly unknown) from the masters of the vibrant Congo scene in the 1960s – featuring the groups Franco & OK Jazz, Rock-A-Mambo, African Jazz, African Fiesta and more.

    Roots African meets Cal Tjader, James Brown, Ray Barretto & more. The bomb!



    • Rock-A-Mambo – Baila
    • Beguen Band – Yo Me Moera
    • Bantous De La Capitale – Watchiwara
    • African Fiesta – Mambo Hawaienne
    • O.K. Jazz – Sois Sage Amour
    • African Jazz – Merengue Fafa
    • African Fiesta Sukisa – I Got The Feelin'
    • O.K. Jazz – Kiwita Kumunani
    • Ryco Jazz – La Juventud
    • Trio Madjesi & Sosoliso – Matshatsha
    Boombox 3Soul Jazz Records

    Limited Edition first copies bought directly from us here only come with free poster (with 3x LP edition) + free badge and sticker (with Deluxe 2xCD edition )!!!!

    -------------------------------------------------------------------------------------------------

    Soul Jazz Records’ new Boombox 3 continues the story of the first rap records to be put onto vinyl. It is a jam-packed collection of original independent ‘old-school’ hip-hop, created with just one thing in mind – to get this party jumping!

    After the explosion of hip hop in the parks and clubs of The Bronx in the mid-1970s, it was in Harlem where the first rap records emerged at the end of 1979 - an avalanche of superb rap tracks released on small independent labels all trying to capitalise on the success of ‘Rappers Delight.’

    Like hip hop culture itself, these first rap singles are the product of their own unique set of aesthetics – exciting and innovative rap performed with Bronx block party B-Boy funk breaks, disco jams and Jamaican sound system culture.

    The extensive sleevenotes discuss hip-hop’s trajectory from the first wave of Bronx creativity – the legendary DJs Kool Herc, Grandmaster Flash and Afrika Bambaataa – through to its arrival in Harlem via the entrepreneurism of old-school African-American rhythm and blues producers and émigré Jamaican producers all living in New York. Along the way the notes discuss everything from the New York power blackout of 1977, the Italian mafia involvement in the music industry, the links between rap and Jamaican dancehall and more besides!

    Boombox 3 features a line-up of stunning, near unknown New York rap artists, classic disco breaks (including Chic’s omnipotent Good Times, MFSB’s Love Is the Message, Queen’s Another One Bites The Dust etc.), proto-electro and more. And by the early 1980s the first rap records outside New York began to emerge – Los Angeles, Houston, Milwaukee, Phoenix – and the first of these are also featured here in this new collection.

    This Soul Jazz Records album is released on heavyweight triple vinyl (+ download code) with full notes, double CD pack with 44-page outsize booklet and slipcase, and digital album.

    Reviews of Boombox series:

    ‘The vital launch pad between hip-hop’s birth and its worldwide impact’ THE WIRE

    ‘This compilation of early rap is a legit party in a box, one of the best Soul Jazz Records releases in years.’ FACT

    • Majestics – Class A
    • Brother's Disco – Thumpin'
    • Mifflin Ensemble – On The Move
    • Sherod – Schooling (Put Your Mind To The Message)
    • Sugar Daddy – Another One Bites The Dust
    • Family Four – Rap Attack
    • She – Ms D.J. Rap It Up !
    • The Caution Crew – Rhythm Rock (Part 1)
    • Poor Boy Rappers – The DJ Rap
    • Family – Family Rap
    • Bobby Deemo – Bugs-B-Skate Rap
    • Teen-Machine – Teen-Machine Rap
    • T.J. Swann & Company – Get Fly
    • Poor Boy Rappers – Low Rider Rap
    • Sicle Cell & Rhapazooty – Rhapazooty In Blue
    • Mr. Fox – Smooth Talk
    • Solid C, Bobby D & Kool Drop – Wack Rap
    • Disco Daddy & Capt. Rapp – The Gigolo Rapp
    Deutsche Elektronische MusikSoul Jazz Records

    AVAILABLE AGAIN! Soul Jazz Records new 2018 edition of their long out of print classic first “Deutsche Elektronische Musik – Experimental German Rock and Electronic Music 1972-83” is ‘a near-definitive guide to some of the world’s most extraordinary music’ (The Guardian).


