ACHISA

6 friends brought together in a boy's home in the town of Langa, close to the airport of Cape Town.

There was only one other Rap band in the Cape - Prrophets of da City" and when London based Sheldon Isaac came to the City he went on to produce this album which was finished with the assistance of Greg Hunter and Kris Weston in London in 1995.

Bill Of Rights (BW2114)

It's been a rocky road for the six young men of Achisa who grew up together in a Baptist orphanage in Langa, a township on the outskirts of Cape Town. They begun their career together singing R&B, but following their fateful meeting with Simpiwe Matole of Amampondo begun developing their own style. By the time they started recording their debut album, 'Achisa', their music was fusing traditional African rhythms with contemporary technology and their message had become more direct, political and better delivered in a rap, hip hop style. Tracks such as 'Say No To Guns' and 'Stop The Violence' attracted the attention of the South African Non Violence Project and they were invited to perform before Nelson Mandela.

HOMELESS (BW2140)

THIS ALBUM IS FOR THE YEAR 2000 AND WAY BEYOND. IT'S TRUE TRIBAL DANCE AND ALTHOUGH PARTLY INFLUENCED BY MY HOME COUNTRY, BRAZIL, THE MUSIC HAS NO BORDERS OR FRONTIERS - IT'S TRULY HOMELESS !"

Airto Moreira the Brazilian master of percussion enters the 21st century with HOMELESS, a new album on MELT 2000 after 8 years of absence as a solo artist - a long time, but certainly worth waiting for! HOMELESS is co-produced and co-composed by daughter Diana and her husband Krishna Booker of Eyedentity who recently released their own album "SEE" on Electric Melt. Homeless is influenced by a strong mutual desire by the artist and myself to go beyond the boundaries of today's commercial music and to present generations of dedicated dance fans with a truly organic and tribal dance album drawing from centuries of global rhythms.

KILLER BEES (BW041)

There is no way in the world that the God-like names featured could be gathered together on one album. No way, that is unless your name is Airto Moreira. So how did 'Killer Bees' come into being? Airto saw  an opportunity to return to his jazz roots and explore some freeform playing ideas that had been kicking around for a while and called on old friends like Chick Corea, Mark Egan, Herbie Hancock and Stanley Clarke to come down to Santa Barbara and jam.

REVENGE OF THE KILLER BEES (ELM8012)

New mixes from the original album Airto Moreira & The Gods of Jazz - Killer Bees

The legendary Airto Moreira, the man who single handedly dispelled the notion of percussionists in red frilly shirts poised over their congas, has let loose a selection of the finest contemporary remixers on 'Revenge of the Killer Bees'. Under the direction of Tony Thorpe this remix project has revisited the seminal Gods of Jazz album which Airto recorded in the early nineties with help from jazz icons Herbie Hancock, Hiram Bullock, Chick Corea, Stanley Clarke and Flora Purim. Revenge Of The Killer Bees features remixes in an end of the millenium style by Ashley Beedle, Justice, Frederic Galliano, Amon Tobin, Endemic Void and Circadian Rhythms.

Track Listing 

BANANA JAM by Endemic  Void

KILLER BEES by Justice

BE THERE by Frederic Galliano

CITY SUSHI MAN by Ashley Beedle

COMMUNION by Circadian Rhythms

SEE YA LATER by Jimpster

CHICKEN IN THE MIND by Amon Tobin

NEVER MIND   by Max Brennan

Code Brazil: Target Recife (BW2130)

The late Chico Science is not the only hero of the Recife beach boys but more importantly it's him who is responsible for the interest in the sounds and rhythms of Pernambuco, a region so rich in music that all those no longer want to be stuck with Samba forever have travelled to the Northeast for new inspiration. Airto, who thankfully invited me to the recordings in Recife, once again shows us with this new compilation that his new direction, influenced by rhythms from Permanbuco, is the beginning of a new and exciting era right on the edge of a new millenium.

