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 musical journey takes the listener this time to Panama – a country in Central America, which offers a rich and breath-taking variety of musical treasures. In a first reissue, two songs from the legendary Loyola Records label were selected, both released in 1969: one by Camilo Azuquita and one by the group Panama Brass. Two super-rare tunes that fetch crazy prices, if you’re lucky enough to find a copy at all. Available for the first time as an official reissue on 7inch vinyl – remastered from the original master tapes. The song by Panama Brass even makes its 7inch premiere. Don’t sleep on it!

The A-side features the killer boogaloo tune Borombon by Camilo Azuquita. Its take of the song composed by Javier Vasquez is undoubtedly the best version of this song. The striking piano, driving bass and rich horns are fueled by percussive accompaniment and especially by Azuquita’s powerful voice. A terrific song that has also recently gained new notoriety in movies and series – such as Better Call Saul.

The B-side features the instrumental Latin Jazz/Guaracha tune Con La Mano En La Biblia by Panama Brass – an orchestra led by the excellent organist Cristobal Munoz Jr and consisting of Panama’s best musicians. A no less energetic and furious song composed by G. Garcias. The musicians of the orchestra combine a great musicality and diversity in the song, delivering a special delicacy.

Artist info

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‘s latest tidbit takes us back to the South American continent once again – to Venezuela to be exact. The song Zambo by the band La Retreta Mayor, which was released in 1976 on the LP of the same name, is now available as an official reissue and the very first time ever on a 7inch vinyl single! The 45 is complemented by an excellent rework of the American producer & DJ King Most from San Francisco.

The A-side features the original of the song. Zambo is a furious mix with versatile influences of Latin, Jazz & Funk. The rich horn section and percussion of the guest quartet bring pure heat to the track – the drums, bass and piano intensify this even more. An absolute heater for the dance floor!

The B-side features the King Most Redirection. The talented producer gently takes on the song, keeping the organic vibe of the original but still giving it a different, new side. His re-arrangement and additional in/outro and a new passage in the middle of the song fit exquisitely. Also his crunchy drums and own piano passages are very tasty and give the song an own flavour!

Artist info

Alexandro Rodríguez was born in Caracas in 1952 and is considered one of Venezuela’s most important jazz guitarists of the seventies. He studied classical guitar in his early years, played electric guitar in various rock groups and performed at various national music festivals. He also had the opportunity to play as a musician for renowned orchestras such as Onda Nueva, Renny Show’s Orchestra on Venezuelan Television and Radio Caracas TV’s Orchestra.

In the late 1970’s he recorded two significant works that may be considered a reference in Venezuelan music history. He formed the short-lived band La Retreta Mayor to record a self-titled album, which was released as an LP on the Venezuelan label Discomoda in 1976. The 10-piece band and numerous guest musicians created a jazzfunk & fusion gem. The band unfortunately broke up right after the recording and did not play live or record any more music. His self-released album Busqueda, released in 1978 under his name, was recorded between New York and Caracas and has an excellent reputation not only in connoisseur circles. In 2012, the album was reissued on CD by a Japanese label, proving the influence Alexandro’s music still has in the jazz scene today.

Between 1979 and 1982, Alexandro lived in New York, where he worked as a composer, arranger, performer and orchestrator in the jazz scene with renowned orchestras before returning to Venezuela. Subsequently, his musical career turned to the classical guitar, both as a composer and performer. In 2013, he settled in Pittsburgh, Pennsylvania (USA), where he continues his activity as composer, arranger, guitarist, bassist and teacher to the present time.

With their latest release, Matasuna Records brings together two songs from 1966 that were originally released on J-V/Atlantic Records & ATCO Records. Now officially reissued for the first time on 7inch vinyl. Aside from the same release year, the two songs – a Northern Soul joint by Cliff Nobles and a Mod Jazz tune by Russell Evans & The Nite Hawks – seem to have little in common. However, both are delicacies for any dance floor and combine an irrepressible energy. The two songs thus fit perfectly together on this hot & fiery 45!

My Love Is Getting Stronger by Cliff Nobles on the A-side is not only a super rare soul gem whose original single cost at least $700 dollars. The song can also be considered one of the best (Northern) soul tunes. A grooving bass, infectious drums & bongos meet great orchestrated horns driven by Nobles’ raw yet sweet voice. A smokin’ soul cut for any dance floor.
The instrumental The Bold by Russell Evans & The Nite Hawks on the B-side brings out the same irrepressible energy. The deep bassline, drumbreaks and funky guitar riffs introduce this terrific song. A deep organ joins in perfect interplay and enchants the listener. A great groover that shouldn’t leave any record box!

