‘At the Immanuel United Church of Christ on November 25, 1979. This is the eighth in a series of eleven concerts recorded at the church. This month saw the Arkestra stretching out at blissful heights — the half hour of Carnival is worth the price of admission alone, but the same could be said for the monumental Nation Rising, and the deep take on Roberto Miranda’s Faith. The groove kicks off with Horacio and doesn’t let up the whole concert.’

A historian by training, Akira Umeda became a ceramicist, a photographer, a visual artist, a draftsman, a graphic designer, a DJ, a musician, an audio technician, a writer, a researcher… Here are forty-two recordings, ranging over three decades, alluding to the incredible range of his creative work: from songs, to ambient music; from field recordings to prank calls. Drawn from cassette tapes stored in Umeda’s house in São José dos Campos, in São Paulo, Brazil.

‘A hard-grooving, vividly evocative EP, deeply rooted in nineties drum & bass, by this Milan-based, Brazilian producer.
‘The original mix of Dynamo rotates its vast spinning coil through a landscape of cavernous basslines and spectral vocals; then Etch fires up a full jungle do-over.
‘Breath - Dance enacts and probes a psycho-physical push-and-pull, alternating caustic breaks with ambient introspection.’

Featuring James Massiah from Babyfather.
The flip is pure terror, with John T. Gast in the mix; heavier than lead, dreader than dread.

‘Classic Vinyl series.’

Fresh homage to Pharoah, Alice, Ra, and co, from an all-star Kiwi line-up.
‘Each instrument seems to be in orbit around the concept of symbiotic synergy, and everyone is given equal space to shine: from a psychedelic Korg, to a delirious saxophone or the gentle ripples of a harp. There’s a huge array of keyboards, with a standout acoustic piano solo by Guy Harrison on Plume. The wind section delivers ecstatic saxophone riffs, futtering flutes and solid horn choruses throughout. Percussion, vibraphone and acoustic bass lay the foundations. A full choir performs arrangements by Matt Hunter.’

Recorded a year after the debut, continuing the earthy flow of Malombo’s music. The two albums have since been recognised as unique landmarks of South African jazz. Alongside full original artwork, both albums feature a new interview with Julian Bahula.

‘Malombo music is an indigenous kind of music,’ says Lucky Ranku. ‘If you listen to it, you can feel that it can heal you, if you’ve got something wrong. It’s healing music.’
Lucky was one of the greatest African guitarists of his generation. The deep and hypnotic Down Lucky’s Way was the Jazz Makers’ third album. Recorded in 1969, it was the first to feature additional instruments, and the first to feature Abbey Cindi on soprano saxophone as well as flute. But more than anything else, Down Lucky’s Way is a transfixing showcase for Lucky Ranku’s sui generis guitar virtuosity.
Quite different from their previous recordings, the album shifted the Jazz Makers’ sound toward mesmerising, extended compositions, layered by organ bass and guitar overdubs. Of all the Malombo Jazz Makers recordings, Down Lucky’s Way is the deepest of mood, and the richest of vision.
The most rare, too: it may not ever have been properly issued. Original copies are outrageously scarce — only a few are known among collectors. Prior to this reissue, Lucky was unaware it had ever been released, and had never seen a copy.