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2023 26 Jul

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DLF, 27. Juli, 21.05 JazzFacts Klanghorizonte
Jazz, Electronica und Pop abseits des Mainstreams.
Am Mikrofon: Michael Engelbrecht



Jan Bang & Eivind Aarset   (from Last Two Inches Of Sky)
Dudu Tassa and Jonny Greenwood  
Old And New Dreams (ECM)
Rickie Lee Jones: Pieces of Treasure
Dedalus Ensemble plays Eno
Josephine Foster: Domestic Sphere  (haunted house, 4‘41)
Matthew Herbert: The Horse (the horse remembers, 2‘57)
PJ Harvey: I Inside The Old Year Dying
Craven Faults: Standers



The last four tracks of this nine-tracks sequence seem close to perfect to my understanding. All four inhabit a special surrounding: old (ghosty) home, the territory of animals (running eternities), childhood in a village, a barely populated landscape. There‘s a down-to-earth (earthbound) connection between all of them. A classical ensemble playing Eno classics from the ambient field is at the centre (not striving for attention per se), thinking music, a place to rest. Wouldn’t Music For Airports be an ideal choice for nine compositions sending you places? The first four pieces may not convince on first sight, running order-wise. Well, not too tricky to link two „duos“ with their inherent modus operandi of crossing borders (in quite inventive ways)  – the two „jazz“ albums to follow cover strange corners with a similar intensity. No doubt, „mainstream“ turns into existenzial matters (RLJ), and nature‘s call on „Old And New Dreams“ is as deep as it is irresistible.   By the way, Manfred Eicher produced the „dream team“ in 1979, and the famous debut of  „the duchess of Coolsville“ was released when? In 1979.  I remember Werner Burkhard’s fine text on the album in Süddeutsche Zeitung back then, (I was reading it in old café in Würzburg). Other great albums of that year blocking my record-player: Drums and Wires by XTC, 154 by Wire, Fear of  Music by Talking Heads. Ursula Mayr and I were already talking films in those days.



Jan Bang‘s musical 1969 memories: „The boat woman song» by Czukay is just absolutely stunning. I belive it was created at night at Stockhausen’s studio In Cologne. I´ve traced down the original Vietnamese recording which in itself is a beautiful album. Other examples from that year that I particularly enjoy: Scott Walker «its raining today», Joni Mitchell «both sides now», Nick Drake «river man», Velvet Underground «sweet Jane», Crosby, Stills & Nash «you don’t have to cry», Hariprasad Chaurasia «raga bhoopaly», Mulatu Astatke «yeglie tezeta», Bridgeet St. Johns «autumn lullaby», White Noise «world without sound» and the incredible sound design and the laughing girl. The Temptations «cloud nine», Gal Costa «nay identificada» (especially the lovely ambiguous intro that was made by a classical contemporary composer that I forgot the name of)? Also worth mentioning from that year are Oz Brazoes «Carolina, Carol bela», Fairport Convention «who knows where the time goes», the Band «Whispering Pine», Marva Whitney «unwind yourself», Roberta Flack «first time I ever saw your face» and Jon’s friend Terry Riley and his beautiful Rainbow in curved air piece. Best from the summer heat at Punkt studios. Jan.



Hello, Jan, have a look at this playlist of Klanghorizonte in July. Finding the final sequence is always quite a challenge, as you may well know from your own experiences… the steps close to the end, before everything falls in place. The icing on the cream. I will send you the radio hour, but even now you might get an impression of a certain process in moods, polarities and (surprising) connections. Here are my three questions, the answers for each one should not be longer than two minutes. And, of course, I will return to this album when it‘s out, by the way… 1) Now, the title of the compositon you sent me (and the track itself, of course) apparently reference Miles Davis‘ „In A Silent Way“, respectively a piece from that classic. When did a certain affinity occur to you… or was it in the back of your mind (and Eivind’s) from start on… what‘s the thing you love on that „Hush/Hush“-mood of this piece? 2) what is general conceptual or „mood idea“ behind the whole album that will see the light of day at the end of September, and which has such a wonderful title? 3) With the appearance of Nona Hendryx on the album, you open up another horizon for the album, at least when thinking about her songs in older days. How did she connect to your album? Another new texture, or another digging in the past? Good to know, Nona will take the stage on this year’s Punkt Festval in Kristiansand. Take care, Michael!