Robert Trunz

SECOND WAVE (ELM8001)

Featuring the cream of predominantly Arab musicians, this collection of traditional vocals and instruments is given added punch with touches of unobtrusive electronica. This spellbinding set will find fans beyond the confines of "world" music.' Music Week, July 2000.
Alien Soap Opera, a vehicle idiosyncratically driven by the prolific remix engineer and former member of The Orb, Greg Hunter, features the expertise of Egyptian master of Arabic classical music, Amir Abdel Magid. Meeting in Cairo when Greg went to record with Killing Joke, Amir listened in on the recording session and asked Greg to mix a track for him. Enthralled with the results the two decided to work together on a more permanent project. Over the next four years Greg travelled between London and Cairo co-writing with Amir and collaborating on various projects, producing and mixing Arabic music and touring the Gulf finding inspiration. Alien Soap Opera and Fifth Sun were the results of this partnership. Amir Abdel Magid is a musician/producer/arranger, famous throughout the Middle East for his Kanoon (Egyptian Harp) playing, his recordings and live performances. He is a familiar sight on Arabic TV (MBC etc), with his music aired almost daily. He regularly tours with his orchestra throughout the world performing Arabic music.

Drums For Tomorrow (BW096)

A better appreciation of music requires an understanding of social and cultural contexts, which are the pillars of interaction between spirits and people. It is a great shame, in commercial terms, that in order to see and enjoy what the artists are displaying these days, you have to pay.

Modernism has taken us by surprise and we went as far as embracing that in our hearts, forgetting that no music equals the original. When a composer sits down to write music s/he is applying a medium for transmitting feelings while at the same time calling upon people to share the experience. Music or musicians are the living archives since in Africa we do not store or keep information on modern retrievable systems. Rather, we record events in human souls and minds and share the impressions with those that didn't have a chance to hear or witness these events at first hand.
In Africa, music had the more humble function of commemorating past actions rather than glorifying individuals, whish is what we mostly see today. What we hear from the group, Amampondo, can have sustenance and inspiration from the past, but the notion that history is doomed to repeat itself.

ELECTRIC PONDOLAND (MZA 013)

Amampondo means people of mpondo from the Transkei of South Africa.

This is one of 3 albums released at the same time celebrating the 25th Anniversary of South Africa's most highly regarded percussion and marimba band who have toured the globe for a quarter of a century. Electric Pondoland features Amampondo's many collaboration with international dance and Electronica groups mainly Juno Reactor who are well known for their Hollywood film music for blockbuster films like MATRIX, ONCE UPON A TIME IN MEXICO and MORTAL COMBAT.

Raw And Undiluted (MZA 014)

Celebrating Amampondo's 25th Anniversary MELT is simultaneously introducing a series of 3 cd's and a dvd to follow for the christmas season. This album introduces a number of unique and unreleased live tracks recorded during the groups many international tours.

This is the most comprehensive collection of mainly unreleased live tracks of a group that has delighted an international and local audience for a quarter of a century.

Vuyani (Celebrate) (BW2143)

This album from Amampondo is to celebrate their 20 years of music making. It looks forward with some exciting new tracks, whilst drawing from some of their great tunes from the past performed in new ways.
Featuring guests from the amazingly talented musicians that live in the townships, often struggling to survive in a country that does not always appreciate its own talent, this is a showcase for the music of Cape Town. Through the 20 years Amampondo have had many struggles, fighting to perform their music and keep traditions alive, whilst being seen as a threat by the Apartheid regime who harassed them and tried to make their lives as difficult as possible.

The Messengers (BW070)

London street jazz meets South African street dance music in this project, pushed by the force of drummer and producer Andrew Missingham (previous projects include working with Urban Species, Raw Stylus, The Young Disciples and Jessica Lauren). Barungwa is the work of two of London's finest and two of South Africa's best Acid Jazz players: it's a collision of township, traditional jazz and funk beats that defines its own genre.

