Jazz-Funk

Brownswood are delighted to present Zara McFarlane’s, Songs of an Unknown Tongue a masterful work that underlines her continuous growth as an artist. Zara’s fourth studio album pushes the boundaries of jazz adjacent music via an exploration into the folk and spiritual traditions of her ancestral motherland, Jamaica. The album is a rumination on the piecing together of black heritage, where painful and proud histories are uncovered and connected to the present. Partnering with cult South London based producers Kwake Bass and Wu-lu, Zara has created a futuristic sound palate, electronically recreating the pulsing, hypnotic rhythms Kumina and Nyabinghi – and the music played at African rooted rituals like the emancipation celebration Bruckins Party, and the lively death rites of Dinki Minki and Gerreh. These richly patterned electronic rhythms are balanced throughout by McFarlane’s distinctive, clear vocal tones, and vivid song writing. Zara’s critically acclaimed third studio album ‘Arise’ met with universal critical praise, and was supported by an impressive live tour performing at festivals such as Love Supreme, Field Day and SXSW. Zara is the winner of multiple awards including a Mobo, 2 Jazz FM Vocalist of the Year Award (2018 & 2015), an Urban Music Award, and Session of the Year at Worldwide Awards. Drawing respect from a wide range of artists, Zara has collaborated with Gregory Porter, Shabaka Hutchings, Moses Boyd and Louie Vega. These new sonic explorations signal an exciting direction of travel for this innovative founding member of the UK’s vibrant homegrown jazz scene.

Pre-sonic fluctuations fallen in the dark, feed a languor of light. Scattered codes disperse their existence, out of the tonal sands of yesterday, heading to an absent elsewhere.” (Rossano Polidoro)Strange noises and avant-garde soundscapes with jazz elements: the audio experiments of three Italian musicians – previously known also as Trio Ereb – were conducted during the 1990’s in Italy.This album contains a previously unreleased home recording dated November 30, 1996: recorded in maestro Vincenzo Grossi’s home, in Pescara, Italy) on a cassette tape recorder; two long tracks, without further editing

The funky, atmospheric, evocative and sometimes downright weird output of companies such as DeWolfe, Cavendish, Burton and the ubiquitous KPM have always been a guiding inspiration for ATA Records. These occasional one-off tracks have accumulated over the past few years and have been released on the first volume of 'The Library Archive' series. Ranging from heavy big band brass (Whack, Slap & Blow, Kaye Okay) to evocative thriller soundtrack (Midnight Heist, Wiretap, The Needlenose) via introspective ethereal soundscapes (Nuclear Wind, Siren's Sea) these eleven tracks faithfully recreate the feel of the library music catalogues of the '60s and '70s.

3CD SET EXPLORING THE ARRIVAL OF SYNTH POP AND THE DAWN OF A NEW MUSICAL ERA. • 58 TRACKS MARKING THE TRANSITION OF ELECTRONIC POP FROM THE OUTER REACHES OF ECCENTRICITY AND NOVELTY TO THE VERY HEART OF A MUSICAL MAINSTREAM IT WOULD QUICKLY DOMINATE. • A TREASURE TROVE OF HOUSEHOLD NAMES – ORCHESTRAL MANOEUVRES IN THE DARK, THE HUMAN LEAGUE, ULTRAVOX, TOYAH, SPANDAU BALLET, KIM WILDE, PHILIP LYNOTT, THE BUGGLES – AND UNDERGROUND FIGUREHEADS – FAD GADGET, SUICIDE, M, JOHN FOXX, D.A.F., DALEK I LOVE YOU, VISAGE, THE RESIDENTS, YELLO – ALONGSIDE FORGOTTEN GEMS AND LESSER-KNOWN CURIOS. • BROUGHT TO YOU BY THE TEAM BEHIND THE CRITICAL AND COMMERCIAL HITS ‘CLOSE TO THE NOISE FLOOR’ AND ‘ELECTRICAL LANGUAGE’! • SLEEVENOTES BY ‘ELECTRONIC SOUND’ MAGAZINE’S MAT SMITH

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Sao Paulo Panic - The innovative and experimental idea was seeded at jazzahead! 2019. As Dani Gurgel explains: "I put together a panel at the festival and invited other artists, including Thiago Rabello and Martin Fabricius, to discuss the language of jazz and how it allows musicians to interact regardless of their nationality. Afterwards, we thought it would be great to put into practice what we discussed and to make an album."

