#luaka

[evolobe]

Evöl190124@TheSawRoom | WillyGonza | djset

#evol #techno #deeptechno #sam #190124 #allis #aton #detroit #luaka #electro #willygonza

[guessimdumb]

Kings Go Forth - One Day (2010)

If you like early 70s Curtis Mayfield, you’ll love this song. Kings Go Forth were a ten pierce Milwaukee soul revivalist group.

#Kings Go Forth #One Day #The Outsiders Are Back #Black Wolf #Andy Noble #Luaka Bop

[garadinervi]

Floating Points, Pharoah Sanders & The London Symphony Orchestra, Promises, Luaka Bop, 2021. Design: Paul Diddy. Art: Julie Mehretu ('Congress', 2003). Photographs: Shawn Johnson, Eric Welles-Nystrom

#graphic design #art #music #music album #vinyl #photography #cover #pharoah sanders #floating points #sam shepherd #paul diddy #shawn johnson #eric welles nystrom #luaka bop #2000s #2020s

[mywifeleftme]

134: Panduranga John Henderson // Ocean of Love

Ocean of Love Panduranga John Henderson 1993, DuGa (Bandcamp)

The obscure reissue hustle is probably ripe to be algorithmized by some venture capitalist dipshit who thinks there’s real money to made in it, when at best an AI might be taught to lose a little less money with a lot less style. I got a new copy of Panduranga John Henderson’s Ocean of Love from venerable reissue label Luaka Bop for $10 Canadian, marked down 66%; on the infamously overinflated Discogs marketplace it can be had new for the princely sum of $4; and I seem to be the first person on the internet to whom it’s occurred to write about the thing, if 2023’s bastardized version of Google can be believed.

So, why wasn’t Ocean of Love the next Rodriguez or William Onyeabor? If you squint, you can see why Luaka Bop took a stab at it. It has some intriguing boldfaced names associated with it: Henderson got his start in the ‘70s as a prominent sideman in Ray Charles’ band; he moved into Alice Coltrane’s ashram in the early ‘80s and participated in some of her later recordings (which Luaka Bop has also reissued); the press release makes an optimistic comparison to Stevie Wonder. The recordings have a suitably eccentric story too: Henderson built himself a home studio to create his own electronic worship music, which he believed could induce states of relaxation conducive to meditation. He released three albums on cassette, none of which were heard much outside of his personal circles. (I mean, maybe an AI wouldn’t have helped Luaka Bop avoid a product doomed to warp in the warehouse, this paragraph is China white digger bait.)

I think the short answer is that, despite the present craze for all most things ‘90s, the decade’s New Age synth music remains impressively unfashionable. Enya has gotten her flowers, but the Yannis, John Teshes, and Enigmas of the world are still waiting on their rapture. Henderson’s music has more R&B in it than most—these four ten- to fifteen-minute Hindu-derived chants sound like very diffuse quiet storm. I realize I’m flying in the face of literally millions of people who indeed use this kind of synth music to soundtrack their spiritual practices, but I personally would find it difficult to take my own efforts to touch the divine seriously with this on: the only thing Luther Vandrossy music should be summoning is babies. Henderson is a good singer and a skilled arranger, and the album is not without interesting ideas—but his earnest desire to create spiritually beneficial music doesn’t change the fact that he’s starting from a bad musical premise. (The earnest already have a lot of unfair advantages, like direct access to their own emotions and the ability to ask for what they need—we can’t make things too easy on them.)

I listened to Ocean of Love quite a few times to prepare for this review, and my ultimate takeaway is that it isn’t music one’s meant to pay attention to, which is no sin on its own—but the mood/aesthetic it evokes isn’t one I can ever see myself seeking out. If nothing else, I did dig the generous liner notes, which cover Henderson’s rich artistic and spiritual life, his experience of Coltrane’s ashram, and relationship with his wife Mirabai, with whom he seems to share a remarkably profound love.