    Featuring a stunning line-up of groups including Cluster, Can, Faust, Popol Vuh, Neu!, Amon Düül, Harmonia, La Düsseldorf and Tangerine Dream as well as a host of lesser known groups such as Kollectiv, Ibliss, Between and many more. This new edition is fully re-mastered and features all the original artwork and tracks.


    The first seeds of German rock and experimental electronic music were planted in 1968, as students and workers in Paris, Prague, Mexico and throughout the world demonstrated against mainstream society, the war in Vietnam, imperialism and bourgeois values. The birth of a counter-culture, drug experimentation and social change expanded musical worlds. Germany experienced its own cultural revolution fuelled by these worldwide student and worker revolts and by a generation’s desire to rid itself of the guilt of war.


    German rock and experimental electronic music grew out of this worldwide counter-cultural revolution of 1968. The objectives were to create new music, ‘free’ from the past, many German youth turning their back on mainstream society. From the opening of the first collective/cooperative, Kommune 1, in Berlin, to the formation of the Baader-Meinhof terrorist group and the bombings, kidnappings and killings of the Revolutionary Armed Forces (RAF), young Germans sought out new values and a lifestyle outside of ‘the system’.


    These cooperative and communal experiences led to a number of new collective German bands forming such as Amon Düül, Faust, Can (all featured here) and others and these ideals drove this new movement. A music that gave seed out of the cultural ‘nothingness’ that young Germans felt as a consequence of Germany’s role in the Second World War. A generation who grew up stifled by the recent history of Nazi atrocities, the guilt of their parents’ generation and their disillusionment at the reintegration of old Nazis into mainstream society.



    Influenced equally by the electronic experimentalism of Stockhausen, the progressive rock of Pink Floyd and the black American jazz and soul music played at the occupying armed forces bases, young German artists seamlessly created out of this a new unique music with its own unique identity.


    Double CD pack with large 36-page outsize booklet encased in slipcase. The vinyl edition is made up of TWO separate volume heavyweight loud gatefold double albums (now + free download codes) featuring all sleevenotes and text.

    Double Vinyl Record A is tracks 1-13 (+ Download Code)

    Double Vinyl Record B is tracks 14 - 24 (+ Download Code)

    Digital download does not include track 3 and 23 which are physical only

    REVIEWS:

    ***** GUARDIAN REVIEW (John Savage)

    ***** GUARDIAN REVIEW (Dave Simpson)

    2x LP Record A/CD1:

    1. Can – A Spectacle
    2. Between – Devotion
    3. Harmonia – Dino
    4. Gila – This Morning
    5. Kollektiv – Rambo Zambo
    6. Michael Bundt – La Chasse Aux Microbes
    7. E.M.A.K. – Filmmuzik
    8. Popol Vuh – Morgengruss
    9. Conrad Schnitzler – Auf Dem Schwarzen Kanal
    10. La Düsseldorf – Rheinita
    11. Harmonia – Veterano
    12. Faust – It's A Rainy Day, Sunshine Girl
    13. Neu! – Hallo Gallo

    2x LP Record B/CD2:

    1. Cluster – Heisse Lippen
    2. Ibliss – High Life
    3. Moebius – Hasenheide
    4. Amon Düül II – Fly United
    5. Popol Vuh – Aguirre 1
    6. Ash Ra Tempel – Daydream
    7. Tangerine Dream – No Man's Land
    8. Amon Düül II – Wie Der Wind Am Ende Einer Strasse
    9. Roedelius – Geradewohl
    10. Can – I Want More
    11. Deuter – Soham

