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Hot Casa Records presents this new project, a collaboration between Soul-Jazz singer Shola Adisa-Farrar and Jazz pianist-keyboardist Florian Pelissier.Raised on opposite sides of the Atlantic, these two artists have combined their talents to compose Lost Myself. This musical voyage blends New-York’s hard-bop aesthetics and reggae-inspired elements, with modern jazz, for a fresh spin on classics and original compositions. Vocalist Shola Adisa-Farrar, a native of Oakland, was born into a family of artists and intellectuals. Shola began singing at the age of eight, influenced by her Jamaican upbringing and the soul and jazz classics that played in her home. At a young age, Shola garnered attention for her distinct raspy voice, which enabled her to perform a variety of musical styles. After living in New-York for 8 years, where she earned a Bachelor’s degree in Music, she is now a true resident in Paris. Shola spends her time travelling to perform and develop her musical style. This album is her explorations into Jazz.Florian Pellissier, Parisian pianist and composer, is known for the authenticity and hard-bop style he brings to his music. A graduate of The New School for Jazz and Contemporary Music, Florian has spearheaded his own quintet along with the release of two successful albums: Le diable et son train (2012), and Biches Bleues (2014). Florian has also contributed his musical talent to jazz and funk projects such as Setenta, Camarao Orkestra, Chevere Que Son, Cotonete and GUTS.During Shola’s year-long residence as a performer for Le Reservoir’s Sunday Jazz brunch, Hot Casa Records’ honchos introduced Shola to Florian, sensing they would musically complement each other. In July 2013, their collaboration began, bonding over their love of jazz autobiographies, swapping music, and improvising together. The result is eight spiritually-tinged jazz tracks recorded live on analog equipment to maintain the traditional quality, from sultry introspections to rhythmic compositions, grounded in intense emotion. Included are jazz classics such as “Feeling Good” and “I Have a Dream”, a tribute to the music of Herbie Hancock, who has influenced Florian since his formative years in New York, to which Shola penned lyrics.

Tee Mac is a Nigeria’s multi-talented maestro flutist with cross-cultural Itsekiri and Swiss roots. He combined his first degree in Economics from the University of St. Gallen in Switzerland, with a specialization in classical music concert performance and philharmonic composition University of Lausanne. During a rich career spanning over 40 years, Tee Mac formed numerous bands including Tee Mac & Afro Collection in the 1970s with notable Nigerian artists. With the agreement of the artist we decided to select the best of his repertoire .The long awaited Tee Mac “best of “ is here at last juicy hot , explosive and threatens to shatter all existings records . Omatshola combined his first degree in Economics from the University of St. Gallen in Switzerland, with a specialization in classical music concert performance and philharmonic composition of the University of Lausanne. During a rich career spanning over 40 years, Omatshola formed numerous bands, including Tee Mac & Afro Collection in the 1970s. He recorded his first LP, United, with Polydor International in Germany with his European band Tee Mac United, in the late seventies. Omatshola hit the global music charts with two songs: « Fly Robin Fly », and « Get Up & Boogie » (owns 50% of the copy right) and toured extensively with his third band, Silver Convention, in the mid seventies. In other not to bore you with tell tales , let’s get into the heart of the album : We selelected seven beautiful and rare tracks from his album “ Party Fever “1978, a track from the “Mixed Grill” combo ( 1979) “ Night Illusion ( 1980) . The top musicians team individually display their skill and collectively have delivered a hit repertoire. And we hope a bumper harvest for Tee Mac Omatshola Iseli for the next decade.