134/365

#panduranga john henderson #alice coltrane #new age #meditation music #luaka bop #synth music #music review #vinyl record #'90s music

[krispyweiss]

Jazz Saxophonist Pharoah Sanders Dead at 81

- “Always and forever the most beautiful human being,” Luaka Bop label says

Jazz saxophonist Pharoah Sanders, whose six-decade career found him collaborating with everyone from John Coltrane to Joey DeFrancesco, has died at age 81, his record label said.

No cause was given.

“We are devastated to share that Pharoah Sanders has passed away,” Luaka Bop said in a Sept. 24 statement.

“He died peacefully surrounded by loving family and friends in Los Angeles earlier this morning. Always and forever the most beautiful human being, may he rest in peace.”

Sanders began his career with Coltrane in 1965. He went on to work with Sun Ra, Ornette Coleman, DeFrancesco and others, while also releasing some 30 solo recordings.

“He will be greatly missed,” the Sun Ra Arkestra tweeted.

Though he continued playing live, Sanders went nearly two decades without releasing any new music until 2021’s acclaimed Promises.

“Listening to Pharoah Sanders made me a better human being,” Timothy Showalter, who performs as Strand of Oaks, said in a tweet.

“Transformative art at its highest level. No greater gift someone can give. Rest in power.”

9/24/22

#pharoah sanders #john coltrane #joey defrancesco #sun ra arkestra #sun ra #timothy showalter #strand of oaks #luaka bop #ornette coleman

[dustedmagazine]

The Staples Jr. Singers — When Do We Get Paid (Luaka Bop)

Photo by Eliza Grace Martin

“When Do We Get Paid” slouches into view in 12/8 time, its blues licks so far in the pocket that you can feel your socks through them, its visceral scrawl of bass inviting movement of the lower half of the body. The singer, Edward Brown, has a fine expressive tone, with an impressive growl at the low end and a fluttery, fluid falsetto. The song could come from the slower end of the Stax catalogue, with its stinging guitar notes, its insistent grind of bass, and yet, the song is no Saturday night special. The long-awaited payday is in heaven, not at the local bank, funk swagger notwithstanding.

The Staples Jr. Singers were a gospel-soul trio formed in the early 1970s by two brothers and a sister, ranging in age from 11 to 13. Born in Aberdeen, Mississippi, the blues-steeped hometown of Bukka White, the three children had no real relation to the more famous Pops-and-Mavis Staples except admiration. Their real name was Brown: Annie, A.R.C. and Eddie Brown.

The trio started small at local talent shows and church picnics, but soon were performing all over the south, sometimes driving in a family van to three shows a day through the Mississippi delta and beyond. When Do We Get Paid, their sole full-length album, was recorded in Tupelo, Mississippi in 1975 with a mysterious impresario known only as Big John. Never widely distributed — the Browns sold copies from their front lawn, mostly — the album had been out of print for decades when Luaka Bop included the Staples Jr. Singers’ track “We’ve Got a Race to Run” on its World Spirituality 2 compilation. A short documentary film shows the Staples Jr. Singers more than 40 years later still singing the stirring “When Do We Get Paid,” as if no time at all had passed, though two of them are sitting down.

The Luaka Bop release is from the Staples Jr. Singers’ teenage heyday, not their current iteration, which still performs occasionally. It crackles with youthful energy. “I’m Looking for a Man” swells with ebullient choruses, as the Brown children toss the title back and forth like a spirit-inflated beach ball. “Send It on Down,” smolders with flickering wah-wah’d guitar, Ann Brown holding righteous, note-bending court at the tune’s funky center. The song has a transportive, nearly psychedelic swirl to it, like the Temptations but church bound. “I Feel Good” layers cool, assured vocals over a nettle-sharp tangle of syncopated guitar notes. The funk is genuinely gritty, danceable, almost dirty, and the music takes you out of yourself like great soul tunes always does, but every song is about the musicians’ spiritual journeys.

