LP

Sambaiana the rare 1976 Bossa Nova classic from Candeias finally gets a proper reissue ! LP (180g vinyl + Old School Tip On Gatefold Cover + Download Card + Printed Inner Sleeve) .Curiously enough the story of this record begins with a song, which isn't even featured on it. A song named 'Guayabas'. One of Guillermo Reuter's very first free-spirited compositions is one of his two contributions to the fourth album 'Ese Dia Va A Llegar' by friend and musician Agustin Pereyra Lucena, in 1975. 'Guayabas' was the unintended starting signal for Reuter's career and was coincidentally the initial spark for this reissue that you, dear reader and listener, are holding in your hands right now.But perhaps we'd better take one thing at a time and not jump ahead of ourselves. 'Guayabas' was the Guillermo Reuter song that first caught the attention of the Notes On A Journey founders Jürgen von Knoblauch and Stefan Leisering. It led them to discover his album 'Candeias' shortly thereafter, and a love affair was born. It was a similar story for Jacques Subileau, the producer for the recordings of 'Ese Dia Va A Llegar' (and therefore 'Guayabas'), who was so enamored by this single composition that he proposed Reuter to cut a whole album, made up exclusively of his songs and compositional stylings. The Frenchman with an Argentinian girlfriend, had connections to European record labels like Disco Mediterraneo in Madrid and Disques Espérance in Paris which specialised in World and African music. 'Candeias' would be released on both labels, on the Spanish imprint under the name of 'Sambaiana', in France as the original title 'Candeias', but for inexplicable reasons, with terrible sound quality. For the 24-year-old musician, it came as a total surprise, the once-in-a-lifetime chance to record an entire album of his own works. Raised by parents, both of who were musicians and teachers with their own school (Instituto Reuter in Buenos Aires), Guillermo Reuter was destined to wander down one road for life - to follow in his father's footsteps, professionally and musically. Josef Reuter, born in Germany, balanced his work life where he was a dedicated occupation Headmaster with music, not only was he a passionate organist, he was the maestro of his own choir, the 'Singakademie Buenos Aires' and a well-known director at Buenos Aires’ world famous “Teatro Colón”. Furthermore, he was a strict and conservative father who massively disapproved when his son embraced modern music like Brazilian Bossa Nova, which back then, was just starting to take the world by storm. Despite, or as a direct result of this, 'Samba Da Minha Terra' by João Gilberto was a revelation for the juvenile Guillermo Reuter and shaped his freethinking approach towards music permanently.

Sublime private spiritual jazz-funk/fusion album, now hard to find. Finally available again, fully licensed and remastered, with original artwork. LIMITED PRESS!!

Garrett came from the inside of his own mind, from within a home recording studio somewhere on planet Earth. The Private Life of creative awareness and the music captured here is the visceral offering to all outside. Every one of us has a Private Life. This is Garrett’s...

A sublime slice of boogie-funk, Alec Mansion has steadily gained the status of a "crate-digging classic". Accordingly, it has been near-impossible to unearth a physical copy in good condition for many years. Be With is delighted to present the first ever vinyl reissue, remastered in time to grace the discerning terraces and boat parties of the coming summer months.Originally released in 1983, the LP arrived with impeccable credentials; programming duties were handled by Dan Lacksman (the brains behind Telex, the "Belgian Kraftwerk") whilst production came from Marc Moulin (of jazz-rock fusion heroes Placebo). At the time its merits were mainly praised by radio and studio heads. Today, Mansion's masterpiece is lauded by boogie aficionados from Liege to Los Angeles.It was during a stay in Chicago that the Belgian took inspiration from the communal spirit and sheer power of black American funk. In a recent interview with Vice's Noisey, Mansion cited The Whispers, Prince and Chic as key touchstones in his quest for his desired sound. Upon finessing his idiosyncratic European style of funk for his self-titled sophomore LP, Mansion flirted with perfection.Showcasing a staggering run of instant (non)-hits, this sonically stunning album can be viewed as both of its time and, yet, aeons ahead of it.Amongst the myriad highlights, "Ou Es-Tu" recalls neck-breaking G-Funk roughly a decade before it was ubiquitous. Its swagger conjures the fantasy sound of Dam-Funk producing fellow Francophone masters Phoenix, circa United; all buzzing synths and snapping drums underpinning vocals that ooze European style.The glorious synth-workout "Dans L'eau De Nice" boasts an inordinate amount of instrumental flourishes. Augmented by Mansion's vocal class, it still feels tight and perfectly formed like all timeless pop music, and it has since become infamous as a joyous end-of-night singalong hit for house parties.The startlingly confident "Marche" borders on the arrogant; its sun-drenched cool inviting both awe and irresistible movement. "Quand Je Serai Grand" blasts lazer-guided synth washes over an undeniable groove that would've made Nile Rodgers swoon as he prepped Like A Virgin.The acid squelch that propels the strutting "Laid, Bête, Et Méchant" delivers infectious bounce with enviable abandon whilst the fantastically wonky "Trop Triste" garnered renewed attention after featuring on Zaltan's beloved Quartier Choc mixtape.On the rare occasions it appears on the secondary market, it commands eye-watering figures. A record that has eluded even the most seasoned of vinyl freaks, this officially licensed reissue enables a wider audience to now discover its undoubted genius. Dovetailing neatly with the recent interest in forgotten boogie and obscure Euro-pop, this timely reappearance of a certified lost treasure is sure to be one of the summer's essential releases.As sophisticated and multi-layered as the best of the genre, this is highly recommended if you dig for analogue boogie/synth-funk as well as the more leftfield elements of slick 80s pop. The original artwork of both jacket and sumptuous, full-colour inner sleeve has been faithfully restored; the latter featuring Mansion's memorable lyrics emblazoned across the pleasing jazzy early 80s design. Sonically, Simon Francis' deft mastering adds clarity and muscle throughout and, as ever, it has been pressed at a reassuringly weighty 180g.

