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Matasuna Records takes another musical journey to Miami, Florida, to spotlight the local band Adam’s Apple. Back in 1975, the independent label Sound Triangle Records issued a 7inch single featuring two of their songs: the ballad “Miami Para Mi” and the upbeat Latin/Salsa Funk cut “La Inflación De Ofelia”. Now, this tune returns on 7inch vinyl for the first time, paired with an instrumental version that strips it down to its pure, funky essence. Written by Miami-based musician and songwriter Eddie Elmer – who also penned the Latin funk gem “Harina de Maiz” for Los Sobrinos del Juez, reissued by Matasuna in 2019. This new release uncovers another hidden treasure from Miami’s vibrant music scene. Don’t miss out!

The band Adam’s Apple was founded in Miami in the early 1970s by César Izaguirre and Jorge Devera. Both had previously played with conga player and singer Lina Arguelles in the group 2+1, and she also joined the new band, along with other local musicians. In 1971, the group debuted the song ‘Miami Para Mi‘ (composed by Titti Soto) at the Miami-Dade Auditorium. This song would later become a staple of Adam’s Apple’s live repertoire.

Adam’s Apple released on Sound Triangle Records, an independent Miami label founded in the 1970s by Manuel J. Mato. The label played an important role in the growing Latin American music scene in South Florida, providing a platform for many young Cuban-American bands. Spanning Latin rock, funk, soul, salsa and Caribbean sounds, its releases are both authentic snapshots of the era and sought-after collector’s items.

This includes the 1975 single feat. La Inflación De Ofelia & Miami Para Mi. ‘La Inflación De Ofelia’ was written by Eddie Elmer (born Elmer Rodríguez), a musician and composer who was also active in the band Los Sobrinos del Juez. His compositions are instantly recognisable for their blend of crisp drum breaks, funky bass lines, wah-wah guitars, frenetic organ interludes and infectious Latin percussion. This track offers a distinctive 1970s Miami sound, blending Latin rhythms with soul and funk.

Although the band’s founders are no longer active as musicians, Lina Arguelles continues to play with her band, Lina & Legends 5.

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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.

Exactly three years ago, Matasuna Records released a hot Latin 45 feat. two songs by the Venezuelan band Phirpo y sus Caribes, led by musician, arranger and conductor Porfi Jiménez. Now, fortunately, two more tracks from the band’s only album, Parrilla Caliente, are being reissued on vinyl by Matasuna – and for the first time, on a 7-inch! The original pressing of the 1972 album on Philips is a rare and valuable collector’s item. Officially licensed by the family of the late musician. Don’t miss this gem!

Y Esa Pava Que? on the A-side of the single is an explosive Latin funk joint written by Porfi Jiménez. An irresistible groover, opulently and densely orchestrated with virtuoso musicians showing off their musicality. Heavy drums, powerful horns, funky & slightly psychedelic keys & guitars are the basic ingredients, enriched with solo parts and vocal interludes. A real treat!

The B-side features Pa‘ Los Rumbero, a cover version of the song by New York Latin maestro Tito Puente. In 1972, Puente recorded a great new version of his original 1955 composition. Phirpo y sus Caribes used this new version as the basis for their cover, compressing the Puente song to about two and a half minutes. The result is an energetic and upbeat song that proves that Porfi Jiménez and his bandmates were among the continent’s finest musicians. Vamos que la rumba ya va empezar!

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.

Matasuna Records, on a mission to unearth musical treasures of the past for the last 7 years, presents an exciting discovery of the present with the band Bidaide from Barcelona. This 7-inch vinyl single not only marks Bidaide’s vinyl debut, but also unveils their captivating versatility and musicality with two previously unreleased tracks, Batua and Love Me & Give Up.
Soul, funk, psychedelic rock, reggae-dub and library music merge seamlessly in Bidaide’s recordings, forming a unique sound. Two great tracks that are now available on vinyl!

Batua on the A-side is the energetic prelude to this 45. A dynamic, unfiltered rhythm section provides the foundation, while two guitars engage in an agile conversation underscored by sharp keys and fantastic brass overdubs. Recorded in the band’s studio on multiple tracks using analog methods and equipment, the song boasts an opulent, organic sound. Batua is a funky, psychedelic journey interspersed with soulful & harmonious interludes and stirring percussive breaks.

Flipping to the B-side, Love Me & Give Up offers a more soulful, relaxed contrast, showcasing the band’s versatility. A laid-back beat sets the stage, with keys and guitars weaving a soulful sound tapestry.The chorus, delivered with restrained conviction and backed by a warm organ, evoke a Motown-esque charm.

