From the trio Luciano Cantone, Paolo Fedreghini and Marco Bianchi the project named The Invisible Session came out in March 2006. A strong, deep and spiritual jazz album, which was anticipated by another single, “To the Powerful”. Unlike that 12” which contained the album version as well, this forthcoming release contains uniquely the two versions of a rework made by the Austrian duo Panoptikum, who took on the album title “ ‘Till The End ”. The piece in the album is one of the most immediate in it. A rhythmical exploration which elevates a Bossa Nova clearly performed as empty from Brazilian mannerisms, where ‘beats’ shape a fluid swing in the sixteenth played over the ride. In contrast to the rhythmic pattern is the singing by Jenny B, deeply soaked in lyricism, in a typical blues style. The Panoptikum remixes shake and twist the structure of the original without losing the central spirit of it. They added new shapes to the structure of the song, yet keeping in mind the essence inside the original. Now that the spiritual sounds of Detroit are ruling the former jazz-not-jazz floors around the globe, the Panoptikum remixes make even more sense. With a certain tech/house feel and by crossing over the borders of nu jazz to reach just the right kick. AME or Carl Craig could linger in the atmosphere around theses remixes. They are aimed at the dance-floors without forgetting the spiritual source they come from. On Side A the vocal version more soulful and lifting. On side B the instrumental more dub and electronic. Together they are prepared to cause stormy ambience in the club. Don’t miss it!

The original version of "Beira Do Mar" was one of the tracks selected by Gilles Peterson as best singles of 2005 for his Worldwide radio show 's awards. The seminal radio host, former founder of Talking Loud, liked it so much so he put it in his latest chapter of Brazilian music compilations, G.P. Back In Brazil (disc 2). In this 12" we have a version of "Beira Do Mar" skilfully remixed by Solo Moderna (formerly known as Combo Moderna) in a very minimal style if compared to the original take. Yet it creates a groove as hypnotic as incessant which grows slowly to reach its final peak. Rhythmically keeping its Brazil-Jazz source, it is mainly directed to clubs though. On side B this single presents a previously unreleased track titled " Cueva del Lobo" which highlights the musical skills of trombonist Beppe Caruso, who offers a impressive and refined solo, over a base rich in Latin-funk taste that is vaguely retro. Seemingly this tune's rhythm starts in Bossa then develops almost in Samba, whereas harmonies graze Salsa. If Latin is the sound of summer these tracks are definitely in.

The first release of a new 7” series by Schema Records. Here we have finnish jazz superstar Timo Lassy who delivers a fitting introduction to his band’s current sound, an introduction to his forthcoming album “In With Lassy” (Schema 2012). The Timo Lassy Band performing here is top-notch all the way. The wurlitzer duties are carried out by Georgios Kontrafouris, Greece's gift to the Helsinki scene, who turns the instrument into one of a vital organ in the operation. On double bass, the most sought-after Finnish bassist at the moment, Antti Lötjönen, keeps things solid, and the crunchy beat so central to Lassy's rhythmically remarkable jazz vision is safe with Teppo "Teddy Rok" Mäkynen on drums and Abdissa "Mamba" Assefa on percussion. Assefa was also part of the production team of the album, recording it at the quintet’s Helsinki rehearsal pad and producing the end results together with Mäkynen and Lassy.

Four years after their latest release - "Do Hipsters Love Sun (Ra)?" - the most cinematic duo in town is coming back in Autumn 2019 with a new full-length record called "Art Is A Cat", anticipated by the first single "When You Died", released as a 7-inch with two versions of the same song. Side A contains the album version of "When You Died" and features singer Sean Martin on vocals - yes, the same one that sang on the band's super classic number "Tunnel" back in 2003! A funk song with a '70s psychedelic taste, with an emphasized groove typical of some American rock bands such as Black Merda. Side B includes a rework of the same composition made by Massimo Martel-lotta (Calibro 35), who transformed the original track into a compelling disco soul midtempo tune. Are you ready to dance?

Listening today to Piero Umiliani's music is an experience that we wouldn't hesitate to define "totalizing" and "revealing". Totalizing, because Umiliani's music career has ranged through a myriad of genres; revealing, because any listener can immediately realize how his extensive production was way ahead of its time and still very actual today, now that a few decades have passed. "Produzione" is the album "Problemi d'oggi" opening track, originally released in 1973 on Umiliani's Liuto Records label under the pseudonym of Zalla, one of many under which the artist used to hide at the time. The track can be found in its original version at the beginning of of side B: it's an amzing mix of acoustic percussion and electronic experimentation, considered by some as the first example of techno/trance music ever recorded. This song, along with "Attivita", another excerpt from "Problemi d'oggi", has been "reworked" by Gerardo Frisina, who cleverly extends the original content by mixing it with contemporary electronic sensations. The result, packaged in an artwork inspired by the original 1973 release, are two tracks in which the '70s avant-garde and today's music blend with surprising ease.