    • Can – Aspectacle
    • Between – Devotion
    • Harmonia – Dino
    • Gila – This Morning
    • Kollectiv – Rambo Zambo
    • Michael Bundt – La Chasse Aux Microbes
    • E.M.A.K – Filmmusik
    • Popol Vuh – Morgengruss
    • Conrad Schnitzler – Auf Dem Schwarzen Kanal
    • La Düsseldorf – Rheinita
    • Harmonia – Veterano
    • Faust – It's A Rainy Day, Sunshine Girl
    • Neu! – Hallo Gallo
    • Cluster – Heisse Lippen
    • Ibliss – Hi Life
    • Dieter Moebius – Hasenheide
    • Amon Duul II – Fly United
    • Popol Vuh – Aguirre 1
    • Ash Ra Tempel – Daydream
    • Tangerine Dream – No Man's Land
    • Amon Duul II – Wie Der Wind Am Ende Einer Strasse
    • Roedelius – Geradewohl
    • Can – I Want More
    • Deuter – Soham
    Hieroglyphic BeingThe Red NotesSoul Jazz Records

    "Hieroglyphic Being translates five years of experimentation into his best LP to date" Vinyl Factory

    "Album of the week" BLEEP

    "Chicago dance music hero Hieroglyphic Being releases one of the strongest albums of his incredible career" Pop Matters

    ----------------------------------------


    Stunning new album from Chicago’s finest electronic futurist Hieroglyphic Being, aka Jamal Moss, newly released on Soul Jazz Records. This is his third album for the label, following on from The Acid Documents (2015), and African With Mainframes (w/ Noleian Reusse) K.M.T. (2016).

    Born and based in Chicago, Moss’s music embodies two of the cultural foundation blocks of the city’s musical lineage; that of Chicago’s original Acid House sound (c. 1986) - Frankie Knuckles, Phuture, Marshall Jefferson et al, alongside a rigorous experimental sound searching that taps into the cosmic musical lineage of pioneering artist Sun Ra whose Arkestra landed and was based in the city from 1946-61, and the equally pioneering work of The Art Ensemble of Chicago in the 1960s and 70s.

    The association with Sun Ra is by no means hypothetical, Moss recorded with the Arkestra leader Marshall Allen and a host of free jazz players for the album Hieroglyphic Being & JITU Ahn-Sahm-Buhl’s ‘We Are Not The First.’ (2015).

    Similarly, his relationship to Chicago’s original acid house pioneers of the late 1980s is no hyperbole. Originally mentored by artist/producers Adonis and Steve Pointdexter, Moss also runs his own Mathematics label, releasing a constant stream of new music by foundation acid house pioneers Lil’ Louis, Adonis and many others.

    Moss grew up in the south side of Chicago. After being thrown out of the home of his adoptive parents, he then spent three years homeless living on the streets of Chicago, living a nocturnal existence as a gigolo in Chicago’s alternative clubs. He began his career as a DJ at the pioneering Liquid Love parties at Chi-town’s legendary Power House (home of Ron Hardy’s Music Box) around 1989.

    What clearly defines Moss’s music is that while sometimes pushing the limits of sound to an ear-splitting dimension of experimentation and DIY-electronics – the music is always clearly a progression of the lineage of black music. In the words of fellow Chicagoans, The Art Ensemble of Chicago, it is simply ‘Great Black Music.’ And yet in this uniquely defined sound, Moss somehow manages to draw into this world elements of industrial music, German electronic music (Cluster, Harmonia etc), Detroit’s sci-fi techno artists (Atkins, Saunderson, Craig) and more.

    ‘Outsider House’ ‘Afro-Futurist’ ‘Rhythmic Cubism’, Moss’s near indescribable sound plays testament to the notion that he is perhaps the last of the line of producers directly influenced by Ron Hardy at the Music Box, uniquely qualified to write a new chapter of Chicago’s rich musical history.

    Red Notes is the prolific artists new revelatory and unique project – in his own words ‘A homage to the Blue Note Jazz sound of Thelonious Monk, John Coltrane, Herbie Hancock’ fused together with the classic Chicago House and Acid sensibilities of Larry Heard, Armando, Adonis et al, into a newly imagined futuristic and barrier-less musical landscape.

    Featuring organic and synthetic electronic instrumentation, Hieroglyphic Being here fuses real-time live instrumentation and over-dubbed technologies to dramatic effect, as analog and electronic worlds collide.