The Staples Jr. Singers performed and toured in a 1970s south that didn’t always welcome them, and their music never really made it out of the local circuit and into the wider world. When Do We Get Paid is good enough to make you wonder what else is out there from even fairly recent history that racism and ignorance and a total disregard for anything outside the commercial mainstream have kept from us until now?

Jennifer Kelly

#staples jr. singers #when do we get paid #luaka bop #jennifer kelly #albumreview #dusted magazine #gospel #funk #soul #reissue #mississippi

[something-higher]

Top reissues & compilations of 2022

Alhaji Waziri Oshomah – The Muslim Highlife of Alhaji Waziri Oshomah (Luaka Bop)

The Muslim Highlife of Alhaji Waziri Oshomah by Alhaji Waziri Oshomah

Celestine Ukwu – No Condition Is Permanent (Mississipi Records)

No Condition Is Permanent by Celestine Ukwu

Cheri Knight – American Rituals (Freedom to spend)

American Rituals by Cheri Knight

DJ Stingray 313 – Aqua Team (Micron Audio)

Aqua Team by DJ Stingray 313

Ernest Hood – Back to the Woodlands (Freedom to spend)

Back to the Woodlands by Ernest Hood

Linda Martell – Colour Me Country (ORG Music, Sun)

Color Me Country (Sun Records 70th / Remastered 2022) by Linda Martell

S.E. Rogie – Further Sounds of S.E. Rogie (Mississipi Records)

Further Sounds of S.E. Rogie by S.E. Rogie

S.E. Rogie – The Sounds Of S.E. Rogie (Mississipi Records)

The Sounds Of S. E. Rogie by S.E. Rogie

Le Super Djata Band Du Mali – En Super Forme Vol. 1 (Numero Group)

En Super Forme Vol. 1 by Super Djata Band

Tia Blake and her folk-group – Folksongs & Ballads (Ici Bientôt)

Folksongs & Ballads by Tia Blake and her Folk-Group

Universal Liberation Orchestra - Communion (Freedom to spend)

Communion by Universal Liberation Orchestra

Various Artists - Ghost Riders (Efficient Space)

Ghost Riders by Tresa Leigh

The Cat's Miaow - Songs 94-98 (World Of Echo)

Songs '94-'98 by The Cat's Miaow

Hydroplane - Hydroplane (Efficient Space)

Hydroplane by Hydroplane

Various Artists - V4 Visions: Of Love & Android (V4 Visions - Numero Group)

V4 Visions: Of Love & Androids by Ashaye

Ferkat Al Ard - Oghneya (Habibi Funk)

Habibi Funk 019: Oghneya by Ferkat Al Ard

Gavin Bryars - The Sinking Of The Titanic (Superior Viaduct)

Piotr Kurek - Edena (Black Sweat Records)

Edena by Piotr Kurek

Aunt Sally - Aunt Sally (Mesh-Key)

Aunt Sally by Aunt Sally

Les Calamités - Encore! 1983-1987 (BORN BAD)

ENCORE ! 1983-1987 by LES CALAMITES

Norma Tanega - I'm In The Sky (Anthology Recordings)

I’m the Sky: Studio and Demo Recordings, 1964–1971 by Norma Tanega

µ-Ziq - Lunatic Harness (Planet Mu)

Lunatic Harness (25th Anniversary Edition) by µ-Ziq

Emahoy Tsegué-Mariam Guèbru – Emahoy Tsegué-Mariam Guèbru (Mississipi Records)

Emahoy Tsege Mariam Gebru by Emahoy Tsege Mariam Gebru

John Ondolo – Hypnotic Guitar of John Ondolo (Mississipi Records)

Hypnotic Guitar of John Ondolo by John Ondolo

#Mississippi Records #planet mu #born bad records #superior viaduct #habibi funk #Numero Group #Efficient Space #World of Echo #freedom to spend #ici bientôt #Micron Audio #Luaka Bop #top #top 2022

[adsmusiconstellations]

A.R. Kane - New Clear Child (1994)

https://www.luakabop.com  

#a.r. kane #new clear child #1994 #1990s #england #luaka bop #leftfield #abstract #pop #rock #rudy tambala #alex ayuli #david friedlander #Anni McCann #Chris Cuben Tatum #peter van straten #richard hendrix

[doomandgloomfromthetomb]

Pharoah Sanders & Starship Orchestra - Montreux Jazz Festival, Motreux, Switzerland, July 22, 1978

Plenty of Pharoah Sanders chat recently, mainly thanks to Luaka Bop's much-overdue reissue of the legendary Pharoah. A truly beautiful record, and the extra live material is very nice indeed. There's some cool ephemera and extra stuff via the Harvest Time Project, too.