Founded in 2019, Bidaide began as a duo with Asier del Álamo and Juan Cruz Chiappara. With the arrival of Sergio Caño (keyboards), Manuel Diaz (drums), and Nacho Llauradó (Telecaster), the duo blossomed into a vibrant band. Through experimentation and maturation, they forged their own distinct sound, reflected in their 2021-2022 recordings titled BATUA (Basque for unity). These recordings embody the spiritual essence of a group that has found and solidified its own powerful sound, showcasing its talent for arrangements and harmonies.

Some members of Bidaide, who already knew Matasuna and their releases through their involvement in the Gatzara Soundsystem, sent Matasuna their demo of the recordings in mid-2003. Their fresh, impressive sound immediately found open ears. This connection paved the way for Bidaide’s exciting vinyl debut, marking a new chapter in their musical journey.

After its release, Moyo Wangu quickly became a very sought-after album on vinyl for collectors and DJs. On this third Renegades Of Jazz album, Hanke combines elements of Afrofunk with his love for breakbeats with club appeal.

Having spent his early childhood in Arusha/Tanzania in the early 1980s, producing an Afrofunk album was on Hanke’s list for a long time to reconnect with his time living there. With his love for African rhythms and club music, Hanke produced with Moyo Wangu a blend containing the best of both worlds.

Later, he continued his Afrofunk journey under his Dem Juju Poets alias and released his album Liberated Thoughts here on Matasuna Records in 2017, which also quickly sold out.

Moto Moto is featured on the a-side of our new 45, an infectious opener which captures the hot, vital feeling of a crowded dance floor throughout an amazing night out. Catchy drums and frenzied percussions meet funk guitars, a deep grooving bassline, great horns and vibrant vocals.

Zebra Talk on the b-side is an exciting collaboration with producer and multi-instrumentalist Ingo Moell aka Kabanjak, also known for his projects like Deela and as one-half of Ancient Astronauts. Together they create a mesmerizing tapestry of sound that slowly builds, immersing the listener in the groove and captivating them.

Hanke and Moell continued working together on their new project The Maenads, exploring the depths of electronic club music.

Getting Uptown (To Get Down) by United 8 is a funk classic released on Atlantic Records in 1972. The musicians of United 8 created an infectious sound with a combination of horns, guitars, drums and bass. The drums drive the beat and give the track its distinctive rhythm, while the bass provides a powerful, pulsating foundation. The horns add a jazzy note, while the guitar adds a funky touch.

The result is an energetic, danceable sound that still sounds fresh and exciting today. The song is timeless and has lost none of its appeal. It’s no wonder that it has been featured on many funk compilations since the 2000s.

Sexy Coffee Pot by Tony Alvon & The Belairs is an explosive and energetic funk joint from 1969 that immediately captivates the listener. The rhythm section lays down a steady, infectious groove, while the guitar and horns provide a funky, dynamic sound that complements each other perfectly.

It’s no surprise that “Sexy Coffee Pot” has been sampled and covered by so many hip-hop artists over the years, such as Eric B. & Rakim, Cypress Hill or DJ Shadow, to name a few. B-boys and B-girls also appreciate the upbeat vibe of this song, which has become a staple on battles.

The song Colorado, named after the band, opens the A-side of the single. The hypnotic piano puts the listener in the right mood right from the start, before the drums and percussion set the rhythm. The horns also add depth and melodiousness before the song takes a turn and reveals its funky side with guitars, synths and bass. A nice guitar solo also reveals the affinity for rock music without losing sight of the vibe of the song or tipping it a different direction. Definitely a fabulous song that comes up with a lot of ideas and inspirations, offering an unexpected richness in the under 3-minute running time.

The B-side also continues musically energetic in the same way with Para Ti. Here, too, you can feel and hear the playfulness and experimentation of these extraordinary musicians. Atmospherically dense passages alternate with quieter phases and solo parts, before the tension rises again and literally explodes. As in the song „Colorado“, rhodes, brass, guitars & bass offer a great and varied interplay. The secret highlight, however, might be the drum and percussion parts in the middle of the track, which will surely enchant not only the B-Boys and B-Girls.

Artist info

The title track of the album Abahambi composed by Sipho Gumede and also the album opener is also the A-side of the Matasuna release. The song immediately builds up an incredible groove with the first bar and offers an atmospherically dense, 5-minute funk firework. The musicians master their instruments to perfection: be it in the collective playing as well as in the polished solo passages, where they can fully demonstrate their skills. One of the tunes that could run endlessly without ever getting boring.