    In honour and dedication: Thelonious Monk , Weather Report, Black Herman, Larry Heard, Herbie Hancock, Marshall Allen, Danny Thompson, Sun Ra, David Hotep, Daniel Carter, Orphy Robinson, Shabaka Hutchings, Mark Sanders, Evan Parker, Yaw Tembe, Pat Metheny, Miles Davis, Armando Gallop, Jon Hassell, Heldon, Pekka Airaksinen, Popol Vuh, Joe Zawinul, Moebius, Plank, Neumeyer, Adonis.

    Instrumentation: with Organic Flute, Piano, Guitar, Drums, Alto Sax, Hammond Organ, Korg Triton, Linn Drum, Korg DDD-1, Dr5 Drums, Casio RZ 1, Ensoniq Mirage Fairlight CMI Series III, Moog Mother 3, Allen & Heath Zed 24 mixer, Auria App for Sequencing.

    The striking artwork features stunning graphics and illustration from Paolo Parisi (who also created the artwork for the Africans With Mainframes album as well the series of Acid Mysterons albums all on Soul Jazz Records)

    "Jamal Moss has composed a modern afrofuturist suite as though in a state of perpetual grace" QUIETUS

    Read full review here

    • Hieroglyphic Being – Youth Brainwashing and The Extremist Cults
    • Hieroglyphic Being – The Melody Lingers
    • Hieroglyphic Being – The Seduction Syndrome
    • Hieroglyphic Being – Awake and Energize
    • Hieroglyphic Being – Video Jazz
    • Hieroglyphic Being – The Red Notes (Original)
    • Hieroglyphic Being – The Emotional Listener
    • Hieroglyphic Being – The Red Notebook
    • Hieroglyphic Being – The Tone Bather
    • 1. Hieroglyphic Being – Youth Brainwashing and The Extremist Cults
    • 2. Hieroglyphic Being – The Melody Lingers
    • 3. Hieroglyphic Being – The Seduction Syndrome
    • View full info and tracklisting
    Soul Jazz Records presents Brasil featuring Sivuca, Joyce, Raul de Souza and moreRecorded in Rio de Janeiro, BrazilSoul Jazz Records

    Brand new edition of Soul Jazz Records’ Brasil album recorded in Rio de Janeiro in 1994 with a host of legendary Brazilian musicians including Sivuca, Raul de Souza and singer Joyce Moreno – which has remained one of the key defining early releases from the record label. Out-of-print for over 20 years (!!!) the album has now been fully digitally re-mastered for this new 2018 edition.

    The album was recorded at the height of the first wave of interest in Brazilian music in London in the 1990s. Joyce and a group led by husband drummer Tutty Moreno had just been brought to the UK for the first time ever by Gilles Peterson and Brazilian music obsessive Joe Davis (and future head of Far Out Records) and performing to over 2,000 new young fans.

    Singer-songwriter Joyce has been a living legend in her native Brazil ever since the Bossa Nova movement of the 1960s and had made her first record when she was just 20, and described by Antonio Carlos Jobim as ‘one of the greatest singers of all time.’

    Joyce Moreno agreed to be involved in the project to record an album in Brazil produced with a UK sensibility and Tutty Moreno’s group signed up as the house-band for the project. Stuart Baker (founder of Soul Jazz Records) and Joe Davis then flew to Rio de Janeiro, searching out studios and rehearsal spaces.

    During this time in Brazil more artists signed up for the project including legendary figureheads of the Brazilian music Sivuca (who brought his own group) and trombonist Raul de Souza. Other key figures included singer/guitarist Celia Vaz who worked extensively as arranger with the legendary Quarteto Em Cy and drummer Dom Um Romao); Wanda Sá, who played in Sergio Mendes’ original seminal bossa nova group Brasil 65 (during which time she married the artist Edu Lobo); and legendary saxophone/flautist Teco Cardoso whose bio reads like a who’s who of Brazilian music and includes work with Edu Lobo, Dori Caymmi, Baden Powell, Joao Donato, Carlos Lyra and others.

    The final piece to this Brazilian jigsaw was the addition of percussionist Pirulito – whose stunning display of self-made instruments allowed him to magically create the massive sound of Rio’s Samba Schools live inside the studio. The album was recorded over one hot summer, mixed in London and then released at the end of 1994.