BALENGU VILLAGE (BW2136)

Recorded in Cameroon and mixed in France, 'Balengu Village' has, in it's vocal and rhythmic textures, retained the heat and spontaneity that define so much African music "I wanted to make sure that we kept a certain amount of looseness," emphasise Brice. "In traditional music you don't count time, the tracks can last twenty five minutes. If jazz is about improvisation then myself and many other African musicians are jazz players. Improvisation is one of the most integral features of our music."
Kevin Le Genre, Now's The Time, Echoes
Mixed by Brice Wassy, Chris Lewis and Richard Edwards, Mastered by Ray Staff at Whitfield Recording Studios.

SHRINE DANCE (BW089)

Following an illustrious career recording, producing and performing with the likes of Salif Keita, Manu Dibango, Miriam Makeba, Talking Heads, Don Cherry and Jean-Luc Ponty, drummer/percussionist Brice Wassy steps up with his second solo album for M.E.L.T. 2000."This new album is coming from the same direction as the first one, but 'N'ga Funk' was much more compositional and this is much more drum-orientated," Brice explains. "It was a great pleasure for me to play with two other drummers who I greatly respect. With Airto, he's very open. I gave him some directions and he did the rest. The same with Changuito, although the Cubans are very analytical in their music, very technical. But my music isn't like that. Even if you write it, you must feel it."

BRIGHT MOMENTS

Born in Dublin, but resident in Switzerland since childhood, the Dorans were brought up in a vibrant jazz culture, underpinned by formal musical training. 'Bright Moments' is a family affair, featuring the swinging, swirling, brooding and beguiling sax talent of Brigeen Doran backed by her brothers, Christy and Dave, who wrote all the numbers between them.

Recorded in the Kalahari Desert in 1995, this project was initiated by Pops Mohamed, a musician renowned for his dedication to protect and preserve the indigenous tribal music from his homeland. With a philosophy that states "if people don't understand where they come from, there is a hole in the soul", Pops had been trying to find original recordings of the Bushmen music for many years. Unsuccessful in his search he soon realised that he had to go himself. 

Busi Mhlongo 'Afro Melt Volumes - The Talented Ones'

AfrodesiaMP3 & Electric Melt joined forces to bring you a series that will leave you astounded at the musical talent Africa possesses. Afro Melt Volumes combines the most prolific artist from the Melt catalogue with established and up and coming producers to breathe new life into classic material, remixing them into the various dance genres that are breaking the barriers in the world today.

INDIZA (VOYAGE) (MZA003)

The sound journey of Indiza. The Busi Mhlongo story has been told be many journalists and in order not to repeat ourselves again we opted to give an account of Busi's voyage with MELT, the UK label that helped expose her talent to a world wide audience. Busi's first encounter with MELT started in 1995 when Madala Kunene introduced her to the label during the recording of his highly acclaimed album Kon'Ko Man.
 

Busi Mhlongo 

1947 - 2010

Urban Zulu (BW2118)

THE ULTIMATE AND MOST SUCCESSFUL ALBUM FROM THE DIVA OF AFRO POP

When we first started working on these awesome songs penned by Themba, Spectre and Busi, the style was recognisably traditional maskanda. Over the months of work, the maskanda in this album metamorphosed, deepened, widened and finally has come to represent the contemporary Zulu Nation's truest form of expression, with all the agony, the ecstacy, the pain and sorrow, the trials and ironies of life in the modern South Afrika.
This is the first time maskanda has been expressed by a Zulu woman, and who better than Busi, one of the great voices of Afrika. A truly astonishing performer on the stage and in the studio, her original creativity as expressed here represents a quantum leap in South Afrikan music. This is maskanda for the millennium. Listen and be humbled.

Will Mowat (Producer)

Urban Zulu Remixes (MZA019)

Tracks from Busi Mhlongo's debut MELT album Urbanzulu remixed and produced by some of the most exciting names in South African kwaito amd house music of the late 90's  as well as one of London's top house DJ's.

