‘Tezeta were an experimental eight-piece instrumental group formed in Bristol back in 2014. The Ethiopiques series lit the fuse, but the project quickly gathered Afrobeat, prog, and improvisation into a beguiling mix — always evolving and resolving in different ways to what you might expect — with some thrilling ensemble playing rhythmically propelled by two drummers and a percussionist, and pianist Daniel Inzani’s evocative melodies at the centre. They had a cult following among other musicians and were known for wild group solo wig outs, virtuoso musicianship and creative use of unusual rhythm, harmony and melody. They toured across the UK at various venues and festivals including Glastonbury, Shambala and Green Man, before calling it a day in 2023. Seventh Place was originally a private press CDR, released in 2016; mainly sold at gigs.’

‘Absolutely gorgeous from start to finish’ (Deb Grant, BBC 6 Music). ‘Gorgeous mood music with more than a nod to Addis. Lovely tapestries and textures’ (Matt Temple, Matsuli Music).

‘Amazing! Like stumbling on a treasure-trove of unheard Charlie Patton and Blind Willie McTell 78s, but imbued with the spirit of Mahlathini and Ladysmith Black Mambazo,’ says Joe Boyd.

Classic kwaito by Professor Rhythm and friends, from 2001. That defining Jo’burg blend of hip-hop and house, but enlivened by a distinctive grab bag of fresh influences, and notably quirky and quick on its feet.

Recorded by Jean Michel Jarre in 1972, during his work experience at G.R.M. (Groupe de Recherches Musicales), for a commission to provide sound for public spaces like airports and libraries. Fifteen tracks made with only two synthesizers (EMS VCS3 & Farfisa organ) in an experimental and very minimal style.
‘It was a crazy album, totally homemade, with rhythms that I made in my student room, with a minimum of equipment and at the same time electronic sounds that I stole from the GRM where I went at night after stealing the keys to the studios. It is a pirate record, in every sense of the word, in which we find what I did afterwards.’

‘As playful as it is intense — firmly rooted in tradition, yet endlessly searching and adventurous. Each of the thirteen short pieces explores one or more expressive possibilities of the piano and are, in the words of Adam Shatz in the liner notes, ‘marvels of compressed exploration. To listen to them in succession, as they’re meant to be heard, is to enter a vast, sophisticated, and deeply considered sound-world. Song Unconditional is also gorgeous, sometimes startlingly. It belongs, I think, in the company of the most impressive solo piano albums of recent years.’‘

The third, 1980 LP of this vocal trio led by Trevor Bow. Recorded at Treasure Isle with expert backing by the Negus Dawtus, Family Man, Chinna, Rico…

The Barca-born pianist back to wow us again on piano, Fender Rhodes, Chinese gongs, and a little whistling; with longtime collaborator Masa Kamaguchi, and Detroit drum wizard Gerald Cleaver. ‘Where melodic density meets contrapuntal dialogue, a free interplay of rich textures and riveting, masterly improvisation. This smooth complexity is what gives rise to the group’s uniqueness.’
The Wire magazine hailed the first volume: ‘deep and thoughtful’.

Beau Wanzer + Rezzett = maximum worries squared. Five frazzlers for all us nutters in the dance. Borez they izn’t.

A thought-provoking, deeply enjoyable consideration of displacement and dislocation, and abiding but adaptive cultural memory, this fourth collaboration mashes expert, haunting samples of the classical Iranian pop of greats like Andy, Hayedeh, and Fereydoun Farrokhzad into tough, quick-fire beat-downs.

‘A kind of musical road movie, shifting gears through time, space, and reverie, with an itinerary and cast of characters looming in and out of focus. Post-punk chanson with an ear for micro-tonality. The balance of mutant music-boxes and dewy miniatures recalls otherworldly hits from Gareth Williams’ Flaming Tunes, The Residents, and the catchier corners of the Lovely Music catalogue.’