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One of those rare, lesser-known Latin funk gems is undoubtedly Miami by Dominican-Venezuelan musician Porfi Jiménez, originally released in 1971. Sought after by DJs and collectors for years, original copies are now almost impossible to find in decent condition.
The track has been high on Matasuna Records‘ wish list for a long time – and after several years of work, it’s finally getting an official reissue. The release also includes a great edit by Philadelphia-based DJ and producer Retro Roland Riso, who has already left his mark on previous Matasuna releases. This heavy Latin funk joint from Venezuela is ready to bring the heat just in time for summer!

The original version of „Miami“ impresses with its driving percussion, powerful horns and raw, unpolished sound, delivering pure energy. The fusion of funk grooves and Latin American rhythms creates an infectious vibe that is perfect for the dance floor.
Retro Roland Riso’s edit carefully enhances the track by adding extra beats and percussive elements, giving it more punch and making it even more club-friendly, while staying true to the original feel. It’s a fresh favourite for any bag!

Artist info

Porfi Jiménez, whose real name was Porfirio Jiménez Núñez, was born in 1928 in Hato Mayor del Rey in the Dominican Republic. He began his musical training at the early age of 9. After studying at the Municipal Academy of Music he became a member of an orchestra at the radio station Voz Dominicana. Its director Enrico Cabiatti introduced him to the art of arranging.

Due to the Trujillo dictatorship, he left the country in 1954 and went to Venezuela, where the young musician became famous as a trumpeter and played in the most important groups of the time. The quality of his original arrangements opened the doors of the most famous record companies of the time in Venezuela. Porfi also became one of the most outstanding composers and arrangers of those years, rebuilding Cuban José Pagé’s Cuban label Velvet in Venezuela and working for all the label’s national and international singers.

At the end of the 50’s until the beginning of the 60’s, he worked in orchestras of various TV stations in the Venezuelan capital Caracas. In 1963, Jiménez founded his own orchestra, which became known as one of the most important musical groups in Venezuela throughout Latin America.

In the 70’s, musical transformations resulted from the emergence of new musical styles & rhythms. Porfi Jimenez, as a contemporary artist and passionate jazzman, began to incorporate new musical elements into his songs that distanced him from the prevailing commercial style. This resulted in the album Parrilla Caliente, which was released as the band Phirpo y sus Caribes and remained the band’s only album. The production, practically unknown, allowed him to experiment and express his artistic creativity, distancing himself from the traditional style of his dance orchestra.

Salsa music and its orchestras lost importance in the 80s and were displaced by new music. However, another Caribbean rhythm filled the gap: the Merengue, which triggered an international boom. Porfi also embarked on this path, releasing an album that immediately catapulted him back to fame. It was a period in which he received numerous awards, such as two gold and one platinum disc.

Shortly before his death, on June 9th 2010, Porfi Jiménez managed to realize his lifelong dream: the formation of his jazz big band, with which he performed at numerous festivals in Caracas. With it, he left an important musical legacy, with several original compositions and arrangements of the most prominent names in jazz history. In 2007, Porfi Jiménez was honored by the United Nations as one of the most outstanding musicians of the continent.

Voodoocuts kicks off the single with his stunning edit of Soweto Disco. The original is already extremely infectious and energetic, with a grooving bass, opulent horn sections, wild organ parts and a relaxed reggae vibe. But Voodoocut manages to give the song an extra kick with his skillful rearrangement, drumming and the addition of loops, filters, effects and samples. The edit effortlessly takes the song into the present to deliver a killer cut for the dancefloor.

On the flip side, Shanana is another delicacy from the band’s later creative period. Although the mood is more relaxed, it’s a wonderful song with its distinctive bass and guitar lines, as well as the great organs that are always present. Voodoocuts Edit builds up the song slowly to give the instruments enough space to unfold. A wonderful jazz-funk tune with a disco touch, enhanced by the Voodoocuts treatment.

Artist info

The story begins in the turbulent townships of South Africa in the 1960s, when unknown musicians and brothers Norman and Opa Hlongwane approached Kenneth Siphayi, a wealthy businessman, with the idea of supplying them with musical instruments in exchange for a share of live performances and record sales. Siphayi agreed and even became their manager, providing them with a rehearsal space and an organist. This was the beginning of the band The Movers, whose name was also given by Siphayi.