1. OXAMU
2. YEHLISAN'UMOYA MA-AFRIKA
3. OXAMU
4. YEHLISAN'UMOYA MA-AFRIKA
5. OXAMU MARIA CEE
6. YEHLISAN'UMOYA MA-AFRIKA
7. UGANGA NGE NGANE
8. YEHLISAN'UMOYA MA-AFRIKA
9. YEHLISAN'UMOYA MA-AFRIKA

Tracks 1 & 3 - Oxamu The ibomvu Dance Remix by Gabi LeRoux
Tracks 2, 4 & 9 - Yehlisan'umoya ma-Afrika - Soul II Black Remixes

Track 5 - Oxamu The London Mix Mario Cee
Track 6 - Yehlisan'umoya ma-Afrika - The Kalahari Surfers Rock Remix

Track 7 - Uganga Nge Ngane (Bonus Track)
Track 8 - Yehlisan'umoya ma-Afrika (Album Version)
All photographs of Busi Mhlongo in traditional dress by Rashid Lomabard All tracks published by MELT2000 Publishing Ltd. except for tracks 1 & 3 arrangements by Gabi LeRoux published by MELT 2000 and Kaleidosound MPS Administered by EMI MUSIC Publishing SA

Yehlisan'umoya Azania (in the mix)

MZA 050

A singer, dancer, and composer whose music defies categorisation, Ma Mhlongo, as Rudeboy Paul fondly refers to her, draws on various South African styles, such as Maskanda, Mbaqanga, Marabi and traditional Zulu songs. Born in Kwa Zulu, Natal, Busi Mhlongo grew up with a song on her lips. Her debut maskanda album for M.E.L.T.2000 in 1998 called Urban Zulu brought her international fame.

EARTH ROOTS (BW090)

With the onset of the millennium, new values, standards and attitudes will continue to emerge. We have already reached the point where many of us realise we have become victims of man-made destruction. Indeed, there are many changes we need to implement if we plan to survive. The most crucial of these changes must be our realisation that the Earth is alive. Gases, minerals, water, fire and air all have consciousness. The awareness and experience of this is vital for our survival and will revolutionise our earthly experience.

SOUND ADVICE (BW063)
produced by Airto Moreira

"The idea of the album is a journey through someone's life. It could be at any time. they could come from any culture," Byron Wallen explains the concept behind his debut for MELT. It's a madly eclectic recording, which veers from straight jazz, fusion and Latin to avant garde, hip hop and funk, all blended into a gleaming-but-edgy whole, and focussed by Byron's increasingly distinctive and primal blowing. Mystical voices flow into mist-shrouded skin-pattering, burnished horns scribbling around Afro-vocalising with Wallen also giving the nod to forerunners like Don Cherry and Lester Bowie.

CASTRO B.
FIDELITY

Syncopation (BW2095)

Percussion maestro and former timbal player with Los Van Van, Changuito(Jose Luis Quintana) is best known for his groundbreaking work with the legendary Cuban band. As one of the world's leading multi-percussionists, Changuito expanded the vocabulary of Latin rhythms with his seminal Songo grooves, and has taught some of the finest conga players of today including Giovanni Hidalgo. Changuito released a series of educational videos which have become a must for any up and coming percussionist playing Cuban music - for more info see: http://www.rottentomatoes.com/p/JoseLuisQuintana-1066973/

Warum Bist Du Traurig (Why Are You So Sad)

SHAMAN (BW2112)

Christy Doran met Boris Salchak in 1994 in Boswil, Switzerland. Christy, together with the Swiss Percussionist, Mani Neumeier, was leading a workshop in jazz improvisation in which Boris took part. Coming as he does from the southern Siberian republic of Tuva, it is still not clear how Boris got notice of this workshop, but his presence proved to be providential.

Melodi

featuring a remix of Busi Mhlongo on Kae Kae

This long awaited collaboration is finally here. Its the beat that unites us, the rhythem from the past generation to our future. Words of love and wisdom that will echo forever in our minds. To restore our human race's dignity "Mayibuye" sons and daughters of our land.