Click on the poster to see   
all the names in full glory –
then think about sailing north. 



„The friction between opposing elements – taking a song and throwing in whatever it’s asking for, even if it doesn’t make sense, even if it might be wrecking your original idea, or even if it might be marring the beauty of the melody – is at the bottom of all the music that we do.” (Tim Rutili, Califone)


Mod 1
Matthew Herbert: The Horse
Mod  2
Alva Noto: Kinder der Sonne
Dudu Tassa & Johnny Greenwood
Mod 3
Zsófia Boros: El ultimo aliento
Josephine Foster: Domestic Sphere
Mod 4
Dedalus Ensemble plays Brian Eno
Califone: Villagers
Mod 5
Craven Faults: Standers



Die Idee stammte von Jo, die von Lajla ins Leben gerufene „Echokammer“ in unseren Kolumnen unterzubringen. Und da in der Abteilung der „Zeitreisen Januar“ auch  meine letzte Version der Radionacht untergebracht ist, werden im Februar das Erinnern an 30 Jahre voller „Horizonte“ und die freundlichen Echos darauf vom Fluss der Zeit mitgenommen.

The music never dies. Hört nur, Cat Power und Kreidler im Januar, oder die Ausgrabungen von vier Nächten in Kalifornien, Lee Morgan hochkreativ und clean, ein Jahr vor seinem tragisch frühen Tod (Ernst Augustin singt ein Loblied auf „The Sidewinder“ in seinem tollen Roman „Der amerikanische Traum“) – oder jenes einst umstrittene Album von Air, das mich nach 20 Jahren mehr bezaubert als jedes andere ihrer Werke.

Und wer an Urlaub denkt, aber in diesen Zeiten zögert mit der grossen weiten Welt, dem empfehle ich zwei Abstecher – eins in das hawaianische Ferienparadies „The White Lotus“ (bei amazon prime mit kleinem Aufpreis zu buchen), oder das „Jammertal“ nahe Datteln, eine nicht minder vorzügliche Hotelanlage, an der Grenze zum Münsterland. Einem meditativen Kurzurlaub steht dort nichts im Wege, solange man sich in der Heidelandschaft ringsum nicht verläuft. Wie sang doch einst Brian Eno, von einem anderen Hinterland: „Don‘t get lost in Lueneburg Heath!“.

In regards to journeys, a friend of mine wrote me an email today about bingewatching THE SILENT SEA on Netflix within the last two days. A story about a moon mission that goes very, very wrong. The South Koreans did some great TV series lately, and he calls this one „terrific“. So, let‘s find out. At least I can say, my favourite Korean actress, Kim Sun Young, is on board, too. Seems to be emotional Sci-Fi with very human echoes.

An der Stelle der „Echokammer“ findet sich ab Februar Neues / Altes – statt „Thrill (of the Month)“ heisst es dann „Erzählwerk“, als originelleres Synonym für „Buch des Monats“. Oder sollte es „Storytelling“ heissen? Da auch Philosophen mit jedem Buch uns etwas „erzählen“, einer Version von „Durchdringung / Spiegelung von Wirklichkeit“, und selbst Autobiografien „Versionen“ erzählen, kann jeder Manafonist hier genrefrei „posten“, Philosophica, Kriminalliteratur, Musikbücher, „Non-Fiction“, 1000-Seiten-Schmöker, Lyrikbände, Märchen aus aller Welt, „Erzählwerk“, „Storytelling“ – im weitesten Sinne!

Und wenn in diesen Tagen soviel von Storytelling die Rede ist – Anthony Doerrs „Wolkenkuckucksland“ ist dafür ein überfliessendes Paradebeispiel, zugleich ein „Time-Travel“-Roman der Sonderklasse. Mein Dank an Jason Sheehan, für die paar Sätze, die das Faszinosum dieses Buches auf den Punkt bringen! Eine andere spannende Reise, eine in die frühe Zeit des letzten Jahrhunderts, bietet das von Jan hier am 21. Dezember vorgestellte Buch „Liebe in Zeiten des Hasses“ von Florian Illies. Wann erscheint eigentlich Jan Reetzes opus magnum in deutscher Übersetzung – diese Frage stellte ich mir, als ich gestern Can‘s „Live in Brighton 1975“ hörte,  neben Air meine Weihnachtsmusik … .

