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A gem of independent Detroit jazz, reissued for the first time on Jazzman Records. James Tatum's stunning, spiritualised Contemporary Jazz Mass is one of the only true jazz masses ever released. Inspired by Duke Ellington's Sacred Concerts, Tatum's masterwork was recorded on its first ever performance at St Cecilia Church in Detroit, and released on his own private label in 1974. Professional music educator and jazz composer Tatum had been working as a teacher in Detroit, and in the long aftermath of the 1967 riots he had started to instruct local children music in St Cecilia's. The Church commissioned the mass in 1972, and Tatum put together an ensemble of singers from within the church, backed by his own trio and local jazz musicians.Looking toward the great sacred works of Ellington, but with lyrics drawn straight from liturgy, the Contemporary Jazz Mass is a unique work of sanctified vocal jazz - nourishment for the spirit and soul, brought back to you by Jazzman Records!The CD version of this release also includes Tatum's independent second release Live at the Orchestra Hall & Paradise Theater. Another breathtaking long-form vocal jazz composition, Tatum intended Live ... to take the listener on a trip through the deep history of African-American music, expressing the spirit and sound of the past through the medium of jazz music and song.- All tracks fully licensed and digitally restored- Another super rare gem that's part of our esteemed HOLY GRAIL series- Only 1000 vinyl LPs available, all numbered!- Comprehensive and detailed liner notes with pictures and information taken from our interviews with Mr James Tatum himself- CD set with 8 page colour booklet- Only on Jazzman- all because WE DIG DEEPER!

When Terry Kane - a sound engineer who was barely twenty years old at the time - built an 8-track recording studio above Henry Stone's office space in the Hialeah area of Miami, he probably never envisaged that he was laying the bedrock for a creative hub that would spawn over 25 gold records and over 100 million record sales worldwide. In the process, it would help to make Henry Stone a legend of American music.At one end of the spectrum, warehouse boy turned global superstar Harry Wayne Casey - better known as leader of K.C. & The Sunshine Band - was pumping out disco classics on a massive scale with ubiquitous airplay and sell-out shows. At the other, Rodney Matthew and his group Formula 1, were relying on the might of the T.K. distribution machine to propel them into the spotlight. As remarkable as their 1977 masterpiece on Du-Vern records was, it inevitably failed to have the seismic impact of The Sunshine Band's commercial dance pop.For every success story like T-Connection, with their firebrand funk-disco fusion and major label achievements, there were equally talented acts such as Stevens And Foster who also called on Stone's services to showcase their vision: judging by the scarcity of original copies of their self-written and produced modern soul jewel on Jerri Records, they also failed to reach beyond the Sunshine state, save for the rarified ears of collectors and connoisseurs.The sheer amount of records that came out of those modest premises at 495 SE 10th Court - about 8km from Downtown Miami (as the pink flamingo flies) - is mind boggling. With a huge roster of in-house labels as well as production and distribution deals, label boss Henry Stone was a passionate, busy, and exceptionally well connected man.Stone would nurture the early careers of the likes of million seller Betty Wright, as well as provide a platform for Milton Wright and Leno Phillips (her older brothers) to express their creativity. Clarence Reid (AKA Blowfly) and Willie Clark penned a raft of amazing tracks for acts such as Jimmy 'Bo' Horne and Little Beaver (AKA Willie Hale, who would also write a wealth of material for others), while T.K. in-house band Miami's own Robert Moore also released records on yet another T.K. imprint, Blue Candle.The music scene in Miami and indeed, Florida, at the time was fertile and moved quickly with the times, there were hit-makers and risk-takers, shining stars and those who never went far.As a living document of Henry Stone's remarkable legacy, the diverse styles and ideas coming out of Miami-Dade County and beyond, as well as a glimpse at the successes and near-misses achieved by a dazzling array of artists at the time, this collection serves as an invaluable insight.- Press Page with images and text: http://athensofthenorth.com/henry/- first press of the 2LP includes holy grail bonus 7"- Brand New - Thousand Years- 18 incredible tracks from the Man who invented Disco- Selected by Rare Disco connoisseurs Euan Fryer & Ian Wright- Release will tie in with up and coming award winning documentary 'The Record man' about Henry Stone and his music in Miami. Film to see worldwide cinema release this year: http://www.therecordmanmovie.com/- Almost all tracks on LP reissued for the first time- Extensive sleeve notes from record collector and writer Jason Stirland- Personal Sleeve Notes from Joe Stone (Henry Stone's Son)- Original Artwork by renowned Scottish graph artist Elph - http://akaelph.com/- Unseen personal photographs from the family

Heavyweight Vinyl 12"

12" + Insert + MP3 Download Code

Hands up who's fantasized about an extra-large doner kebab with all the trimmings? Well, Irish duo Brame & Hamo certainly have. Ironically, "Kebab Dreams" is much tastier than your average late night takeaway, with eyes-closed Rhodes notes, hazy chords and sparkling synth motifs riding a bouncy and bumpy deep house groove. The sweetness continues on the slightly more driving "Cert City", where jazzy samples and a relentless bassline are expertly combined with restless, live-sounding house percussion. Finally, they up the tape hiss and Theo Parrish style jazz samples on "Retch Wretcheness", a swinging saunter through dusty deep house territory full of hooky stabs and fizzing cymbals.

