Manuel Villarroel left Santiago in September 1970 to participate in the Contemporary Music Workshop in Berlin. He rapidly decided to remain in Europe, to pursue his musical career. The following year, the pianist formed a quartet in Paris with saxophonist Jef Sicard (from the Dharma Quintet to be), adding Gérard Coppéré (saxophone), William Treve (trombone), François Méchali (bass), and Jean-Louis Méchali (drums). With the arrival of Sonny Grey, a Jamaican trumpeter who had collaborated ten years earlier with Daniel Humair, they were ready.
On May 8, 1971, the Septet Matchi-Oul was in the studio for Gérard Terronès’ Futura label. recording seven of Villarroel’s compositions.

“I had to deal personally with my situation as an expatriate, without disavowing it. I tried not to betray my roots, I tried to translate into my music what was essential to me, to reflect my origins — Latin America, its musical and above all human feelings — while remaining faithful to jazz.”
‘Structured free music’, recorded for Palm in January 1975, with producer Jef Gilson at the helm, and the Chilean pianist Manuel Villarroel leading fourteen musicians, including Jef Sicard, François and Jean-Louis Méchali, and Gérard Coppéré, from the earlier Septet formation.
‘From togetherness to dissonance, we dance to Bolerito and shake it up to Leyendas De Nahuelbuta. As for the finale, it is a serpent which is bedazzling and impossible to pin down. To remind ourselves of this, let’s listen to it again.’

Adrian Sherwood marshals Bruce Smith, Keith Levene, Ari Up, and Crucial Tony; and George Oban, Eskimo Fox, and Style Scott, from African Head Charge.

‘Operating in the farthest margins of L.A.’s cutthroat music business from 1961-1991, Mel Alexander’s Consolidated Productions was among the longest running Black-owned independent record conglomerates of the 20th century. Disentangling a web of imprints — including Ajax, Angel Town, Car-A-Mel, Emanuel, and Kris — this first volume gathers 28 smouldering R&B cuts by the likes of Lee Harvey, B .B. Carter, Marilyn Calloway, the Del Reys, the Deb Tones, the De Velles, Gene Russell ’s Trio, Jimmy ‘Preacher’ Ellis, and Ty Karim.’
Presented with customary class and attentiveness by Numero.

‘A soundtrack for being unstuck in time, if just for an hour. It is a glide through a rich past and present, with glimpses of a future worth reaching.’

‘Stunning, moody, spiritual jazz from Ireland, recorded in 1979; featuring original compositions such as the deep collectors’ cut Spon Song, subtle Latin flavours on Spacer’s Delight, and a beautiful modal arrangement of the traditional Irish air Castle of Dromore.
‘A legendary recording in Ireland, Ozone reflects Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely.’

Licensed from producer John D’Ardis. Remastered at Abbey Road using the master-tapes; cut at D&M; pressed at Pallas. Presented with previously unseen photographs of the band, and their commentary.
A deadly trump card from Outernational. Essential, startling stuff. Bim bim bim.

‘An alluring, meditative, psychedelic brew of shamanic and alchemical rhythms and harmonies, ranging across a wide array of instruments and influences. Modular synths, a two-stringed erhu fiddle, flute, feedback, electronics, guitar, field recordings, and various percussion objects, in ritualistic studio sessions which are augmented and sampled over and over… with the controls set for other planes of there.’

Luminessence series.

Also sub-titled ‘Kinshasa/Brazzaville 1969-1982’.
‘These new sounds emerged at a time when the Congolese record industry – previously dominated by European major labels – was experiencing a period of decline due to rising production costs.The void was filled by dozens of entrepreneurs willing to take chances on smaller scale releases. It was the beginning of a golden age for Congolese independent record labels, and the best of them – Cover N°1, Mondenge, Editions Moninga, Super Contact – preserved the work of some of the region’s finest artists, while launching a generation of younger musicians into the spotlight.
‘Congo Funk! is the story of these sounds and labels, but also it is the story of two cities, separated by water but united by an indestructible groove. The fourteen songs on this album showcase the many facets of the Congolese capitals, and highlight the bands and artists, famous and obscure, who pushed Rumba to new heights and ultimately influenced the musical landscape of the entire continent and beyond.’