The Movers developed a unique sound that combined traditional South African rhythms and melodies with influences from American soul, jazz and funk. Their sound was both danceable and emotionally profound. Inspired by the challenges and hopes of everyday life in the townships, their music took listeners’ hearts by storm. Their energetic performances and catchy melodies quickly made them one of the most popular bands in the country. This was reflected in the sales of their first album, Crying Guitar, which sold over half a million copies in the first few months after its release.

But their music was more than entertainment; it was an expression of the hope and resistance of an entire generation. Despite their immense popularity, The Movers, like many other black artists in apartheid South Africa, faced many challenges: Segregation, censorship, and limited opportunities to bring their music to a wider audience. However, they overcame these challenges. Their song Soweto Inn even became the soundtrack for the student revolts of the mid-1970s.

However, the band also experienced repeated upheavals due to a change of band members and the dismissal of their manager in 1976. The gap was filled by the producer, who took a more active role in the band’s musical direction. By the end of the 1970s, none of the original members were still active and the musical landscape in South Africa began to change. The emergence of new musical styles and political pressure from the apartheid government presented challenges to the band. Despite these adversities, The Movers remained active, recording new music and proving their adaptability and creativity.

Even after their active time, the legacy of The Movers has remained alive. Their music is still listened to and appreciated today, and they are considered trailblazers for many musicians in South Africa. More than just a band, The Movers were a voice of hope and cultural expression in a difficult time. Their music remains an enduring symbol of the strength and spirit of South Africa.

“Matasuna Records” has found another musical treat from the African continent for its latest release – a song by the Ghanaian musician “Mawuli Decker“. It was released in 1983 on the rare and sought-after album “Ayo Special” and is available for the first time as a 7inch vinyl single, which is supplemented by an edit from “Renegades Of Jazz“. The esteemed London label “Kalita Records” was able to provide the audio material for new masters and is also acting as music publisher with the new “Kalita Music Publishing“.

On the A-side is the original version of the song “Lololi-Lomko“, sung in the “EWE” language, which is spoken in the south of Ghana as well as the southern parts of Togo. “Lololi” means “There’s Still More Love” and “Lomko” stands for “Please love me” – classical themes that have appeared in countless songs in music history. Although a certain catchiness of the track cannot be denied, it doesn’t seem cheesy at any point. Mawuli, who also contributes the vocals, creates perfectly formed harmonies through his compositions and arrangements, which are especially apparent in the bassline, guitars & brass and of course the vocals.

This was certainly also the idea behind the edit of “Renegades of Jazz” on the B-side, which did not want to break up and alienate the organic composition. Listening closely reveals the approach: a steady tempo, a more powerful bassline and additional drums and percussions bring the song back directly to where it belongs: to the dancefloors of this world!

Artist info

Mawuli Decker was born in 1949 in Ghana, where he also grew up. His musicality has been given to him from an early age, so that he not only attracts attention as a singer, but also plays drums, percussion and bongo. He played in various dance bands, which were very popular in Ghana especially from the middle of the last century onwards and made the Ghanaian highlife known beyond the borders. He has played in various dance bands such as New Planets, Sawaaba Sounds, The Tops, Caprice 73, The Volta Pioneers and others, which have performed in Ghana and other West African countries.

His first release was in 1975 with the band “Dzobi Soundz” on the Polydor label. Further releases of projects with his participation followed, until 1983 when he recorded his album “Ayo Special” at “Otodi Studio” in Lome (Togo) with an illustrious group of musicians.

He is still deeply rooted in music and performs in West Africa and is still very active in recording.

More than two years ago Matasuna Records already reissued two songs of the gifted Peruvian piano master Otto de Rojas on a 7inch single. El tema de Coco is another great track on his 1976 album Superéxitos Bailables, on which he mixed Latin with Funk, Jazz and Disco. The song was reworked by Retro Roland Riso, known for his Bossa 70 edits and by label founder Alex SoulBrigada, who now deliver two different versions of this tune for the dancefloor.