Artist info

Cliff Nobles, born in 1944 in Groove Hill (Alabama) got into singing in his high school choir in Mobile (Alabama). He also became the lead singer of a popular local group called The Delroys. After school, he moved to Philadelphia to work on his career. He recorded 3 songs for Atlantic Records, which went unnoticed. He later formed the band Cliff Nobles & Co in Norristown with Benny Williams (bass), Bobby Tucker (lead guitar) and Tommy Soul (drums).

Through demo tapes, Nobles came to the attention of producer Jesse James, who began to write songs for the band and helped them get a contract with Phil L.A. Of Soul Records. The first release bombed, but the second single, Love Is All Right/The Horse, brought success. Ironically, the instrumental B-side The Horse, which Nobles didn’t even perform on, became a huge hit. It reached #2 on the charts, sold over 1 million copies and was awarded a gold record by the R.I.A.A..

However, subsequent releases failed to match his success, and he retired from the music business in the early 1970s. Nobles died in October 2008 at the age of 67 in Norristown, Pennsylvania.

For its latest release, Matasuna Records goes back to Latin-influenced realms and presents two songs by US musician Fred Ramirez, which are available for the first time as official reissue on 7inch vinyl. These are instrumental cover versions of well-known soul and jazz hits, which take a completely new direction under Fred Ramirez’ killer Latin jazz-funk influence. The songs were transferred from the master tapes and got a new mastering to sound as good as never before.

Hold On I’m A Comin on side A is a cover version of the 1966 soul hit by the duo Sam & Dave, written by Isaac Hayes and David Porter. A killer drum break and a deep bass line is the basis for Ramirez’ virtuoso piano playing, which is complemented by brass and drums. Ramirez thus creates an independent, extraordinary Latin jazz version that is in no way inferior to the original and is brilliant due to its musical expansion and independence.

Side B contains another exceptional cover version of the instrumental jazz song Comin’ Home Baby written in 1961 by Ben Tucker and Robert Dorough, which became a jazz hit in 1962 with the vocal version of Mel Tormé. Ramirez’ cover radiates a very special vibe through his sheer piano playing, which is especially evident in the twist in the middle of the song, where it increases in intensity and creates a lot of pressure and dynamics. Outstanding!

Artist info

Born in Los Angeles, Fred Ramirez began his classical piano training at the age of six. At the age of 16 he bought a Musser Vibraphone and taught himself how to play by listening to the likes of Cal Tjader, Tito Puente and Milt Jackson. He started playing in nightclubs and his talent as a young pianist & vibraphonist quickly spread throughout the L.A. jazz scene. In the 60s and 70s he played in various bands and was on many tours across the states. In his extensive career he has worked with many greats of jazz and Latin America. With his own Latin jazz ensemble he was a welcome guest at numerous festivals and jazz clubs until the beginning of the new century.

In 1967 Fred released two singles with cover versions of well-known soul & jazz songs on Warner Bros. records, on which his unmistakable and extraordinary piano style and talent is evident.
He was also a member of the nine-piece band Macondo, which was signed directly in the recording studio by Ahmet Ertegün, one of the founders of Atlantic Records. In the same year 1972 the LP was released on Atlantic.
In 1995, he released an album on CD with a multi-piece orchestra entitled A Tribute to Legends of Latin Jazz as a homage to to musicians who had an influence on him. A live CD followed in 2002, which was recorded at the Steamers Jazz Club (California).

About four years after the label was founded in summer 2016, Matasuna Records is about to drop its 25th release. To celebrate this anniversary, Matasuna has dug up another treat and is delighted to reissue two songs from the legendary LP 1973 by Belgian jazz-funk group Placebo of jazz legend Marc Moulin, who is rightly considered one of the rare groove Holy Grails. Both songs are available for the first time as official reissue on 7inch vinyl – the title song is even available on 45 for the first time ever. Of course there was a new mastering for the best possible sound.

Polk is opening the single and couldn’t be a better start: the irresistible groove digs deep into the ear. Marc Moulin’s virtuoso piano playing wafts around the driving wah-wah guitar, the bass line and the beats. The brass section sneaks in discreetly to create a grandiose sound spectrum. Jazz-Funk at its best!