On the flip side, the song Umlazi composed by Enoch Mthalane is another testament to the sophistication of their arrangements & musicality. Although this song is much slower in tempo, it is in no way inferior to the A-side in intensity. Especially the piano generates a hypnotic groove, which is skillfully continued by the guitar. Another musical treat!

Artist info

The fact that the composers of the songs and musicians of the band are (or were) well-known greats of South African jazz music, but the album respectively the band name Freeway does not appear in any bio/discography is more than curious. Apparently it is considered proven that the band was founded by bass player Sipho Gumede.

Born in Durban (South Africa), Sipho Gumede learned to play the guitar autodidactically until he received his first introduction to jazz from jazz guitarist Cyril Magubane at the age of 16. He switched to bass and then got his first professional music job as a member of the Jazz Revellers band. In 1970 he went to Johannesburg where he met, worked with and toured with some great musicians of that time. He formed several bands with some of them such as Roots, Spirits Rejoice or Sakhile. Gumede also recorded collaborative pieces with other jazz legends before recording his first solo album in 1985. In the following years he was involved in tours of North America, Europe, as well as many African countries. In 2000, Sipho moved back to KwaZulu-Natal, where he taught music and performed for township youth. His artistic productivity did not stop there, however, and he produced a number of other albums. In total, he produced, recorded and contributed to more than 20 albums. He died in July 2004 after a short illness.

Matasuna returns to Mexico again – this time to the musical epicenter Monterrey in the north of the country. The band La Tribu recorded there the song No Te Quiero Mas (I Don’t Want You More), which was released on Polydor in 1971. The Latin soul joint is a gem among connoisseurs and it’s difficult to get the original 45. Matasuna is therefore all the more pleased to be able to release the tune for the first time as an official reissue together with a fabulous edit by Voodoocuts.

The A-side features the original of the song. No Te Quiero Mas (I Don’t Want You More) is a killer uptempo Latin soul & funk song. The drums, horns, organ and bass create a fast-paced foundation that is enriched by the vocals of singer Leopoldo ‘Polo’ Sánchez Labastida. A massive tune!

The B-side features an edit by Voodoocuts, who has already put his musical stamp on  various Matasuna releases. Here, too, he delivers another terrific edit that respectfully takes on the original material. His clever re-arrangement expands the song and his drums spice up the already great original. In particular, his solo drum breaks provide additional explosive moments and lead to a furious reinterpretation of the song.

Artist info

Monterrey is the capital of the northeastern Mexican state of Nuevo León. Along with Mexico City, Monterrey is one of the musical epicenters in Mexico. On the one hand, through Cumbia Tropical, the Mexican version of Cumbia. This music achieved great fame especially through the Sonideros: music lovers and DJs who played that music to the neighborhoods with their sound systems.

But Rock music also has a long history in this city. One of these bands was La Tribu, founded at the end of the 60s. Like many other rock groups of that time, they covered various songs of successful bands such as the Beatles, Chicago, Ides Of March and others. In 1969, their debut LP Great Britains Best Sellers was released: a compendium of cover versions of popular hits sung in Spanish.

In 1971 they recorded music with their own compositions and released an EP with three songs, where Por Perderte (For Losing You) became the band’s most famous song. The success led them to be scheduled for the Festival Rock y Ruedas de Avándaro held in September 1971. It was a historic rock festival that took place in the spirit of Woodstock in front of a huge audience and went down in the musical annals in Mexico. The participation could have greatly influenced their musical path. But for unknown reasons their place was filled at the last minute by another band.

In 1972 they recorded new songs in order to regain the lost ground caused by their failure to participate at the Avándaro festival. However, the great success should remain denied to them. Also they never finished a second LP.

This was certainly due to the political situation that arose in the aftermath of the Avándaro Music Festival. Drug use, sex and nudity were denounced in media campaigns in  newspapers, radio and television and had far-reaching and harsh consequences. Rock music was censored in many places: rock clubs had to change their music program or even close down. So this music really disappeared or had to go underground.

On the other hand, the death of lead singer Leopoldo ‘Polo’ Sánchez Labastida in 1974 made it very difficult for the band to record new music, so the band practically disappeared from the scene. It wasn’t until the new millennium that the remaining living members got back together to sporadically perform their „hits“ as well as other cover songs at events in the north of the republic – especially their hometown of Monterrey.