Roland Retro Riso’s Al-Ritmo Rework on the A-side puts an impressive percussive rhythm layer over the original and makes it to an inimitable funky groover for the dance floor.

The SoulBigada Edit on the B-side transforms the song into a deep disco-funk banger, focusing on the deep rolling bassline, funky wah-wah guitars, brass and the virtuoso piano playing of Otto de Rojas, giving the song the necessary pressure.

Artist info

Otto Raúl de Rojas Guedes (1941-2008) was a Peruvian musician, composer, arranger, musical director of radio and television broadcasts. He’s considered one of the most influential figures in Peruvian music of the 70s.

The musical landscape of Peru, especially in the musical epicentre Lima, was influenced in the 1960s by US Funk, Soul or even psychedelic Rock and merged it with Peruvian Cumbia and traditional Criolla music. The young & unknown Otto de Rojas started his musical career in this environment and played in various bands like Bossa 70 and Los Hilton’s. A commercial breakthrough in his career came in the early 70s when he took over the musical direction of the TV show Trampolín a la fama and made a name for himself with his talent as an arranger.

He was also active as an arranger and musician for the Peruvian record company MAG, and as a versatile and talented pianist he has participated in various recordings of different popular rock groups like Los York’s, Traffic Sound and others.

Otto released his first successful solo project at the age of 25 in 1976. His songs Al Ritmo Del Bump-Bump, a cover version of the US hit Soulful Strut by Young-Holt Unlimited, and the song Choca Las Caderas are considered one of his greatest successes and represent for many the best songs of Otto de Rojas. In the following years he recorded more albums and was often to be found on the stages of Lima.

In 2008 Otto de Rojas died tragically and much too early. With him, the Peruvian music world lost an unsung icon. However, his music will live on and keep the memory of this exceptional talent alive.

With the help of a Lisbon friend, Matasuna Records has managed to reissue two outstanding songs from the debut album of Angolan musician “Chalo Correia” on a hot & fiery 7inch. Although the album was originally released in 2015, only a handful of people outside Portugal were lucky enough to get their hands on one of the coveted copies. This is unfortunate, as Correias music uniquely combines traditional Angolan styles with new melodies, creating a intoxicating & exotic mix. For this release the tracks were remastered and the title track was even completely mixed again to achieve the best possible sound.

The A-side of the single starts with the title song “Kudiholola”. Kuhohola (correct term in the Quimbundu language of Angola is Kudiholola) which means to heal from a hangover, but where Chalo Correia, takes the title as a restart and a return to the traditions and roots that had been stuck in the past. The melody is embedded in the Angolan Kazukuta style that manages to give life and brilliance to this instrumental where the harmonica fills the contours of the music. Kudihohola is an imaginary microcosm of Angolanity in terms of culture in general, but also the image of interpersonal relationships.

“Chercher Crioula” on the B-side, sung in “Quimbundo” and the choirs in “French”, reports an incessant search for a love that insists on not appearing. This search is not limited to one country or continent but to many places in the world, which makes the author adapt to the places, as time prolongs that same search.

Artist info

“Chalo Correia” is a talented singer and songwriter born in 1968 in “Luanda”, the capital of “Angola”. He grow up in the most intense and blazing musical period of Angola – the 70s. In a time when musician fought for independence, reinventing the Angolan sound in order to re-establish their identity. In his late youth, Chalo met musicians from revolutionary bands like Os Merengues and Os Kiezos, who would influence his future music.

In the early 90s Chalo moved to Portugal, where he practiced guitar and harmonica. Far away from his country, music was the only way to connect with his roots and so he started to create original songs based on traditional & urban music styles of Angola and on early childhood memories. During the last 20 years his music went through a long process of maturation, which resulted in the recording of his debut album “Kudihohola” in 2015. In 2016, this album was nominated as one of the best popular music album at the Angolan Music Awards.

