2020

Repress from highly sought after brazil album !Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture.The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly.At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo".Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack."Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism

First time repress from Ultra-rare modern soul boogie album, released in 1980 as a private press. The band leader was Carl Crowder of Mighty Ryeders fame !

First ever official reissue of this mythical Nigerian-American Afro boogie album !It’s grail time. Kalita are honoured to officially release for the first time since 1983 Marcy Luarks & Classic Touch's mythical American-Nigerian Afro boogie masterpiece 'Electric Murder', accompanied by extensive liner notes based on interviews with Marcy's family and producer Daniel Irabor. The product of the then husband and wife team of Marcy and Dan, 'Electric Murder' brought together both the former's American and the latter's Nigerian roots; recorded in London with UK-based session musicians, this mix of heritage and styles resulted in an Afro disco album unlike any other.With original copies turning up for sale roughly once every few years, and with an eye-watering four-figure price tag to match, Kalita for this year's Record Store Day saves you the never-ending search for this true holy grail.Released on black vinyl, with printed insert detailing Marcy's life and musical career.

Le nouvel album de l'avant-gardiste, percussionniste, chanteur, auteur, compositeur et trompettiste. Edmony Krater. Il est une référence de la musique antillaise. Discret et néanmoins actif c’est en 2015 qu’il s’est à nouveau retrouvé dans la lumière, depuis la réédition de Ti Jan Pou Velo, son album enregistré en 1988 avec son groupe Zepiss. Un disque devenu rare et possédé seulement par quelques collectionneurs avisés. Après An Ka Sonjé (2018), il revient avec J’ai Traversé La Mer.

"When I'm working on a problem, I never think about beauty. I think only how to solve the problem. But when I have finished, if the solution is not beautiful, I know it is wrong.” Richard Buckminster FullerThe music on this compilation was, for the most part, originally released privately in Geneva as a box set containing five LPs by The Mega Wave Orchestra and five prints by the artist Richard Reimann. The Mega Wave Orchestra, the brain-child of musician, mathematician and composer Christian Oestreicher, was conceived as an multi-media electronic music big-band. It was comprised of seven keyboard players Christine Schaller, Vincent Barras, Jacques Demierre, Olivier Rogg, Rainer Boesch, Roger Baudet, and Benoit Corboz, with Oestreicher as arranger and producer, assisted by Yves Melan, and video specialist Yanick Ebinger.Each of the five LPs was composed or devised by an individual member of the Orchestra acting as band leader, but arranged and mixed by Oestreicher in the Mega Wave Studio.The Orchestra created a new hybrid music. It was a music with roots in the jazz and classical traditions, but one which also drew on the sonic freedom of musique concrete and the kind of total experience offered by psychedelia. The diverse backgrounds and specialisms of each of the band leaders/writers resulted in a wide variety of music across the five discs: from austere drones and granular aural detail to warm oddball fusion and gorgeous but cracked vocal jazz. But it was Oestreicher’s presence, at both the start and end of the process, that provided a sure conceptual framework and a comprehensive sound world. There are useful contemporary comparisons to be made: zoned synth jazz like the Azimuth LP on ECM or Karin Krog’s Freestyle; Larry Heard’s sequencer dreamtime; the Valium minimalism of Pep Llopis or Jun Fukamaki; Dexter Wansel’s shimmering arrangements for Loose Ends, or even the FM sheen meets cold war threat of Donald Fagen’s Night Fly. Here, too, is the sound of music technology about to snowball and define its own aesthetic, unknowingly prefiguring auteurish bedroom producers like Black Dog or The Detroit Escalator Company.The heart of this music’s appeal lies in Oestreicher’s complex intentions and methodologies. He revels in occupying the unsteady ground between analogue and digital, pushing his players to robotic precision while opportunistically grabbing on to the unpredictable results of computer error. He harks back to communal rigour of big band or orchestra structures, while understanding beautifully that the sounds of the future will not be synthesised imitations of existing instruments but something entirely other. He seizes on the value of resituating or recombining the sounds given to him by his bandmates, twisting them out of shape to create vivid new worlds for the listener to occupy. As a mathematician, he approaches the problem of group music making with a seriousness that results in beauty as a matter of course. Lovely crafted tip-on sleeve.Remastered from Master tapes. 500 copies.