Roger Hanschel (WDR Jazzp award 2018) has already released two CDs with string quartets (Auryn Quartet, Frankfurt Contemporary Quartet) as a composer and saxophonist. In order to add another - now jazzy - color to his collaboration with string quartets, and to complete a trilogy, Hanschel has turned to the jazz string quartet String Thing, one of the string pioneers in the field of improvised music and groove in Germany, which has been released in its Founded 30 years ago, his mentors included members of the Arcado String Trio or the Turtle Island Quartet. The string quartet colour is further enhanced here by the double bass. In addition to the jazz colour, Roger Hanschel's experience with Indian music also flows into his compositions - for example in the form of Tihais (three times recurring rhythmic patterns) and Indian scales interpreted in a harmonious way. "For a long time Roger Hanschel has been considered a representative of a saxophone playing that, starting from jazz, developed far beyond its own genre boundaries. His warm and clear tone, his understanding of complex rhythms and finally his own compositions led to the fact that the music of Roger Hanschel is now associated with a clear idea. Like no other he is able to move towards other musical genres without slipping into superficial attitudes, as is often the case with so-called cross-over. His musical movements are deeper and more natural at the same time.

After Creation/Evolution, which musically represented the origin and development of a planet, the four musicians take the listener one step further into an era of technology and machines. This makes the compositions more minimalistic and less arrange

Strut present a comprehensive 2CD / 3LP compilation of the seminal Oneness Of Juju, led by Plunky J. Branch. Tracing their career from the band’s earliest work in 1970 with South African exiled jazzman Ndikho Xaba in San Francisco, the compilation covers the band’s journey to New York’s loft jazz scene, forming Juju and releasing two landmark albums of hard-hitting percussive jazz on Strata-East. “I saw myself as a cultural warrior,” explains Plunky. “We studied about Africa and tried to infuse our music with an African spirit.” Moving back to his hometown of Richmond, Virginia during the mid-‘70s, Plunky drew in a superb new group of musicians and vocalists and created the band’s new incarnation, Oneness Of Juju, retaining the African influence but fusing his sound with funk and R’n’B on the classic ‘African Rhythms’ album. “We realised that, if we put a backbeat to the Afro-Cuban rhythms, people in Richmond and Washington D.C. could be drawn into it; it didn't change anything about our message.” The change would lead to a series of enduring soul-jazz classics on Jimmy Gray’s Black Fire label, including ‘River Luv Rite’, ‘Plastic’ and ‘Don’t Give Up’ and their biggest crossover international hit, ‘Every Way But Loose’ in 1982, later famously remixed by Larry Levan. The band received renewed interest in their music during the mid-‘80s as Washington D.C.’s go-go innovators cited the band as a major influence and rare groove DJs revived their albums for London dancefloors. ‘African Rhythms 1970-1982’ reprises a compilation released on Strut in 2001 and is newly remastered by Frank Merritt at The Carvery. Both formats feature a 12” sized 4pp booklet featuring rare photos and a comprehensive interview with Plunky Branch within liner notes by Chris Menist