Chalo is a very versatile musician: you can find him with his explosive 5-piece band at concerts in Europe, Brazil and Africa, prestigious world music festivals, or mixing a Portuguese guitar from the traditional Fado with Angolan music in his trio. But you can also meet him at a tireless one-man show, where he plays traditional Angolan guitar chords, handled by syncopated and percussive complex rhythms like Semba – the precursor of Brazilian Samba – among other traditional urban Angolan styles like Massemba, Kilapanga, Rumba, Kazucuta, Kabetula and RebitQa. His vigorous voice sings about the Angolan daily life stored in Chalo’s childhood memories, combined with his life experience as an Angolan immigrant in Lisbon. The harmonica joins his instrumental compositions with energetic melodies that fit perfectly with his new music, combining an old, festive flavored style with a contemporary way of songwriting.

Tracklist:

A Nico Gomez And His Afro Percussion Inc. – Baila Chibiquiban (Original) 03:05
B Nico Gomez And His Afro Percussion Inc. – Baila Chibiquiban (Tonton Boom Edit) 04:20

Description

After the successful “Lupita” 7inch in April 2020, Matasuna is delighted to reissue another Latin gem from “Nico Gomez And His Afro Percussion Inc.”. “Baila Chibiquiban” is also a killer cut, which is now finally available again on 7″ single. The original version is complemented by a great edit by Frenchman “Tonton Boom” (aka “Mr. Boom”), who had already attracted attention as a digital promo some time ago. For this official release, his version got a new analog mix at “Microgroove Studio” in Toulouse to sound better than ever. Another essential 7inch for every record collection.

The original version Baila Chibiquiban on the A-side is a killer latin psych funk tune written by Nico Gomez. A distinctive bassline, fuzz guitar, deep rhodes, tons of breaks and soulful vocals make a funk monster that burns everything down.

Mr. Boom‘s version on the B-side takes the original even further, to underline this not only on the percussive side. His new arrangement continuously heads towards the climax, which is interrupted by a break to create new tension. Already successfully tested, this edit – which was longed for by many on 7inch – will get a permanent place in record bags and make dancefloors explode.

Artist info

Joseph Van Het Groenewoud, who would later become known as Nico Gomez, was a musician & composer from the Netherlands. He spent his youth in the Antilles, Cuba and other islands of the Caribbean, which had an unmistakable influence on his music. As a passionate musician and skilled guitarist he was familiar with the typical rhythms and melodies of this region. Later he returned to the Netherlands, before fleeing from there to Belgium in 1946 to escape from serving in the Dutch army in Indonesia. From then on he called himself Nico Ooms. It’s said that he was so obsessed with Cuban music that he changed his name to Nico Gomez – in any case, the name fit better with the Latin American music he brought to the stage. He had made a name for himself as a composer and arranger for various artists and orchestras – e.g. he wrote for Los Chakachas, a well-known Belgian Latinsoul combo. But he also conducted the Nico Gomez Orchestra.

One of the most sought-after recordings was the 1971 album Ritual by his band Nico Gomez And His Afro Percussion Inc. It is considered one of the best Afrolatin albums of the 1970s – especially once this masterpiece was (re)discovered by Djs and its popularity soared. The album is a tasty mixture of Latinfunk grooves, deep Afrosoul and Chicano rock influences like fuzzy guitar and heavy organ.

Tracklist:

A Nico Gomez And His Afro Percussion Inc. – Lupita (Original) 03:42
B Nico Gomez And His Afro Percussion Inc. – Lupita (Bosq Rework) 04:45

Description

Matasuna Records is delighted to reissue one of their absolute highlights and favourite songs of Nico Gomez And His Afro Percussion Inc. As well as the original version, which was released on a 7inch by Mr. Bongo a few years ago and is completely sold out, they’ve included a rework by the restless and well-known US producer & Dj Bosq. His version, which became a DJ weapon as a digital promo, is now officially licensed on vinyl for the first time. For this release his version was revised once again for the best possible sound quality on an essential 7inch with the newly mastered original song.

Lupita on the A-side is a cover version of the song by Perez Prado, the Cuban-born King of Mambo, who has legendary status in his adopted country of Mexico. In contrast to Prado’s elated original, Nico Gomez’s version is an absolute funk monster, driven by heavy percussions, psychedelic organ grooves, fuzz guitar, exciting brass and a deep bass line. A truly extraordinary song!

Bosq‘s version on the B-side takes the original even further, adding more percussive elements and killer beats and breaks. His DJ-friendly rework has proven itself on dance floors around the world, always turning the mood into a hot melting pot.