It took the former high school mates several years of pursuing their interests in different cities and moving to Berlin to reconnect and decide to collaborate on a record together. The result is quite different to the output both are usually connected with. "Even" is a multi layered cake exploring accidental jams and tape machine workouts. The main focus was spontaneity first and think about the concept later.

Illa J takes us on a trip to his hometown Detroit with his third solo album HOME. following his self titled LP, Illa J sometimes known as "John Regal" (born October 13,1986 in Detroit, Michigan) is a singer, songwriter, rapper, producer, multi instrumentalist. He takes us on a trip to his hometown Detroit with his third solo album HOME. His last LP successfully took Illa J out of his brother and hiphop legend J Dilla‘s shadow to show he is in his own lane. Yet, Yancey still felt as though he was in a box labeled rapper. Teaming up with producer Calvin Valentine, who entirely produced the album, HOME is Illa J‘s first album to properly showcase the full extent of his vocal range to put him in the singer-songwriter conversation. The listener can feel the soulfulness of this LP through Illa J‘s singing and Valentines‘ smooth production.On „Sam Cook“ which is an ode to Illa J‘s father who ghostwrote for Motown, Yancey dives into his falsetto that is reminiscent of D‘Angelo, Bilal and Al Green. While keeping his focus on singing. Illa J sprinkles the album with rap verses. On „7Mile“ his vocals smoothly float over the more raw/alternative cut laid by Valentine. The album title track „Home“ completes his album and solidifies Illa J‘s artistry as a well rounded singer who can rap.Illa J is a solo artists, former member of legendary group Slum Village. Active in the music industry since 2006 in L.A and Detroit, Illa J has released two solo albums, 2008’s Yancey Boys via Delicious Vinyl and 2015’s self titled LP Illa J via Bastard Jazz Records. In 2014, while refocusing on his solo career and stepping out of Slum Village, Illa J relocated to Montreal for a fresh new start. He has since entrenched himself in the Canadian music scene by collaborating with some of Canada’s finest emcees and producers including Moka Only, Potatohead People and Kaytranada.His recent collaborations have been with jazz legend, Robert Glasper in concert and on record for his Miles Davis tribute project Everything’s Beautiful. Illa J also had the privilege to collaborate with hip hop legend Phife Dawg from ATCQ on his double LP nutshell. Other features include Slum Village’s critically acclaimed album YES & famed UK producer Tom Misch Beat Tape 2.

"Year Of The Funky" is the second album from Bei Bei (荷蓓蓓) & Shawn Lee. After their debut collaborative album "Into The Wind" (Ubiquity Records, 2010), the Chinese guzheng virtuoso / composer and the prolific multi-instrumentalist / producer join forces again on 12 new tracks. "Year Of The Funky" marries a unique blend of ancient tradition with studio trickery. Eschewing all notions of superficial "Asian/Fusion", this uplifting, genre-bending, and sophisticated sound brings together both East & West with musical aplomb. The new album continues as a logical progression from "Into The Wind". It ventures into both new tempos & moods while deftly connecting the past, the future and what lies beyond.