Saxophonist and composer Quinsin Nachoff’s career to date has delivered a boundary-crossing body of work that’s consistently unpredictable, fearlessly innovative, breathtakingly accomplished, and full of creative passion, constantly increasing its scope to encompass ever greater horizons. His new album Pivotal Arc presents his most ambitious project yet: bringing together virtuoso violin soloist Nathalie Bonin with a jazz-inflected unit comprising two established giants of the NY scene, bassist Mark Helias and drummer Satoshi Takeishi, and the stunning young vibraphone player Michael Davidson, and adding a wind and string ensemble conducted by JC Sanford for a concerto that boldly mixes written and improvised sections. A contemporary string quartet performed by the renowned Molinari String Quartet and the extended title piece round out the album. The result is three diverse long-form works that flow naturally together, demonstrating Nachoff’s equally heartfelt facility with the free-flowing language of jazz improvisation, the depth and rigour of classical composition and the direct melodicism of folk forms. The three-part violin concerto is built around Nachoff’s long-standing creative partnership with Nathalie Bonin and showcases her extraordinary range and versatility. “Nathalie’s drive is very intense, her musical interests are really diverse, and she dives into whatever challenge and works at it until she masters it!” The first movement is an imaginary deconstructed and reconstructed Tango that sets the tone, intensity and sound palette for the entire work. After the improvised violin solo, the orchestra ferociously returns with nearly a concerto for orchestra section that gradually winds down to a dream-like cadenza, setting up the second movement. “I love Astor Piazolla and I’d heard Nathalie improvise brilliantly in that setting - Stravinsky also looms large and Weill and Ligeti were very inspiring as well, but the tango was the main focus, twisted and deconstructed in different ways” The second movement is a haunting ballad that sweeps through several tonal landscapes “Where Berg meets Ellington!” A gorgeous improvised violin solo leads into both a written and improvised cadenza that connects to the final movement. It is Balkan-infused and showcases the violinist's virtuosic range and rhythmic strength. The String Quartet represents some of Nachoff’s most intricate writing to date, allowing him to explore his deep attachment to the tradition and his engagement with contemporary iterations. “I like to keep up with what’s happening now in quartet writing and this gave me the opportunity to explore some of those ideas – pitch axis, using quarter tones, etc., but still keeping a jazz influence because that’s a large part of my background” Each of the four movements is a miniature concerto for each member of the quartet. The first movement features Violin II, the probing second movement showcases the Viola, the vacillating third movement is for the Cello and the intense final movement is for Violin I. “It felt like it was improvised, it had this really alive, vibrant feeling to it that is a testament to the Molinari’s exceptional work as an ensemble” The final, titular piece, ‘Pivotal Arc’ is Nachoff’s extended reflection on the critical position we currently find ourselves regarding climate change. It features opening and closing solos from bassist Mark Helias, inspired contributions throughout from Michael Davidson, a call and response solo section between the orchestra and drummer Satoshi Takeishi and an improvisation section moving through a variety of moods for Nachoff’s tenor saxophone. “Mark is so accomplished and so individual, always able to add an element of surprise in any setting! Satoshi is similarly unique: he adds so much energy and always sees the big picture. Michael was phenomenal on both the improvisations and the written sections and JC Sanford was essential to realize the project and get the blend right" With a sonic palette that ranges across the spectrum from Strayhorn and Mancini to Bartok and Berg, this is a stunningly original set of pieces that will cement Nachoff's reputation as a major cross-genre musical force.

Violist/improviser/composer Mat Maneri envisages his music as one of activity in stasis, or motion within stillness. His music continues from the lineage of master improvisers Paul Bley and Paul Motian with a sound that is distinctly his own and deve

The sequel to the successful Jazz On The Corner compilation (released 2018), once again compiled by actor Martin Freeman and DJ/Acid Jazz co-founder Eddie Piller. An album full of jazz jewels, a little off the beaten track. Includes lesser known tracks by Nina Simone and Nicola Conte, classics by Roberta Flack, Roy Ayers and The MJQ, and many more.