"The World She Made Ep" is the third single taken from "Experiments In Ambient Soul". It contains a previously unreleased spiritual ballad "Ocean", which will also be featured on the forthcoming Break'n'Bossa 8 as a different version along with 3 remixes. The two vocal jazz tracks in the album, co-written with Don Freeman, gain new life here courtesy of the work by two among the most stylish producers of the moment: Yam Who? ("The World She Made") and Parov Stelar ("Destination Moon"). The two tracks, originally more ambient, get treated here with a new intriguing production definitely more aimed at the dancefloor. The 12" is completed by a mezzotempo breakbeat house version of "Diamonds & Conforts" produced by Double Beat. Soul hip hop goes 4/4.

“Struck on Jazz” is a 4/4th swing ride rhythm that follows the trail blazed by the seminal Conte and Petrella’s New Standards: ’50s and ’60s jazz attitude, techniques and sounds from the new millennium to create a cool and powerful blend!

Sixteen years after their previous effort, in 2017 Nicola Conte met again his friend and colleague Gianluca Petrella, an encounter that led to the release of 3 EP's and this full-length album. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of "People Need People" drags us in search of deep music in a spiritual and mantric context, with a message of hope, aggregation and Universal Love. More than just a new album, it's a collective experience wisely directed by the duo, whose goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, "People Need People" proves to be even more essential and necessary.

WELCOME TO MY WORLD VINYL

An explosive, two-track dancefloor treat is this funky, boogie 7” featuring very special guest Joe Bataan on the A-side track “The Mover” taken from the full-length release “Alex Puddu Soultiger” – SCEB929CD/LP. + Musician, composer and multi-instrumentalist Alex Puddu (b. 1967, Rome) began his music career as a drummer at age 15. + He pursues music totally devoted to the Italian vintage sound of the giallo/poliziottesco and horror movies from the early-1970s. + Jazz/percussive, psych-groove: his work is inspired by soundtrack maestros Piccioni, Umiliani, Morricone, De Masi, etc.

From the hands of the same Fedreghini-Bianchi, writers of "Several People", here comes the re-worked version of the album that came out in 2005, revisited by the duo itself. "Several Additional Waves" is an album of reworks more than remixes, where the tracks of the album originally acoustic have been treated and rearranged in a strictly electronic key. Only the vocals have been maintained from the original recording, whereas all the other parts have been played again and re-programmed keeping the same original refinement. The concept of this album came from the inspiration drawn out of the Club Culutre. All sounds electronic and acoustic have been emphasized here even through the use of equipment that was not involved in recording "Several People": Mini-Moog, Oberheim, Waldorf Microwave. Paolo Fedreghini and Marco Bianchi had fun in making use of such prodigious machines of music technology. The result is in "Several Additional Waves", where the sound manages to keep rich, refined and elegant, in perfect Fedreghini-Bianchi style. It will not fail to surprise the public for the achieved balance of club grooves combined to refined sounds.

Extending the heritage left from the first chapter of the homonymous collection, Schema Records presents “Freedom Jazz Dance Book II”. The concept comes from an idea of Luciano Cantone aiming at offering “New Standards” that can be understood and responsively absorbed by young generations. The title deriving from a composition from Eddie Harris describes precisely the project’s essence: the intuition of something overcoming hurdles laid by rigid market rules. From this, the artistic meaning of “Freedom”, solid funded in “Jazz”, from which spawns subsequently the natural impulse to movement, manifesting in “Dance” in fact. With “swing” setting the right pathway without hesitations, the objective of the project remains capturing younger people inside the magic of Jazz. The only possible way it’s organic: by leaving the music to free up the spirit within themselves.

This 7” single features two cuts from “Someway Still I Do” the solo debut album of guitarist, composer and producer Alessandro Magnanini. These two killer tracks will bring to mind the world of James Bond. The performance of singer Jenny B evokes the powerful voice of Shirley Bassey; Jenny sings with great personality, both in “Secret Lover” and “Open Up Your Eyes”. The sounds also conjure up the ambience of music by John Williams or more recent efforts by artists like Duffy or Amy Winehouse.

A concept release to orchestrate fragments of life through modern and old technologies, sounds from round the world. Fragments like notes from a journey through the civilizations of sounds, photography, pieces of civilization and life which join together in a unique sound through the art of the aesthetic orchestration of a prospective.

As taken from the linear notes of the album: A leading direction of contemporary jazz lies in bringing up to light, after a basic creative revisiting, important pages from that huge heritage of compositions and arrangements which the march of jazz is studded. An expressive dimension at a high level pointed out by this sextet of young but mature musicians who debut here as a group. A band definitely showing up the knowledge, the global sense of the jazz history, even if the roots of its components are mostly in the bop tradition and in the experiences of 60's and 70's deriving from it. That's why it is not correct to consider the musical proposal of "Look Out" as a remake of one of the most famous Italian and European jazz combo of the 50's and 60's: the quintet (further known as sextet with the addition of trombone player Dino Piana) of Gianni Basso and Oscar Valdambrini. It cannot be a remake because the Schema Sextet has been inspired by the wish of capturing the unmistakable sound of those groups in order to project it in today's reality, reinventing it through the diverse feeling of young contemporary musicians. It cannot even be defined as a philological work because, except for Rosario Giuliani, nobody of them have ever studied the tracks listening to the original versions : in fact, in the full of gaps discography of this group, we don't find the entire live repertoire, and for this reason GianniBasso in person had to send to Rosario Giuliani the scores for the tracks that were never recorded. Maurizio Franco