Without a doubt, Balek is one of the most extraordinary tunes on the album and rightly enjoys cult status not only among rare groove collectors. But also in the Hip Hop scene Balek is a hot joint – e.g. El Da Sensei or Mos Def have dropped their rhymes on this beat. Obscure synthesizer soundscapes with psychedelic sounds, supersweetened keys, unique brass passages and kicking drums give the song a magical aura. Great!

Artist info

Marc Moulin was born 1942 in Ixelles, Brussels where he also took music lessons. He studied economics and political science – but his passion was music, which guided his career. He made his first steps in the Belgian jazz scene in 1961 at the Festival Comblain-la-Tour, where he won the Bobby-Jaspar trophy for best soloist.

In the 1960s he was a member of various jazz formations before founding the band Placebo with his close friend, guitarist Philip Catherine, in the early 1970s. The septet recorded three albums and a single from 1971 until its dissolution in 1976. On these recordings Moulin is surrounded by the crème de la crème of the Belgian music scene. The group played a unique mixture of jazz, soul, rock and funk with electronic elements, which Moulin elicited from his Moog synthesizer. Some of these musicians also contributed to Moulin’s cult album “Sam Suffy, which was released in 1975.

After the dissolution of Placebo, Moulin took a break from jazz and appeared as a producer for various artists. In 1978 Moulin founded the synth pop band Telex, with which he recorded five longplayers between 1979 and 1986. These recordings are considered groundbreaking for the Detroit techno and transatlantic house scene.

In the late 1990s, Moulin returned to his jazz roots when he combined his two great loves, jazz and electronic dance music. He signed to Blue Note, where he released three albums. His first album on Blue Note 2001 sold over 100,000 copies worldwide.

Parallel to his musical activities, Moulin was a radio presenter, journalist and composer, but also worked as a journalist and radio editor. Moulin died on September 26, 2008 at the age of 66.

Tracklist:

A1 Professor Wouassa – Fallou Fall 08:31
A2 Professor Wouassa – Yobale Ma 02:53
B1 Professor Wouassa – Thiaroye Gare 06:56
B2 Professor Wouassa – Beguente Len 04:10
C1 Professor Wouassa – Djongoma 04:32
C2 Professor Wouassa – Iba Niawoulo 07:50
D1 Professor Wouassa – Sama Yone 04:24
D2 Professor Wouassa – Djougoudja 10:09

Description

After their brilliant label debut with “Grow Yes Yes” in 2017, “Professor Wouassa” now returns with their brand new third album on “Matasuna Records”.

The Swiss band’s career spans more than 15 years, where they have played at many major festivals in Switzerland and abroad. The 11 members of the band have perfected their musical qualities over the years and captivate as a well-rehearsed live band with their energetic and rousing shows. So it isn’t surprising that they supported concerts of Afrobeat legends like “Ebo Taylor” or “Seun ‘Anikulapo’ Kuti”.

Their still exuberant creativity can also be heard on their new work entitled “Yobale Ma!”, which in Wolof’s language can be translated as “take me” or “get me”. With their new album they take the listener to their musical island to explore the borders of Afrobeat and beyond.

The song “Fallou Fall” opens the album in a jazzy & big band way, and quickly switches to an afrobeat theme and solo. In the middle the song breaks into an Afro-style pattern, which is performed by “Thaïs Diarra” in Bambara (Malian dialect) in a traditional Mandingo way of singing. The track ends with a Sabar percussion part – a traditional Senegalese drum.

“Yobale Ma” is the single of the album, which is inspired by the funky guitars of a Nile Rodger and some typical fast Ghanaian highlife of Ebo Taylor.

The track “Thiaroye Gare” is about the “Tirailleurs sénégalais”, a unit of the French army who fought for France in WWII. After returning from captivity they were taken in Camp Thiaroye northeast of Dakar. Corrupt and racist colonial officials led to a revolt, which was bloodily suppressed by French troops.
From the musical point of view the song shows a link between afrobeat and funky James Brown rhythms, which ends in a fast afrobeat style with baritone saxophone and trombone solos.

“Beguente Len” in the middle of the album is a kind of interlude that represents Wouassa’s own way of interpreting traditional afro beats and rhythms.