Noch einmal zurück zu Cat Power, mit den Worten von Victoria Segal: „Dieses Werk zeigt erneut Marshalls außergewöhnliche Fähigkeit, sich in das Mark eines Songs zu graben, sei es Lana Del Reys White „Mustang“ oder Kitty Wells‘ „It Wasn’t God Who Made Honky Tonk Angels“. Sie fährt mit dem Messer entlang der Wirbelsäule von Frank Ocean’s „Bad Religion“. Ihre Stimme ist wie immer eine Sache von ausdrucksstarker, erschöpfter Schönheit.“ P.S.: ein Song von den Pogues ist auch im Spiel. 



An hour of time travel activities on August 19. Japanese music of the past can still surprise. The latest offering is a wonderful mix of melodic lightness and experimental touch. In those old days „Made to Measure“ wrote music history made to measure unfamiliar horizons: „La douxième journée“ by Lew & Brown was instantly regarded as a classic of its own kind with its audacious melange of north african modes, jazz sensibilities and twilight zones in between. From Bruxelles with love! No doubt Alice Coltrane and her Ashram singing of more or less improvised Hindu chants has a deepness to it that transcends its once-upon-a-time target group of religious devotion and now can easily be perceived as a profound, human meditation on yearning and loss. In the middle of it all we’ll see, on the cover of „The Perfect Release“ a woman (Annette Peacock) on a couch (looking slightly indifferent) – and then there is this vocal delivery  on the state of the world, with a casual performance that doesn‘t outnumber at all the simple truth of all its lines and verses. A stone cold groove keeps her company.


Leftfield Japanese Music from the CD-Age / Benjamin Lew & Steven Brown (a classic from Made to Measure) / Alice Coltrane: Turiya Sings / A spoken word classic from Annette Peacock / Alice Coltrane again / Benjamin Lew & Steven Brown again / Leftfield Japanese Music again (closing all circles)      


Man könnte es ja auch eine Geistergeschichte nennen, und die gesammelten psychedelischen Pilze dazurechnet, die in solch einem Dschungel beheimatet sind, würde jeder Film, jede Dokumentation, auf Farbenpracht setzen. Wer nun in Xpujil und um Xpujil umherstreift, und daraus Klänge filtert, hat so viele Chancen zu scheitern. Man denke nur an die neueren Dokumentarserien von Richard Attenborough, etwa „Blue Planet 2“, die ohne Frage beeindruckend sind, aber hinsichtlich des Soundtracks stets auf Nummer sicher gehen, und beispielsweise Hans Zimmer daran zimmern lassen: da setzt die Hollywoodisierung der Wahrnehmung ein, und leicht lässt man sich gängeln von 1:1-Relationen zwischen Bild, Sound & Emotion. Die fremdeste Unterwasserwelt wird so in einen vertrauten Horizont der Ohren übertragen. Wie anders sind  da Nova Materia mit ihrem Trip durch einen von den Überresten der Maya-Kultur geprägten Dschungelabschnitt umgegangen, auf ihrem Ende Juni erscheinenden Album „Xpujil“ – hier wird nicht geraunt, geschwelgt, gewabert, in grellen Farben aufgetragen.



Wieder und wieder traut man seinen Ohren nicht, und kann nicht anders – da in Momenten der Ergriffenheit  die Sprache einfach wird, fast schon Halt sucht in einfachsten Wortreflexen – als diese Musik von Caroline Chaspoul und Eduardo Henriquez „unheimlich schön“ zu nennen, unheimlich und schön. Anbei zu hören, was Eduardo und Caroline mir über das Cover erzählten. In voller Länge von 40 Minuten ist diese Arbeit zu hören in der Radionacht Klanghorizonte am 19. Juni. Versuche am besten gar nicht, vorher im Netz irgendwelche Kostproben zu finden, lass dich am besten unvorbereitet auf diese Reise ein! Ich gebe dem Album fünf Sterne.