Karrin Allyson proudly confirms the highly anticipated physical release of Shoulder to Shoulder, a very special and timely album that celebrates the centennial of womens suffrage. In addition to five-time Grammy nominee Karrin Allyson, the sextet al

Wu Hen is the sophomore album from Peckham visionary Kamaal Williams -- an invitation to elevate to a higher state. Cinematic strings from Miguel-Atwood Ferguson and virtuoso saxophone from Quinn Mason are textural additions that make for a deeper, multi-layered experience than previous releases. Bringing groove back to the forefront, Wu Hen oscillates between celestial jazz, funk, rap and r&b reinforced with the rugged beat-heavy attitude of grime, jungle, house and garage – a self-styled fusion Kamaal describes as Wu Funk. New players on this record include LA’s Greg Paul on drums (of Kalayst Collective), Rick Leon James on bass, Quinn Mason on saxophone alongside vocal features from cult rapper Mach-Hommy and Kaytranada collaborator Lauren Faith. Multi-talented renaissance musician Miguel Atwood-Ferguson (who has worked with Ray Charles, Flying Lotus, Dr. Dre, Mary J. Blige, and Seu Jorge) contributes signature strings, which add vivid colour and rich depth, evoking vintage David Axelrod. Kamaal rose to prominence with the hugely acclaimed Yussef Kamaal alongside drummer Yussef Dayes and a catalogue of 12”s for imprints such as MCDE, Eglo, and Rhythm Section as Henry Wu that became essential DJ tools. In 2018 he launched Black Focus Records with the Kamaal Williams debut The Return, which charted in the UK and saw sold out shows and festival appearances across Europe, North America and Asia

"If you asked musicians today where in the world famous recording studios are, they would probably come up with answers: the Abbey Road studios in London, where the Beatles recorded; the Capitol studios in Los Angeles, where Frank Sinatra sang; Hitsv"

Once they heard him play, few people disagreed with Jaco Pastorius' assessment of himself as the 'greatest bass player in the world'. His meteoric rise in 1977 to the bass chair in Weather Report and his work with Joni Mitchell, established him as a major player on the jazz and rock scenes. Broadcast by NHK radio at Shinjyuku Koseinenkin, Tokyo on 22nd May 1983, this is a rare example of his eclectic Word of Mouth small group having fun with a variety of musical styles. Given his status Jaco could have filled his septet with A-listers, instead he assembled a cast of journeyman and pals from the old days, all of whom can most definitely play. Compared to the high precision fusion he'd been making with Weather Report Jaco's small band outings at this time were rough and ready affairs. Perhaps for Jaco that was partly the point. There is no doubt that at some level this music represents Jaco looking back and enjoying himself with friends. Mirroring his 1976 debut album the set lists for this tour included reggae, funk, latin percussion, soul and jazz all featured alongside Jaco's crowd pleasing solo spots. Broadcast by NHK radio at Shinjyuku Koseinenkin, Tokyo on 22nd May 1983, this is a rare example of his eclectic Word of Mouth small group having fun with a variety of musical styles. Jaco Pastorius electric bass; Alex Foster saxophone; Ron Tooley trumpet; Delmar Brown keyboards; Kenwood Dennard drums; Don Alias percussion; Special guests: Othello Molineaux steel drums; Kazumi Watanabe electric guitar.

This 4CD collection brings together eight of Harold Land’s very finest albums, all released between 1954 and 1963 – the period during which this incredible musician, band leader and composer was at his absolute musical peak. Still criminally underrated and little known outside jazz circles, this compilation hopefully goes some way in reversing this trend, as it acts as both a fine introduction for beginners to his music and a perfect reminder of this great musician’s sound for the rest of us.

Influential jazz collective Idris Ackamoor and The Pyramids return with an epic new opus, Shaman!, featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018’s acclaimed An Angel Fell into more introspective themes. “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience,” explains Ackamoor. “The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.” Evolving around Ackamoor’s intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on Eternity and mourns the sudden loss of loved ones in the prescient When Will I See You Again?, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular Theme For Cecil and renders homage to the ancestors on Salvation and The Last Slave Ship, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb Virgin is an anthem of forgiveness, new beginnings and self-healing