Artist info

Joseph Van Het Groenewoud, who would later become known as Nico Gomez, was a musician & composer from the Netherlands. He spent his youth in the Antilles, Cuba and other islands of the Caribbean, which had an unmistakable influence on his music. As a passionate musician and skilled guitarist he was familiar with the typical rhythms and melodies of this region. Later he returned to the Netherlands, before fleeing from there to Belgium in 1946 to escape from serving in the Dutch army in Indonesia. From then on he called himself Nico Ooms. It’s said that he was so obsessed with Cuban music that he changed his name to Nico Gomez – in any case, the name fit better with the Latin American music he brought to the stage. He had made a name for himself as a composer and arranger for various artists and orchestras – e.g. he wrote for Los Chakachas, a well-known Belgian Latinsoul combo. But he also conducted the Nico Gomez Orchestra.

One of the most sought-after recordings was the 1971 album Ritual by his band Nico Gomez And His Afro Percussion Inc. It is considered one of the best Afrolatin albums of the 1970s – especially once this masterpiece was (re)discovered by Djs and its popularity soared. The album is a tasty mixture of Latinfunk grooves, deep Afrosoul and Chicano rock influences like fuzzy guitar and heavy organ.

Tracklist:

A Bossa 70 – Think (Retro Roland Riso Perfecto Rework) 04:24
B Bossa 70 – Get Out Of My Way (Retro Roland Riso Eterno Regroove) 03:45

Description

In September 2019 Matasuna opened the treasure box and reissued two rare original versions from the Peruvian band Bossa 70 for the first time on 7inch. With the new release, two more songs from their popular self-titled album will be officially reissued on a 45. The songs were transferred from the original master tapes and got a new mastering.

Matasuna invited the US-American DJ & Producer Retro Roland Riso to put his hands on the original versions to create two reworks, which are suitable for today’s dancefloors. Roland is almost a veteran of Philadelphia’s nightlife and can look back on a 20 year career as a radio host, promoter, DJ and producer.

Think on the A-side is a great cover version of the same named song by Souldiva Aretha Franklin from 1968. Bossa 70 gave the song its own touch and in their instrumental version they put the focus on the brass parts, bassline, wild guitar solos and an upbeat rhythm. Retro Roland Riso’s rework puts even more pressure on the song, creating a bomb for the dancefloor!

Get Out Of My Way on the flipside is another fantastic cover version of a fabulous Latin/Boogaloo song of Joe Torres from 1967. The Retro Roland treatment remains true to the original arrangement, but he spices up the song in his Regroove with a big dash of breaks and percussions. Another weapon for every DJ bag!

Artist info

Nilo Espinoza Vascones or better known under his artist name Nilo Espinosa is without doubt a Peruvian saxophone and flute legend. After a classical musical education he entered the music scene in the early 1960s. In 1966 he founded the band Los Hilton’s with some of the best Peruvian musicians including the gifted piano player Otto de Rojas. In 1967 they recorded the first and only LP of the group, which was released in a small edition in Peru.

Their concerts were more and more influenced by Jazz and Bossa Nova, so in 1968 they changed the band’s name to Bossa 70. In the record label’s office Nilo met the Afro-Peruvian Carmen Rosa Basurco, who also loved Bossa Nova and could sing in Portuguese and English. From then on she was the main singer of the band.

Bossa 70 recorded four songs for a 7-inch EP in an edition of only 100 copies, which was given away for promotional purposes at concerts and to friends & family. In 1970 they recorded their self-titled LP which reflected a mixture of Bossa Nova, Latin Jazz and Funk. The label pressed only 300 copies, which were sold out very quickly. This LP was the band’s only album and is a rare piece of Peruvian music history. 

Tracklist:

A Ralph Weeks – Let Me Do My Thing (Original) 03:22
B Ralph Weeks – Let Me Do My Thing (Voodoocuts Edit) 04:16

Description

Matasuna Records is delighted to reissue another jewel on vinyl: Ralph Week‘s song ‘Let Me Do My Thing’ is probably the most sought after Panamanian soul tune and the rare original 7inch is sold at incredible prices. The song was recorded together with the band ‘Los Dinámicos Exciters’ in 1971 in Panama.