The Revenge continues to release forward thinking music on his very own Roar Groove label with the announcement of Intimate Connection – a double EP featuring all new tracks plus special ‘live dub’ recordings from title winning ‘Love That Will Not Die’. *Very Limited Supply*Graeme Clark is never one to rest on his vast number of successes, having numerous creative outlets and aliases with respected collaborators. As 6th Borough Project, alongside veteran Edinburgh DJ Craig Smith, the production duo turned out two stunning full length albums for the respected UK label Delusions Of Grandeur. Another long term partnership with Glasgow’s legendary Sub Club resident DJ Harri has gained high praise from industry tastemakers including Skream, DJ Hell, Rob Da Bank and Ewan Pearson.Having released on a multitude of highly revered labels including DFA, Pokerflat and his own defunct Instruments of Rapture, Graeme has rebuilt the foundations in the form of R oar Groove releasing his own original material with a range of vocals, tempos and dubs along with esteemed likeminded producers on various music formats.Intimate Connection c omes in the form of a double EP, split into two parts – each containing three new tracks plus a specially recorded live ‘dub’ version of tracks featured on ‘Love That Will Not Die’.Part One of the EP features a laidback down tempo theme to start with ‘Our Own Thing’, featuring signature organic house stabs accompanied by an everprogressing arpeggiated chord sequence. ‘Answer Man’ follows with big yet raw percussion while ‘New Nation’ builds suspense with a driving synth bassline.The first of the two live ‘dub’ recordings rounds out Part One, manipulating the ubiquitous Think (About It) sample in ‘Night Fever’ with stuttered percussion in one take, taking it away from the tribal themes in the original track.Graeme opens Part Two of the EP on a similarly relaxed tip; ‘Isle Of Lucy’ is a chilled deeper number with a characteristic sultry melody. ‘Let Love Take The Blame’ proceeds next with a wider and more active bassline, filtered and twisted in different turns sometimes with a lick of acid which leads nicely in to ‘No Turning Back’ with more raw drum machines and a heavier acid undertone. The second live ‘dub’ recording wraps up Part Two of the double EP, in which Clark maintains the metallic and almost minimalistic percussion of the original ‘Just One Touch’ but adds colour to the regimental bass stabs, perfect for any dark and dingy warehouse.

BACK IN STOCK ‘Texture Like Sun’ is the follow up to the much-loved self-titled debut by Anglo-Mauritian producer, singer and percussionist Joseph Deenmamode aka Mo Kolours. NOD! TIP!The Guardian described ‘Mo Kolours’ as “the best album Curtis Mayfield never made with A Tribe Called Quest and Lee Perry”“This record is about cycles. From the tiny cycles of loops within songs to the broader cycle of the whole album, which is designed to take you away and bring you home again at the end. Loops within loops. Loops overlapping in different ways and shifting as they go can take you very far away. You hear it in lots of African music, in jazz and hip hop”.Mo Kolours explores this theme through both music and lyrics. ‘Pass It Round’ is about giving and receiving, and the importance of depending on others. ‘Orphan’s Lament’ is named after a Mongolian folk song, and Mo Kolours' own words urge the listener to “fall to get up again” among a set of inescapably linked opposites. The message may be optimistic or otherwise, depending on the listener’s point of view. The theme also appears in his choice of cover versions as he reinterprets songs absorbed in his youth: ‘Harvest For The World’ by the Isley Brothers and The Stranglers’ ‘Golden Brown’, from which the album title is derived.“The Stranglers are one of my earliest memories of music. I had an auntie who was a huge fan and my parents had all their records. ‘Golden Brown’ always gave me such a beautiful feeling, way before I knew what it was supposed to be about”.Raised on the traditional sega music of his father’s Indian Ocean homeland alongside records by the likes of Jimi Hendrix and Michael Jackson, Mo Kolours adds hip hop, dub, soul and other electronic styles to his individual sound. His approach could find him placed alongside Madlib or The Gaslamp Killer but he would be equally happy in the company of James Blake, Erykah Badu, Theo Parrish or Moodymann.“I've always admired producers who push your ear, who draw you into unexpected elements of a song. I like it when people use a minimal number of elements and find ways of making you re-engage with each of them. It can be subtle, just a drum or the repetition of a word. I was thinking about that in the arrangement of the whole album”.His energetic, improvised live show sees tracks layered up from loops of voice, percussion and drum machine before skewing in new directions. It’s a thrilling approach which has taken him to clubs and festival stages from Brighton to Brisbane, as well as to the BBC’s hallowed Maida Vale studios at the invitation of Gilles Peterson. Mo Kolours will be touring widely in support of ‘Texture Like Sun’.