With the two songs “Djongoma” and “Sama Yone” Professor Wouassa leaves his usual afrobeat path to explore the “sound of the islands” (Mauritius, La Réunion, Cape Verde or Cuba) and blend it with their personal and unmistakable style.

With “Iba Niawoulo” the professors investigate a kind of Ghanaian highlife medium tempo with a chord progression from Serge Gainsbourg’s song “Initial BB”. The tracks change in the middle to a fast Rhythm’n’Blues beat, which is accompanied by afro guitars. The singer “Mamadou Diagne” talks about his alter ego in Dakar.

In “Djougoudja” typical afro rhythms are mixed with pure Ethiopian 70’s brass sounds and funk guitars. As heard several times in other songs, the track breaks into a very personal and hard to describe Wouassa beat in it’s middle. At this time, “Mamadou Diagne” recites a big slam about the spiritual ideas and the history of the famous senegalese theologian and poet “Serigne Touba” (Cheikh Ahmadou Bamba). Under his flow some sabar percussions (typical senegalese percussions) build a strong and intense musical rug.

Artist info

Music knows no boundaries and trespasses every geographic wall and culture. Rooted in Lausanne, Switzerland, Professor Wouassa is a living testimony of this – a special blend that brings together the principal Swiss afrobeat players into one groovy pot, cooking uplifting and infectious afro music.

Born in 2003, the combo released their first album Dangerous Koko! early 2011 and soon picked up airplay in such diverse countries as the UK, Greece, Brazil, Canada, only to be reinforced by their incredible live delivery – and soon invited to be the opening act for Seun Kuti & Egypt 80 in the reputed Cully Jazz Festival. After a string of memorable concerts throughout a packed tour, 2015 marks the release of Grow Yes Yes!, mixed by none other than Malcolm Catto (The Heliocentrics, Mulatu Astatké, to name very few) and with featured appearances by afrobeat shining stars Seun Kuti and Ebo Taylor.

Tracklist:

A1 Professor Wouassa – Serema (feat. Ebo Taylor) 05:28
A2 Professor Wouassa – Doumadem 06:30
A3 Professor Wouassa – Kanoule 07:31
B1 Professor Wouassa – We Thit 04:47 video
B2 Professor Wouassa – Mame Yala 10:38
C1 Professor Wouassa – Touki 07:23
C2 Professor Wouassa – Sunu Reou (feat. Seun Anikulapo Kuti) 11:31
D1 Professor Wouassa – Papa Jo 05:34
D2 Professor Wouassa – Bande de Kokos 06:00

Description

The album, about to be re-issued on Matasuna Records – house of the smouldering hot new project Dem Juju Poets – and for the very first time on vinyl, will surely add fuel to the fire across dancefloors everywhere.

Serema, its first track, laces Ebo Taylor’s smokey voice with an almost Cuban feel melody, preaching a message of love while Doumadem is a testament to the afro beat heritage, Thais Diarra’s voice hovering beautifully over a landscape of heat-infused rhythm, cropped with precise horn stabs and arrangements that would make Antibalas proud.

We dare you to stand still while listening to We Thit. Seriously. If you aren´t compelled to dance to it, check your pulse. Surely something will be racing inside you.

Sunu Reou is a vintage, slow tempo afro groover and it is only fitting that it has Seun Kuti as its guest, proving, if proof were needed, that Professor Wouassa are a singular musical project that pays homage to and does not shy away from mixing afrobeat, high-life and ethio-jazz with contemporary funk. Yes Yes!

Artist info

Music knows no boundaries and trespasses every geographic wall and culture. Rooted in Lausanne, Switzerland, Professor Wouassa is a living testimony of this – a special blend that brings together the principal Swiss afrobeat players into one groovy pot, cooking uplifting and infectious afro music.

Born in 2003, the combo released their first album Dangerous Koko! early 2011 and soon picked up airplay in such diverse countries as the UK, Greece, Brazil, Canada, only to be reinforced by their incredible live delivery – and soon invited to be the opening act for Seun Kuti & Egypt 80 in the reputed Cully Jazz Festival. After a string of memorable concerts throughout a packed tour, 2015 marks the release of Grow Yes Yes!, mixed by none other than Malcolm Catto (The Heliocentrics, Mulatu Astatké, to name very few) and with featured appearances by afrobeat shining stars Seun Kuti and Ebo Taylor.