    Over 20 years on and Soul Jazz records’ Brasil album manages to capture both an important cross-cultural musical moment in time between Brazil and London while at the same time sounding as fresh as if it was recorded today! Following the original success of this album Soul Jazz Records’ continued its love affair with Brazil and went on to release a host of Brazilian albums including classics such as Tropicalia, Brazil 70, Bossa Nova, a Bossa Nova cover art deluxe book with Gilles Peterson and releases by Sergio Mendes, Baden Powell, Edu Lobo and more

    This new edition album is released with full original artwork and now comes as limited edition remastered vinyl edition (+ free download), limited edition Japanese heavy card CD edition and digital album.


    • Pirulito – Introduction
    • Pirulito – Batucada No.1
    • Celia Vaz & Wanda Sa – Zanzibar
    • Celia Vaz & Wanda Sa – Amazon River
    • Tutti Moreno & Group – Berimbau
    • Pirulito – Capoeira
    • Joyce – Magica
    • Sivuca – Forro
    • Tutti Moreno & Group – Misturada
    • Pirulito & Raul De Souza – Batucada No.2
    • New LP + Download Code£20.00
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    • CD£12.00
      In stockAdd to Bag
    • MP3 Release£7.99
      In stockAdd to Bag
    Deutsche Elektronische Musik 3Soul Jazz Records

    This latest instalment in Soul Jazz Records’ successful Deutsche Elektronische Musik series delves deeper into the German nation’s vaults to bring a fascinating new collection that again brings together a selection of classic German electronic and rock groups, including Neu!, Cluster, Popol Vuh, La Düsseldorf, Agitation Free, alongside a host of rare tracks by lesser known artists which includes Michael Bundt, Bröselmaschine, Dronsz, Achim Reichel and others.

    The music of Deutsche Elektronische Musik 3 ranges from the introverted pastoralism of Hans Joachim Roedelius and Bröselmaschine, to the angular and futuristic electronic experimentations of Klauss Weiss, Pyrolator, Deuter, Michael Bundt and others, to the proto-punk of La Düsseldorf and the heavy space, progressive and cosmic rock of Missus Beastly, Niagara and Dyzan.

    The music on Deutsche Elektronische Musik 3 was all recorded in the 1970s up to the early 1980s, at a time when forward-thinking German electronic and rock groups were searching for a new musical identity in order to separate themselves from both the cultural legacy of post-world war two Germany as well the ‘cultural imperialism’ of USA and UK rock. In this process German groups created some of the most unique and inspired music, the defining motorik beat alongside a host of ethno-musical influences from far afield – including Turkey, India, Brazil – as well as the musical and futurist possibilities of developments in electronics and technology itself.

    Deutsche Elektronische Musik 3 is released as a heavyweight 3xLP, deluxe double CD pack and digital release. The new extensive sleevenotes are by David Stubbs, who is the author of the acclaimed book, ‘Future Days: Krautrock and the Building of Modern Germany’ (Faber & Faber).

    “A near-definitive guide to some of the world’s most extraordinary music’’ ***** The Guardian

    "There are many potential futures contained within this exemplary Soul Jazz compilation" The Quietus

    • Klaus Weiss – Wide Open Space Motion
    • A.R. & Machines – I'll Be Your Singer, You'll Be My Song
    • Deutsche Wertarbeit – Deutscher Wald
    • Dzyan – Khali
    • Missus Beastly – Geisha
    • Alex – Derulé
    • Agitation Free – In The Silence Of the Morning Sunrise
    • Georg Deuter – Pearls
    • Michael Bundt – The Brain Of Oskar Panizza
    • Popol Vuh – Ja, Deine Liebe Ist Sußer Als Wein
    • Novalis – Dronsz
    • Bröselmaschine – Schmetterling
    • Neu! – Neuschnee
    • Between – And The Waters Opened
    • La Düsseldorf – White Overalls
    • Klauss Weiss – Constellation
    • Achim Reichel – Tanz Der Vögel In Den Winden
    • Roedelius – Lustwandel
    • Pyrolator – Die Haut Der Frau
    • Cluster – Hollywood
    • Streetmark – Passage
    • Niagara – Rhythm Go
    • Michael Bundt – Neon
    • 1. Klaus Weiss – Wide Open Space Motion
    • 2. A.R. & Machines – I'll Be Your Singer, You'll Be My Song
    • 3. Deutsche Wertarbeit – Deutscher Wald
    • View full info and tracklisting
    • 3×LP + Download Code £24.00
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    • 2×CD£12.00
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    • MP3 Release£9.99
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    DancehallPOSTERSoul Jazz Records

    Oh yes! 50 x 70cm KILLER poster!!