Die Nacht der Klanghorizonte am 19. Juni beginnt mit einem langen Musikstück, ich sage vorher kein Wort. Wenn man die ersten Minuten davon gehört hat, weiss man ohnehin, wo der Bartel den Most holt in dieser Nacht. Es gehört zu einem Genre, das gar nicht so fest umrissen ist, und von Nik Bärtsch „ritual groove music“ genannt wird. Damit verhindert er die üblicherweise ins Spiel gebrachten Wörter mit langen grauen Bärten, wie „Jazz“, „Minimalismus“, „Ambient“ und „Klassik“. Klassik hat den längsten Bart, historisch gesehen – um ihn zu stutzen, beschränken sich einige auf „Zeitgenössische Klassik“. Wörter wie „zeitgenössisch“ halten sich auch nur noch im Feuilleton wacker aufrecht, sie sind massiv einsturzgefährdet, so obsolet wie heutige Parteitage der von Gerhard Schröder abgewirtschafteten SPD, auf der man sich immer noch feuchtfröhlich als „liebe Genossinnen und Genossen“ anredet. Zur „ritual groove music“ könnte man leichterhand The Necks zählen, „Joshua Abrams & The Natural Information Society“, Nik Bärtschs Ronin sowieso, und das wunderbare Album, das meine Radionacht einleiten wird. Interessant, das ich bei dem ersten Stück der CD hier und da an die feinen repetitiven Wirbel der „ride cymbal“ von Eberhard Webers Album „Yellow Fields“ dachte! Ein Album, das man „organische Puls-Musik“ nennen könnte (wenn das nicht zu sehr nach veganem Lebensstil klingen würde), und bis heute nichts von seiner Magie verloren hat. Mein erstes Album der Nacht ist ein Werk, dem man daheim am besten von Anfang bis Ende lauscht. Es ist, nebenbei bemerkt, exzellent aufgenommen, und muss keineswegs laut gehört werden. Die Musiker leisten sich den Luxus, ihre Tableaus in oft recht hohen Tonlagen anzusiedeln, ohne schrill zu werden. Die Luft ist halt dünn in solch entlegenen Terrains (und Nachtlandschaften), über denen das  beste Opus, das diese Bande Gleichgesinnter je gemacht hat, schwebt, in all seinen aufregenden Perspektivwechseln, Eindunklungen, und Verwirrspielen. Ich verleihe dem Album 4 1/2 Sterne. Soviel, wie John Green in seinem tollen Essayband über das Anthropozän den Höhlenmalereien von Lascaux gibt. A strange, strange world, und, for sure, one my 33 favourite albums of 2021. Dim the lights, and follow the tapestries. 


The new songs comprised guitar tracks that were converted into MIDI piano tracks, over which Wagner laid Broder’s grand piano, Olson’s assorted sounds, horns by CJ Camerieri, turntable work from Twit One, some free-jazz drumming from Eric Slick and, finally, double bass from James McNew. “I always thought this kind of record needed this upright bass element,” says Wagner. “Very much like some classic jazz piano-trio record and James was always on my mind with that.”

(From Uncut, 2021)


Eine Freude, wenn in die Jahre gekommenen Wegbegleitern immer noch Bereicherungen gelingen
, und sie sich nicht darin erschöpfen, mit jeweils neuen Alben allein das Feld unserer Erinnerungen hübsch aufzubrezeln. Ach, weisst du noch – das ist nicht die Haltung Entdeckungsreisender in Sachen Musik.

Und so hat Kurt Wagner, als Lambchop-Mastermind und ruheloser Erforscher von Songhorizonten, auch in den letzten zehn Jahren weiterhin erstaunliche Arbeiten abgeliefert, und mit „Showtunes“ nun ein sicher nicht unmittelbar griffiges, aber rundum geglücktes Meisterwerk, experimentell und tiefgründig zugleich. Es bewegt sich in solch einsamen Höhen wie Mark Hollis‘ Soloalbum, oder Prefab Sprout‘s I Trawl The Megahertz. Eine gute halbe Stunde lang, mit keinem einzigen verschwendeten Moment, garantiere ich (natürlich ohne Gewähr und Reiserücktrittsversicherung) aufregende Erlebnisse mit jedem neuen Hören. Es gibt das Album auch, in einer Sonderedition, auf weissem  Vinyl, in einer Gatefold-Ausgabe mit 45 rpm (!). „Showtunes“ ist eines unserer Alben des Monats Juni (s. Kolumne rechts), und es ist ganz sicher eines meiner Top 5 Alben des Jahres 2021. Ich bin restlos begeistert.