Fat Beats Records is proud to present Baker’s Dozen, an exclusive vinyl series that shines a light on the best minds of instrumental hiphop, ambient, and electronic music. Each installment gives one artist carte blanche to capture their signature sound.Every volume’s 500-unitstrictly limited vinyl pressing features one artist and twelve tracks, but only 250 units will contain the thirteenth track -- the eponymous “baker’s dozen bonus” -- on a flexi disc. The LPs also come equipped with a 5x7” postcard insert that features a photo of the artist’s workspace along with the equipment used in their music-making process. Visually cohesive and packaged with the utmost attention to detail, Baker’s Dozen is a series that speaks up for artists whose craft renders voices superfluous, whose instrumentals alone suffice to make a statement.Volume One highlights Los Angeles born / Sacramento based beat maker Dibiase, whose style is best described in his own words: “It’s crazy to think that my equipment collection and beat making process started back in high school with just an 8 second Gemini sampler and a Sony Walkman. It was a super basic set up. Back then I used whatever I could get my hands on. Finding different samples, looping them up, running the layers back through the Walkman. Adding more layers and repeating that process until I had a beat. It worked. My process is a lot different now but in some ways it’s the same. I still do a lot of layering. I use a combination of hardware and software. Sometimes I start with a sample. Sometime I start with drums. It depends on my mood and the genre. Sometime I use a kit. Other times I will sample and layer drums, run them through another piece of equipment like the SP-12 or 404 to dirty them up, then dump them back into Ableton.I really don’t have a set way of doing things musically. I like to experiment with different technics and styles. I like my music to have a certain sound. Most of the time I let the process happen naturally.”

Red Apples 45 takes a flight out west on the next release. This time teaming up Ray West with west coast MC BLU for an introspective LP titled Crenshaw Jezebel… A melodic ride were BLU’s flow and word play blend with Rays sound to create a vibe of street essence & relationship conflicts . A 12 inch vinyl / digital release with custom art from legendary Joe Buck and features Red Apples own AG of DITC , Dave Dar & Es-K.

DJ Cam returned with his one-man quartet and presents the album The Soulshine Session.After the worldwide success of Rebirth of Cool (2008), Stay (2009) and Diggin (2009), DJ Cam is also back with his Quartet for the fourth time, presenting the unreleased instrumental versions of his classic album Soulshine (2001) for the first time.The Soulshine Session consists of 8 songs which are full of groovy, jazzy and funky vibe. Where the previous releases were closer to hip-hop, this new project is all about live instruments and jazz sounds.Exclusive and very limited!!

Late night miami am radio haze ..300 copies..

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’.

8 tracks of raw Arabic funk music, none of these have ever been reissued before. So far Fadoul (or Fadaul, or Faddoul, the transcribtion of his name to latin letters differs)& his music had not been rediscovered, as a matter of fact most of those songs still left no trace whatsoever in the world wide web. It took us 2 years and countless trips to Morocco to find the artists family to license the release from them. Vinyl and CD edition come with liner notes, unseen live photos and lyrics translations.From the press release: “There was one record in particular that caught my attention. It was by a band called „Fadaul et les Privileges“ and mentioned James Brown in the writing credits of the song „Sid Redad“ on the a-side. Needless to say my expectations were high. The first time I heard the record I was blown away. A cover of James Brown’s „Papa got a brand new bag“ sung in arabic and backed by a rawly recorded three piece band. It’s hard to describe the music without having listened to it, but as time went by I somehow ended up summarizing it as Arabic funk played with a punk attitude. A description, that I feel, comes fairly close. Soon I became obsessed by the record but nobody seemed to know anything about the vinyl or the artists, even google didn’t help. A true gem forgotten about through the passages of time. I kept on traveling to Morocco trying to find infos about the artists, which did not end up being fruitful during the first couple of trips. What kept me going was the fact that over the course of the next years I kept on finding different records by Fadoul, in the end a total of four. They all had the raw sound aesthetic of „Sid Redad“. Energetic performances, a mighty voice and a very lively atmosphere that was preserved in the recordings.”“Sid Redad” has gotten plays on BBC, Radio Nova and more, our Habibi Funk mixes habe been featured by The Guardian, Radio Nova, Waxpoetics, okayplayer.com, konbini.fr and many more.