Notes by Dan Mampone

What a mortal man you are so mindful of that you have entrusted him with your lightness to translate the vision to reality. May all the glory, power and honour be given unto your Almighty God. Thanks to my family (my wife Dorah) and three beautiful kids (Sizo, Kabelo and Rorisang) for being there for me at all times and being understanding. Thumbs up to my co-artist, my father Mr. Gabriel Mabi Thobejane, we shared every moment if this album together Joy and Sadness. It is such a wonderful thing to learn and work together. To all musicians I worked with, if it was'nt your support I will still be hanged up unable to finish now. I wish you all success to your individual projects you're working on. Peter, you are not just a friend, you're simply the best with your golden voices that smoothes my creativity. Robert Trunz, you can spot a talent from Far, I simply cannot doubt your ear to music which polished me and the album to be where it is today. 

Tswana Poem

Mokelekele wa mokhise yo A reng lona le bo mang Le tsositseng sekgwa lenyaonyao Keletsi ya Matswere Motho wa bo Mampone Wa gore mponne ruri Ke madi ke matlalatlala naga E re ke ya taemaneng Ga ke itse ke tla boa

Flute For Thought (BW104)

These tunes were all written during the past ten years. Some of them are extracts and themes from larger compositions written for Western Classical and Jazz ensembles. They all use elements of Indian music in varying degrees.
Deepak Ram

Searching For Satyam (BW2137)

A master of the Bansuri flute, Deepak's project is a musical exploration of traditional Indian sounds mixed with contemporary western influences.
Born in South Africa, Deepak made his first journey to India at the age of 17. In a country which has a rich culture, Deepak soon found himself the disciple of flautist Pandit Chaurasia. Another great influence was flute maker Shri Suryakant Limaye who when he died left his flute collection to Deepak. All these instruments have a history and are made with master craftmanship.
'Searching For Satyam', blends Deepak's classical Indian flute playing with funky jazz, flamenco guitar, tabla and bass to produce an elegant example of musical syncretism. Highly acoustic and improvisational, the album was awarded a SAMA (South African Music Award) in 2000 for 'Best Instrumental Album'.
Deepak Ram is at the forefront of the indo-jazz cross-cultural fiesta and although formally trained in traditional Indian music, he creates a thoroughly modern sound.

Ethno Trance Live

Track Listing (30 Second Samples)

Live in Moscow

The historic White Column Hall was the final resting place before burial of Lenin, Stalin and heroes of the old Soviet regime and made a magnificent venue for some unforgettable jazz in October 1992 during the four day period of the Moscow 'Jazznost' Festival.

HEAVY INTERFERENCE (ELM8024)

Stomping dance floor aggression from new school breaks upstart Dave Tipper, chilled funk from Aim, all you need for a quiet night in.

Track Listing

1. HEAVY INTERFERENCE / DAVE TIPPER REMIX
2. HEAVY INTERFERENCE / AIM REMIX
3. HEAVY INTERFERENCE / ORIGINAL VERSION

PERFECT MY CRAFT (ELM8032)

Eyedentity are an ever evolving creative collective fuelled by the two founding members, Krishna and Diana Booker - otherwise known as The Factor and Decibel (dB). A hip-hop, trip-hop, acid jazz entity with a life of its own, this unique musical collaboration comprises a variety of highly talented artists, fusing styles from around the world to produce a progressive and innovative sound. The combined talent of these artists produced their excellent debut album See, released in Europe in 99 and the US in May 2000.

SEE (ELM8023)

Eyedentity are here. Not so much a group as an ever-changing collective consciousness, comprising the talents of 'coming and going' featured artists. In short, an ever-evolving entity, the central nerve centre being The Factor (son of Jazz bassist Walter Booker and the nephew of Jazz saxophonist, Wayne Shorter) and dB (daughter of vocalist Flora Purim and percussionist Airto Moreira).
The combined talent of these artists produced this excellent debut album released in May 2000. Taking trip-hop into unchartered territory 'See' combines a variety of musical flavours and multicultural influences to yield something a little more hop than trip, infusing the genre with a new perspective. Dissolving categorical boundaries and pushing ahead of populist trends Eyedentity are eclectic, infinitely inventive, and with another album in the pipeline definitely one to watch. 