On the A-side of the vinyl you can listen to the amazing original version recorded in 1971 – which was remastered for the release. The funky Latintune has all the ingredients that helped him to his status as one of the best Panamanian soul songs: a killer rhythm, a deep grooving bass line, the virtuoso interplay of the trumpet players and the super sweet soul voice of Ralph Weeks. There’s nothing more to add, but our favourite producer “Voodoocuts” was able to get something out of the original.

On the B-side you’ll find his version of the classic: a modified arrangement with a new in and outro, an extended break part and additional beats that will set every dance floor on fire. Don’t miss this gem! 

Artist info

During our research we were lucky to find Mr. Weeks, who could give us some background information to this song and his music career in general. Ralph Weeks was born 1943 in Panama, which he left at the age of 17 to move to the United States. There he founded the band ‘Ralph & Telecasters’ at the beginning of the 1960s. After his time in the US Army he started the band again, recorded their first single in 1965 and went touring in the United States during the following years. Among other gigs they also played twice in the famous Apollo Theatre in Harlem (NYC) where one of the greatest musicians like Louis Armstron, James Brown, Marvin Gaye etc. performed there.

The charismatic singer and multi-instrumentalist (guitar, bass & keyboard) was invited to a show in Panama in 1970, where he performed with members of the band ‘Los Dinámicos Exciters ‘, which he knew from his youth. In 1971 he came back again and recorded four songs with the band, which were released on the album “Lo Mejor De Los Dinámicos Exciters”. Two of the recordings were also released under Ralph’s name as a 7inch vinyl single on the Panamanian label “Sally Ruth Records” – among them “Let Me Do My Thing”.
Then he returned to the States and founded a new band in 1975 with Carlos Brown, a member of the Exciters, which existed for about 25 years. Weeks’ life has always been dedicated to music: even today, at the age of 76, he is still a member of an accapella gospel group that sings weekly at the church in his hometown in the state of Connecticut.

Tracklist:

A1 Calender – Hypertension (Hotmood Edit) 06:05
A2 Calender – Hypertension (Original) 05:50
B1 Calender – Ritmo Latino (Voodoocuts Rework) 05:51
B2 Calender – Ritmo Latino (Original) 05:12

Description

Matasuna Records presents another treat with its latest release: an official reissue with two songs of the US funk band “Calender”. Both tracks are available on a 12″ Maxi-Single for the first time. In addition to the mastered original versions, this EP features great reworks by two of our favorite producers: Mexican disco edit king “Hotmood” and the highly acclaimed Matasuna artist “Voodoocuts”.

The opener “Hypertension” is a disco banger par excellence. Kyser’s sophisticated arrangements merge thrilling grooves, elegant strings, varied funk elements and soulful vocals to a great and unique joint for every dancefloor. It’s very pleasing that the song doesn’t get overloaded or cheesy, as it’s often the case in disco music.
Hotmood transfers the track, which was created more than 3 decades ago, into the present time. His great disco edit focuses on the instrumental parts of the original. Thanks to his clever arrangement, a tension curve is constantly built up without seeming repetitive.

On the flipside, “Ritmo Latino” takes a different musical direction. As the name suggests, there are all kinds of Latin American influences to be heard: the brass section, rhythm parts, piano sounds and the grooving bass line, which goes straight into the veins. Nevertheless, the song is also strongly rooted in funk & jazz and inspires its listeners with its unique character.
Voodoocuts rework comes up with a monster broken beat and gives the song a dancefloor friendly structure with its new arrangement. Especially the killer break part in the middle of the song will not only make B-Boy hearts beat faster! Additional instruments, samples and effects give the rework an individual and autark touch and prove once again impressively that Voodoocuts is setting the bar higher and higher with his productions. 

Artist info

The band “Calender” from New Jersey was founded in the 70s by Paul Kyser. Besides his activities as songwriter, arranger and producer he set up his label Pi Kappa Records. The band’s only album “It’s a Monster” was released on this label in 1976 and has grown into a legendary status over the years and is appreciated by fans and collectors alike.