Lonnie Liston Smith: Miles was encouraging us all to put our instruments through effects pedals; Pharoah didn't need that. He was a one-man effects pedal!

Pharoah isn't a mellow record by any stretch, but it does highlight the saxophonist’s gentler side. A year later at the Montreux Jazz Festival, things were anything but gentle. The video linked above with the expansive Starship Orchestra is a 25+-minute blowout, with Pharoah and the group barely coming up for air as they dive deep into the currents of a churning afro-latin groove. A thrill-ride, to say the least.

More Pharoah? Definitely check out Andy Beta's excellent “Pharoah & Phriends” mix for The Lot Radio, featuring a bunch of sweet Sanders sounds.

#pharoah sanders

[burlveneer-music]

Domenico Lancellotti - sramba

Tom Zé, Faust and João Gilberto collide in Domenico Lancellotti’s “machine samba” It’s midwinter in Lisbon and Domenico Lancellotti has invited Ricardo Dias Gomes to stay for a while. They waste no time in doing what they always do, heading down to their underground studio, appropriately nicknamed The Cave, to make music. The fact that Ricardo had just been sent a bunch of Russian-designed synths and was eager to try them out, instantly signalled a direction for the album. “Ricardo had his instruments, modular machines” remembers Domenico, “and I had my guitar, some percussion instruments. On the first day we started making sounds and recording them, and songs started to appear, sambas started to appear.” In just a couple of months the duo recorded the majority of what would become SRAMBA, an album that reaches back to the roots of samba, but does so whilst completely revamping its blueprint, indoctrinating guitar and percussion-led rhythms with analogue synthesisers, Ricardo’s beloved machines. Domenico and Ricardo instantly saw how the synthesisers were not at odds with the sambas they were playing, instead they had a similar sound to its typical percussion instruments (ganza, repinique, surdo, tarol). What’s more, they saw a connection with roots samba, the samba that existed before bossa nova and samba jazz came along. This was rhythmic samba, with grooves that could go on ad infinitum. “It’s samba de clave, geometrically structured” says Domenico. “It’s ostinato samba”, adds Ricardo. Both Domenico Lancellotti and Ricardo Dias Gomes are revered names within Brazilian music over the past 20 years. As a member of the +2’s, with Moreno Veloso and Kassin, Domenico released a trio of albums on Luaka Bop in the early 00s that pioneered a new Rio samba sound with elements of funk and psychedelia. With Veloso and Kassin he would later form Orquestra Imperial, a big band intent on reviving ballroom (gafieira) samba, and that has worked with guest vocalists such as Seu Jorge, Elza Soares and Ed Motta. SRAMBA is his fourth solo album. Multi-instrumentalist Ricardo Dias Gomes first came to notice as a member of Caetano Veloso’s band Cê which helped reinvigorate Caetano’s career with a sound influenced by British new wave. As well as collaborations with Lucas Santtana, Negro Leo and Thiago Nassif, and work with his own group Do Amor, he has released a series of acclaimed solo albums that reveal a restless music-maker. Domenico- guitarras, voz, mpc-1000, bateria eletrônica, caxixi Ricardo- baixo, bateria eletrônica, rodhes Aquiles Morais-trompete Everson Morais- trombone Arranjo de metais- Aquiles Morais

#Bandcamp #Domenico Lancellotti #samba #brazil #electronic #tropicalia #synthesizers #2023 #mais um

[twobootsgirl]

David Byrne in people&arts' Luaka Bop story. Back when it was called people&arts and was a great channel.