Ich habe Brian dazu eine Mail geschickt, u.a. auch den substanziellen, grossen Artikel über Kurt aus der Juli-Online-Ausgabe von Uncut („The Conceptualist“). Es würde mich sehr erstaunen, wenn Eno nicht Feuer und Flamme wäre, was Kurt Wagners neue Arbeit beitrifft, entstanden in fast mönchischer Zurückgezogenheit, zuhause in Nashville, Tennessee. In den Klanghorizonten am 19. Juni werden zwei Songs aus „Showtunes“ auftauchen, in bester Gesellschaft von Marianne Faithfull, Robert Ashley, Stephan Micus, und, ähem, Brian Eno. Ein „phoner“-Interview wird angefragt, mit Kurt Wagner. Es wäre so ungefähr unser fünftes Interview. 

playlist of nighthawk‘s late night radio in June:

Brian Eno: instrumental track
talking 1 – Michael (on this hour, on Showtunes and She Walks In Beauty)

Marianne Faithfull: from She Walks In Beauty
Lambchop: from Showtunes
Stephan Micus: short instrumental track from Winter‘s End (ECM)

short story by  Martina Weber on Robert Ashley‘s Private Parts
Robert Ashley: The Park, from Private Parts (1977 – Lovely Music)
short story by Michael on Robert Ashley’s Private Parts

Stephan Micus: short instrumental track from Winter‘s End
Lambchop: from Showtunes
Marianne Faithfull: from She Walks In  Beauty

talking 2 – (Michael on everything)
Brian Eno:  instrumental track 


As Soul Jazz Records HQ (London) announced in 2020, the duo from Tucson, Arizona, Trees Speak,  sees their project „as much a sound laboratory as a rock and roll band.“ Combining elements of experimental rock, electronic avant-garde, Krautrock and Miles Davis „Bitches‘ Brew“ era jazz. They construct abstract improvisational jams into coherent compositions in the „sound lab“ of the studio. The result is a collection of dynamic songs, as the band described them, „translucent jams for a virtual autobahn“.


Philosophically, the members of Trees Speak also draw inspiration from the philosophy and creative process of the Surrealist, Dadaism, The Avant-Garde and Vanguard movements from the 1920s. So far, so good, or even better – with the release of „PostHuman“ at the end of May, Soul Jazz Records will have published three albums of this highly creative duo of the Diaz brothers. „Trees Speak are Daniel Martin Diaz and Damian Diaz from Tucson, Arizona and their music often draws on the cosmic night-time magic of Arizona’s natural desert landscapes. ‘Trees Speak’ relates to the idea of future technologies storing information and data in trees and plants – using them as hard drives – and the idea that trees communicate collectively.“ (SJR HQ)





I discovered their music with the second album, „Shadow Forms“, and was particularly thrilled by their ways of keeping diverse spirits of „the golden era of kraut rock and beyond“ alive, alive and kicking – and pushing them into new landscapes. It was not a short affair, I went back to the albums again and again. Nostalgia is only a small part in the game of digging into the world of Trees Speak.


We exchanged some mails, and sending them some of my night hours and ideas, they obviously appreciated my ways of curating music, and are now in the mood to be virtual, real, really virtual guests on my „Moon In June“- radio night in Cologne, giving their first interview ever (which came as a surprise for me, looking at the high critical acclaim of their music). They will speak about all of their three albums and their special approach to sounds from distant eras and distant horizons. Improvisation is one of the tools of their modus operandi. Excerpts of or „trance-atalantic“ conversation will be part of the first hour, and the fourth one (the first time travel section of the June 19).  Make a mental note, don‘t miss the show for your own good. Get high without drugs – trees speak!