In 1995, two of the most accomplished percussionists from Cuba joined members of Amampondo to create the first ever Afro-Cuban collaboration in making traditional Xhosa music. Both founding  memebers of Amampondo Dizu Plaatjies and Mzwandile Qotoyi are experts of traditional Xhosa- and African music . Changuito, the Cuban master congalero has a  history with MELT and was  first introduced to the label by Airto Moriera. Also on the album playing Bata Drums is Mayito, leader of the touring latin Jazz group Afro-Cuba.  Fidel Mpondo is in essence inspired by the historic landright battles of the people of South Africa's most beautiful coastal stretch we simply call Pondoland or the Transkei. The album is dedicated to leaders of independance such as Fidel Castro but even more fundamentally to the Clan Chiefs of the Pondoland who successfully resisted the British, the Boers and the apartheid regime in numerous uprisings and rebellions against overwhelming odds. the disc contains a series of great pictures of rural live in the Pondoland.

Track Listing (30 Second Samples coming sooon)

1. Yintoni nate izange
2. Yaka Yaka
3. Ikhaya Eisemomondweni
4. Ikaske percusssion
5. U Maziphathe Lo
6. Amazuito
7. Inkosi Yamapondo
8. Sphethukano
9. Masola Percussion
10. Phumentilongweni
11. Ubuhte Percussion
12. Andilaeanga ebusuku
13. Inkosi Yama Mpondo

SOUT EL LEIL (BW2133)

Sout El Leil reviewed
Fifth Sun are English producer Greg Hunter and accomplished Egyptian harp player Amir Abdel Magid. Together they have found an ideal mix of Western production techniques and Arabic music, resulting in a collection of Middle Eastern style songs with broad appeal. Music Week July 2000

Flora Purim / A Guy Called Gerald -  What You See (EP)

Track Listing (30 Second Samples)

01 Light as my flo (Album version)
02 What you see ( A Guy Called Gerald - Ghost of Flora's dream)
03 What you see (Attica Blues remix)
04 What you see (Album version)

Now Go Ahead And Open Your Eyes

Track Listing (30 Second Samples)

1 Romario
Mix by Andrew Missingham
2 Flora's Original Album Version
3 Flora's Radio Version
4 Bebeto
Mix by Andrew Missingham

Sings Milton Nascimento (MZA 037)

I first met Milton Nascimento in 1964, when I went to the city of Belo Horizonte to participate in the inaugural show of their first local television station, TV Itacolomi.
My career was just beginning and I could not afford to take my own trio from Rio, so I decided to go one day earlier and look for the best musicians I could find locally. When I approached O Ponto Dos Musicos (the Musician's Station) at Avenida Affonso Pena, I looked around and tried to spot somebody that looked musical, since the place was really a bar/restaurant, where all kinds of artists would hang out.

Speed Of Light (BW044)

"Singing live is like a voyage. By the time I open my eyes at the end of a show, I've flown all over the planet and I'm back there and I see everybody sweating, crying, hugging and loving. That's a great feeling." Flora Purim "Speed of Light for me is the most rhythmic and stunning album by the great Brazilian diva - produced by Airto Moreira and supported by their daughter Diana, Changuito, Bill Cobham, Givanno Hidalgo and Freddie Sanyago it will remain a masterpiece and reference for generation to come. - Robert Trunz, CEO MELT"

Fourth World

Debut album for MELT 2000 recorded 1993 in London by Mark St. John featuring the original line up with Airto Moreira, Flora Purim, Jose Neto and Gary Meek.

Track Listing (30 Second Samples)
1 Esperanza
2 River Sao Francisco
3 Starfish
4 Povo da Lira
5 Africa
6 Earthquake
7 Lua
8 Seven Steps
9 Firewater-Jive Talk
10 Santa Anita

Encounters of The Fourth World (BW045)

Fourth World are an exhilarating celebration of life and this album, recorded at the Bimhuis in Amsterdam on 19 February 1995, is the first to capture the band in full flow, live and direct.