#david byrne

[evolobe]

Evöl190124@TheSawRoom | Ruff | djset

#evol #techno #deeptechno #sam #190124 #aton #allis #detroit #luaka #electro #ruff

[guessimdumb]

Alcione - Sufoco (1976)

Wonderful samba from Alcione - I first heard this on the Luaka Bop collection Brazil Classics 2: O Samba.  I always thought that Alcione sounded a bit like Tracey Thorn on this one.

#Alcione #Sufoco #Samba #Luaka Bop #Brazil Classics 2: O Samba

[garadinervi]

Shawn Johnson (photograph), The London Symphony Orchestra, for Floating Points, Pharoah Sanders & The London Symphony Orchestra, Promises, Luaka Bop, 2021 [© Shawn Johnson]

#art #music #music album #photography #shawn johnson #london symphony orchestra #floating points #sam shepherd #pharoah sanders #luaka bop #2020s

[mywifeleftme]

184: Tom Zé // Tom Zé [Grande liquidação]

Tom Zé [Grande liquidação] Tom Zé 1968,

I’m about as unqualified as it gets to chat about Tropicália as it gets, being a complete neophyte to the genre and a non-Portuguese speaker to boot, but I’ve been loving Tom Zé’s first self-titled (sometimes marketed as Grande liquidação, or Big Sale) since picking it up at the shop a few months back. As I understand it, Tropicália had a strong surrealist/Dadaist edge early on, and Zé seems the most committed to the shtick. The rear of Grande liquidação includes a manifesto-like statement from Zé that acridly inveighs against the shallow commercialism he sees in Brazilian society, suggesting some familiarity with Guy Debord and the Situationist International: “We are an unhappy people, bombarded by happiness,” it begins. “Smiles sell. They sell toothpaste, tickets, painkillers, diapers, etc. And as reality has always been confused with gestures, television proves every day that no one can be unhappy anymore.”

Despite its satirical intent (signposted by titles like “Catechism, Toothpaste, and Me” and “Intensive Manners Course”), it’s impossible to listen to any of Zé’s music without a genuine smile springing to your face. He has a genius for fusing samba and other Brazilian forms with Anglo-American psychedelia to create lavish pop songs that fizz with possibility. My favourite might be “Sem Entrada e Sem Mais Nada” (“No Entry and Nothing Else”), a suite-like composition that packs as many ideas into 2:40 as most Stateside bands of the era managed over an album side, or “Parque Industrial,” a delirious fantasia about the doubtful promise of Brazilian industrialization. (“Parque Industrial” is probably more familiar to most in the laidback arrangement released the same year on the collaborative LP Tropicália: ou Panis et Circencis, where it’s performed by Gilberto Gil, Caetano Veloso, Gal Costa, and Os Mutantes.) While not as instrumentally experimental as I’m told his ‘70s work becomes, Zé’s world already has a cartoony palette—brass fanfares collapse into womp-womp squawks; Zé’ narrates the captivity of eight million Paulistanos “loving with all their hate” over a chirping, slightly manic organ and a chorus of church bells.

At 86, Zé remains a puckish prankster and a musical visionary—as a new fan, I can’t wait to see what the 55 years between 2023 and this 1968 debut held for him.

184/365

#tom zé #tom ze #tropicália #tropicalia #brazilian music #luaka bop #mr bongo #gilberto gil #caetano veloso #gal costa #os mutantes #'60s music #latin american music #situationism

[fragileizy]

luka couffaine?💕 luka couffaine ? 💕luka couffaine? luka? luka ? luka? 💕luka? luka?💕 luaka? luka! 💕💕luka ? luka luka? Luka? luka? Luka? luk?a luka couffaine? 💕you mean luka? you mean luka? 💕💕luka couffaine ?? luka???? luka? luka ???💕💕💕💕💕💕 luka cou

#speakizys #obsession obsession obsession with my blorbo