„… and then you’re left in this wonderful area of floating which i love so much“  (David Darling, 1994, in that old radio show)





Pino Palladino & Blake Mills:
Just Wrong (from Notes With Attachements)  / 
Thomas Stronen, Marthe Lea, Ayumi Tanaka: Varsha (from Bayou) / Sinikka Langeland: Wolf Rune (from Wolf Rune) / Simon Goff: Wooden Islands (from Vale) / Nik Bärtsch speaking / Nik Bärtsch: Modul 55 (from Entendre) / Ballaké Sissoko: Kora (from Djourou) / Daniel Lanois: Every Nation (from Heavy Sun) / Valerie June: Stardust Scattering (from The Moon and Stars: Prescription for Dreamers) / Balmorhea:    (from The Wind)





Sternzeit – /  A Winged Victory for the Sullen: Total Perspective Vortex (from Invisible Cities) / Daniel Lanois: Under The Heavy Sun & Mother’s Eyes (from Heavy Sun) / Lana del Ray: Chemtrails over the Country Club (from Chemtrails Over The Country Club) / Floating Points, Pharoah Sanders, London Symphony Orchestra: Movement 7 (from Promises) / Joshua Abrams speaking* Natural Information Society with Evan Parker: Part III (from: Descension (Out Of Our Constrictions – out now on Aguirre Records, promoted in Germany at least, by Werner and Klaus, no kidding) / Balmorhea: some more quiet moments from The Wind)


Joshua Abrams (transcript of his special „solo speech“): „At the time of this recording we had performed descension (Out of Our Constrictions) 17 times in concert over a period of 5 months. i wrote the music in February of 2019 for the current touring incarnation of Natural Information Society made up of Lisa Alvarado, Mikel Avery, Jason Stein & myself. Lisa plays harmonium amplified with effects, Mikel – drums, Jason Stein – bass clarinet & i play guimbri.  The guimbri is a 3 string bass lute sometimes called a sintir or a hajhouj. It is Gnawan instrument that can be heard in sacred & secular music. I like to think of the guimbri as a sophisticated form of soundmaking technology for focusing & guiding concentration.

The music i write for Natural Information Society is interwoven & multilayered. we are all weaving a sound together. With time & experience performing the piece we find new paths, resting places & occasional detours.  it is the woven nature of the composition that gives descension (Out of Our Constrictions) its hypnotic qualities. The music encourages the band’s members to find variation & embellishment & is written with room for mutability & improvisation.  

From time to time we have the pleasure of having guests join the group.  when we last played in berlin, a couple days before this recording, Tony Buck, Magda Mayas & Theaster Gates all joined us at Arkaoda.  other guests have included Chris Abrahams, Josh Berman, Hamid Drake, Alexander Hawkins,  Tomeka Reid, Dave Rempis & Helge Sten.  In most cases guests are free to improvise along with the group and respond to the vibration and context of the piece (music)

Evan Parker needs no introductions for his contributions & innovations to free improvisation, the saxophone & music in general.  Far be it for me to tell him what to play or say.  he’s a free agent.  It is always a challenge & an honor to try to rise to what he brings to the music.  What you will hear is side C of a recording from a concert we presented at Cafe OTO in London. The piece is about 1/2 way through a 70 something minute performance.  The music is opening up, Jason is soloing a little, trying to catch up to Evan and the band is fully in.  CAFE OTO is one of the group’s favorite places to play & this night was no exception. The audience was crowded & the room was full of good energy bouncing off the walls.  playing the concert was a thrilling experience & and the hang (was) a fine time to boot.“ (translated by Deepl. in comment 3) 




This theme hour on DAVID DARLING will be quite a surprise. Deep in the archives Odilo C. found two portraits I did about the music of the late composer and cello player, from the years 1994 and 2001. – what a joy, to listen once more to Darling’s voice and musical confessions, not to forget the days in the studio with Manfred Eicher working on „Cello“. The second show has the better title: „Mr. Darkwood und die Langsamkeit der Steine“, but I will broadcast  „Das Herz der Dunkelheit“,  which is more centered around his primal inspirations, with music mainly from the solo cello albums JOURNAL OCTOBER and CELLO. And some excerpts from Darling‘s duo album with Terje Rypdal, EOS, and his album as band leader, CYCLES. 20 years of  great achievements, produced by  Manfred Eicher between 1979 und 2000. Here the old show in its entirety, without introductory and closing words  from the radio broacast yesterday … 





