A fourth LP of spiritual jazz by this feted nine-piece from Australia.
‘A stunning work, full of integrity and class… Essential’ (Echoes).
‘Wonderful record, full of some great Kamasi/Donald Byrd/even Art Blakey moments.’ (The Guardian).

‘These recordings are traces of something I have come to love to do in large resonant spaces, which is to set up sustained chords on multiple organs and then move slowly through the sound. The instruments are usually far apart, which makes for the emergence of large fields of continuous change, spaces of harmonicity that can be passed through layer by layer and which contain within them points of both clarity and overwhelming complexity. The organ pipes are tuned and retuned, though sometimes I leave them just as they are. What I’m searching for is the moment when a particular kind of sounding texturality is revealed – it is rough, focused and yet strangely transparent.’

The first reissue of this set, recorded in Paris in 1975, jubilantly blending funky Algerian rock and other North African sounds with jazz, Latin, boogie… A two-page insert carries new liner notes.

French-Belgian electro-samba, cornered. A mini-LP on the Brussels label, Les Disques Du Crepuscule, from 1982; augmented here by the first Antena EP, a few B-sides, compilation tracks, and unreleased cuts.

Two teenagers’ amapiano music from Gauteng province in South Africa, drawing on jazz, folk, afro, deep and tech house, kwaito, and dibacardi… but sounding like none of them.

The oldest form of North Indian classical music still performed today — dhrupad — played by Madhuvanti on an instrument she built herself, recorded at home.
Two ragas; over ninety minutes.
Full-color gatefold, with extensive liner notes.