    Choose "Poster Freepost" if you want this poster sent with any other vinyl order item (LP/12" vinyl only) at NO extra postage charge (poster will be folded into six parts)

    Choose "Poster+Tube" if you want the poster rolled up and sent in a customised, protective tube (more expensive to cover postage)

    THIS ALSO means if you want more than one poster then you should only put 'Poster+Tube' for one of the posters and select 'Poster freepost' for any others as the rest will be free shipping.

      Boombox 3POSTERSoul Jazz Records

      Oh yes! 50 x 70cm KILLER poster!!

      Choose "Poster Freepost" if you want this poster sent with any other vinyl order item (LP/12" vinyl only) at NO extra postage charge (poster will be folded into six parts)

      Choose "Poster+Tube" if you want the poster rolled up and sent in a customised, protective tube (more expensive to cover postage)

      THIS ALSO means if you want more than one poster then you should only put 'Poster+Tube' for one of the posters and select 'Poster freepost' for any others as the rest will be free shipping.

        Deutsche Elektronische Musik 3POSTERSoul Jazz Records

        Oh yes! 50 x 70cm KILLER poster!!

        Choose "Poster Freepost" if you want this poster sent with any other vinyl order item (LP/12" vinyl only) at NO extra postage charge (poster will be folded into six parts)

        Choose "Poster+Tube" if you want the poster rolled up and sent in a customised, protective tube (more expensive to cover postage)

        THIS ALSO means if you want more than one poster then you should only put 'Poster+Tube' for one of the posters and select 'Poster freepost' for any others as the rest will be free shipping.

          Dancehall (2017 edition)Soul Jazz Records

          Soul Jazz Records are releasing this new 10th anniversary 2017 edition of their classic album  ‘Dancehall – The Rise of Jamaican Dancehall Culture’. This long-out-of-print collection is now available as a triple-vinyl edition and double CD pack.

          The album is a lightning-flash collection of all-time classic and definitive dancehall classics as well as a stellar selection of more obscure tracks. Featuring Yellowman, Tenor Saw, Sister Nancy, Ini Kamoze, Chaka Demus & Pliers, Michigan & Smiley, Super Cat, Cutty Ranks, Eek-A-Mouse, Gregory Isaacs and more, this album features non-stop floor-filling party tune rockers throughout!

          Dancehall is released to coincide with the new 2017 edition of the stunning 400+ photos deluxe coffee table book ‘Dancehall – The Rise of Jamaican Dancehall Culture’, featuring Beth Lesser’s amazing Dancehall photography (also newly published by Soul Jazz Records). This book has become the definitive cultural reference book for Jamaican dancehall and features hundreds of killer photographs, extensive text and interviews with many of the artists.

          ‘A vibrant anthology of all that mattered: the sound systems, studios, producers, singers and deejays.’  The Guardian

          • Yellowman – Bam Bam
          • Tenor Saw – Pumpkin Belly
          • Reggie Stepper – Cu Oonuh
          • Chaka Demus and Pliers – Murder She Wrote
          • Pinchers – Agony
          • Michigan & Smiley – Diseases
          • Ini Kamoze – World A Music
          • Junior Murvin – Cool Out Son
          • General Echo – Arleen
          • Cornel Campbell – Boxing
          • Cutty Ranks – Chop Chop
          • Lone Ranger – M16
          • Super Cat – Trash and Ready
          • Gregory Isaacs – Soon Forward
          • Jacob Miller & Trinity – I'm Just A Dread / One Shot
          • Eek A Mouse – Wa Do Dem
          • Sister Nancy – Only Woman DJ With Degree
          • Trinity – Uptown Girl
          • General Echo – Track Shoes
          • Cornel Campbell – Mash You Down
          • Horace Ferguson – Sensi Addict
          • Clint Eastwood – Jump and Pawn