Beverly Glenn-Copeland (from Keyboard Fantasies)
Various Artists:  Made To Measure, Vol. 1 (Minimal Compact)

Die Welttraumforscher: two tracks  from DIE RÜCKKEHR DER ECHTEN MENSCHEIT: DIE JAHRE 1981-1990

Grandaddy: He‘s Simple, He‘s Dumb, He‘s the Pilot (from The Sophtware Slump….on a wooden piano)

Die Welttraumforscher: two tracks from WIR ARBEITEN FÜR DIE NÄCHSTE WELT: DIE JAHRE 1991-2012

Various Artists:  Made To Measure, Vol. 1 (Aksak Maboul)
Beverly Glenn-Copeland (from Keyboard Fantasies*)

V.A. – Soul Jazz Records presents Studio One Dub Fire Special 


*Re-release of Beverly Glenn-Copeland’s rural Canadian  suite for DX7 and TR707 …keyboard fantasies… with new carefully reconstructed glasswork design by Alan Briand.  Beverly Glenn-Copeland is already known amongst collectors and music heads for two sought-after albums of folky jazz in the key of Joni. But it was this album, originally self-released on cassette in 1986 that really caught our attention. The album, entirely recorded on DX-7 and TR-707, lies somewhere between digital new-age and (accidentally) early Detroit techno experiments. The inimitable style of BGC here is both peaceful and meditative while simultaneously rhythmic and bass heavy. The album was recorded in the northern Canadian town of Huntsville where BGC was living at the time and is a beautiful fusion of personal vision, technology and place.




Eduardo Ramos: Vocacion Revolucion / Groupo Mounmental: Hasta Los Cuantas / Los 5 U 4: Solo Esta Musica / Grupo de Experimentacion Sonora del ICAIC: Concion Con Todos / Orquestra Los Van Van: Yo Se Que Van Van / Grupo Monumental: Nadia Se Siente Cansado / Orquestro Ritmo Oriental: Maria, Baila El Son / Juan Pablo Torres Y Algo Nievo: Rampe Cocorioco (all tracks from the Soul Jazz Records compilation:  V. A. – Cuba Music And Revolution – Culture Clash in Havana Cuba – Experiments In Latin Music Vol. 1)*




Omar Khorshid   (from Omar Khorshid with Love)**
Ayalew  Mesfin: Mot Aylerim (from Tewedije Limut)
Marcos Resende & Index: My Heart (from Marcos Resende & Index)


*Like Manna from the heavens, this superb collection heralds in the New Year and has to be one of the most significant compilations for many a decade.  Released as both a heavyweight 3 x vinyl LP and deluxe 2xCD set, this Soul Jazz Records album is the culmination of some 20 odd years of research and crate-digging by compilers Gilles Peterson and Stuart BakerFeaturing a number of legendary Cuban artists who flourished in the 70s and 80s, for example Los Van Van, Grupo Irakere and Pablo Milanés,alongside other lesser-known performers, such as Grupo De Experimentación Sonora Del ICAIC, Grupo Monumentaland Orquesta Ritmo Oriental, who remain unknown outside their native country, virtually none of the tracks appearing on the collection have ever been heard outside of Cuba.


** „With Love“ released by the Beirut-based Voice of Lebanon label in 1978 is a testament to Omar Khorshid’s greatness and encapsulate the unique sound of his guitar playing over modern arrangements establishing him as one of Arabic music’s true innovator. Featuring reworkings of such favourites as Mohamed Abdel Wahab’s „Ahwak“, Farid El-Atrache’s „Hebbina Hebbina“ (a Brian Eno Favourite), and the Rahbani Brothers‘ „Rahbaniyat“, the album is a fascinating example of modern arabic music that aimed at fusing traditional influences with the more contemporary ones, and has become highly sought-after by lovers of this Middle Eastern sounds around the world.“


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