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Although the band’s founders are no longer active as musicians, Lina Arguelles continues to play with her band, Lina & Legends 5.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

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Berlin based label Matasuna Records kicks off the new year 2025 with a soulful 7inch featuring songs by Barcelona’s The Blaxound and singer John Vermont. Their common love for vintage soul from the 60s and 70s brought them together for this project to compose and record classic soul sung in Spanish. This 45 shows that the concept worked out wonderfully: Spanish Soul at its best, sounding authentic and contemporary at the same time!

Matasuna Records, known for its reissues of musical treasures from the past, also has an eye for exciting new discoveries in contemporary music. With The Blaxound & John Vermont the label has once again found an interesting project for soulful & contemporary music that fits perfectly into the label’s sound spectrum and will appeal to lovers of authentic soul music.

The two songs No Es Por Ti and Qué Más Te Da? from their recently released album will be released for the first time as a 7-inch vinyl single on Matasuna Records. The instrumentation and the lovely harmonies are the ideal basis for John Vermont, who with his versatile voice, sometimes powerful, sometimes smooth – but always soulful – can fully develop his vocal spectrum and fill the songs with his presence. Instrumental and vocal arrangements are beautifully balanced and harmonious. Beatific!

Artist info:

The Blaxound is a Barcelona-based music project with deep ties to the city’s Funk and Soul sceney. The project started in 2003 under the direction of musician, songwriter and producer Marta Roman. The Blaxound has released four studio albums between 2007 and 2024 on different labels.

Years ago, Marta focused on the idea of recording a classic soul album sung in Spanish, respecting as much as possible the original production and sound of the late 60s and early 70s. Luckily, she met singer Ivan Espejo aka John Vermont, which was the turning point and led to the full vocal album Déjalo Ir released on Love Soul Productions in 2024.

All songs were composed, recorded and produced by Marta Roman in her own studio, Black Flamingo Recordings, in Barcelona, Spain.

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.

The latest release from Matasuna Records is the result of a transatlantic connection between the USA and Germany, whose common denominator is the love for Brazilian music. The journey started 17 years ago when the German musical duo Dubben got in touch with the late American musician Victor Meshkovsky. Almost two decades later, the Dubben interpretations of two songs that he once released with his band Made in Brasil on his own Nucleus label are now available! The second Dubben 7-inch on Matasuna features their great versions of the songs Grilos Cantam Para Anamaria and One Two-Two with a captivating vocal contribution by singer María del Rossario. The 7-inch includes an inlay with detailed liner notes by Dubben about the background of this release.

When Victor heard about Dubben’s intention to reinterpret his version of the Marcos Valle classic Grilos Cantam Para Anamaria, he immediately loved the idea. This version is raw and funky, according to the original plan, with Christina Joy’s original vocals isolated from the 1975 album. Bassist MC Scholze lifts the down-to-earth chord changes up into souljazz territories, while the typical ingredients of the Dubben sound – brass and percussion feeding tape delays and spring reverb chambers – happily groove along.

Originally a psyched-out proggy-ish Brasil track, Dubben takes Victor’s composition One Two-Two, puts it in a box and sends it to Colombia. Of course, the parcel gets stuck on its way, much to the delight of the audience. A slow Cumbia burner with 100% organic ingredients: straight bass drum, fender bass, springy guitars, a detuned Italian organ and tons of improvised percussion, performed and recorded by the band themselves. Finally, María del Rossario‘s vocal contribution, in both English and Spanish, is more than just the icing on the cake – it’s the Latin soul of the track. ¡Un dos-dos!

Victor Meshkovsky (*1938 Shanghai; 2017 San Francisco) was an entrepreneur, painter, dancer, producer/founder of Nucleus Records, and gifted drummer/percussionist who dedicated his life to the arts. While his role as drummer/percussionist for his friend, organ genius Walter Wanderley, might be not that well known, his self-produced and self-released albums with his band Made In Brasil (not to be confused with the other “Made In Brasil”) have become undisputed classics among music lovers, collectors and DJs. Thanks for the music, Victor!

The song El Raton was originally released by the Joe Cuba Sextet on their 1964 LP. Written and sung by Cheo Feliciano, the song quickly gained popularity and became one of Cheo’s most successful songs. With its humorous and perceptive lyrics and infectious music, the song continues to inspire and has been sampled and covered many times. One example is the great version by the Panamanian band Los Invasores, which replaces the characteristic piano of the original with guitars, giving it a different vibe.

Already some time ago, Athens-based musician Panama Cardoon did a great edit of the Los Invasores version, reworking it for modern dancefloors with additional rhythmic and percussive elements. For the new Matasuna release, he even went back into the studio to build a completely new & updated version. This rework is vailable on vinyl for the first time!

Panama Cardoon is a multi-talented artist from Athens who works as a music producer, DJ, label owner and radio host. He has developed his own unique sound, skilfully combining influences from different genres with new production techniques. No wonder his music has been released on several labels. He also produces under various pseudonyms. His DJ sets take him to festivals and clubs all over the world.

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

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.

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.