The Meaning of Life
It was the first day of Spring '95 in Amsterdam and people were out on the streets enjoying the sunshine. Fourth World had just finished a four week stint at Ronnie Scott's in London as well as an extensive tour through Austria and Switzerland. This was the last night of their European tour and, without their knowledge, Peter de Ruig and I had organised a live recording with the Van man, Jan de Groot. The band had already recorded three nights at Ronnie's but I really wanted to catch them unaware at the end of the tour when the group was at the height of creativity. The great ambience and aura of Amsterdam plus the fabulous venue contributed to the excitement that was building up during the afternoon's rehearsal and sound check. Although it is only a small venue, the Bimhuis is beautiful, located in among the canals, and what you hear on this album reflects just some of the magic of the night. If you want to get the rest then you have to catch Fourth World live to find the meaning of LIFE = ENERGY.
Robert Trunz

Live @ Arts Alive Guiness Festival in Johannesburg, South Africa 1993

"I've always had this dream of recording an album with South African musicians playing alongside some of the best musicians in the world. I'm also telling my people that this country is unique, that musically, audiences haven't learnt to appreciate what they have available to them. In a way it's a plea to give South African musicians a chance." Airto

In our daily life we are often confronted with the term Generation Gap loosely used to describe differences between us parents and our kids. When I started working with Flora and Airto in 1993 they introduced their daughter Diana and her now husband Krishna Booker.During the years of recording with the four of them the so called generation gap transpired often over trivial matters or when the wisdom of the parents or the common sense of the younger generation got completely ignored.

However when in the studio everything was forgiven and forgotten and the creative juicy would flow immediately amidst the speckle of colourful sparks and the fairies of musical creation would dance amongst them all filling every empty space with joy and laughter.

The genes that were passed onto our youngsters by our parents like Flora and Airto are so evident in the beauty of their common creation. The openness of Fourth World (being Airto, Flora, and Jose Neto) to welcome a fresh breeze into their music has made it possible for Ragga to compile this album using many oft he tracks composed by Diana & Krishna without even being aware of - ust feeling the never aging youth in their common creation.

A deep thank you to the creative spirits to allow such an intimate relationship to be created for their fans to enjoy this organic compilation free of Generation Gap

Rober Trunz Melt 2000

Track Listing (30 second samples coming soon)

1. Burning Money2.Terra Mia
3. What We Really See
4. River Sao Francisco
5. Yara / Firewalk
6. Tri to the Fourth World
7. Fire Water / Jive talk
8. Serra do Relogio
9. Snake Bite
10. Capoeira da Mente
11. Within Your Mind
12. Final Celebration

Return Journey (ELM8021)

Featuring 10 new interpretations from some of today's leading underground remixers/producers, The Return Journey aims to open the world/jazz sound to a whole new audience of discerning music lovers. The Herbalisers head nodding remix of Last Journey paves the way for 4 Hero, IG culture, London Electricity, Nation World Service, Tony Thorpe, Fila Brazilia and Argonaut to add their individual style which results in an eclectic mix of cutting edge sounds.

The Last Journey (BW2122)

It took 8 years to develop this concept of music with no label, no discrimination and no boundaries. The musicianship in this album is superb and it will bring back great musical moments and the raw energy of the music of this century. Every member of the new Fourth World can stand on their own as well as being an integral part of the ensemble. Our long time contributor bass player, Gary Brown and the great arranger keyboardist from Brazil, Luis Avellar and Widor Santiago, one of the best Brazilian reed men at this moment, and also special guest master Latin percussionist, Giovani Hidalgo all have a part to play. To me, this group of musicians together formed one of the best groups Airto and I had a chance to experience in the last 10 years.........

MADALA KUNENE, MANDLA MASUKU & BARNEY BOPHELA

Madala Kunene is a renowned Zulu Folk Singer with an almost trance like quality. His Music talks about the people of South Africa and reminds us of the old folk tales we used to listen to when we were young.
Mandla Masuku has built his popularity in South Africa through his distinctive township Jive and brought him a wide audience aside from his collaborations with many other musicians, he is a strong front man in his own right.
Barney Bophela crosses both traditional and African Pop. He is playing into his own kind of American Influence Jazz Fusion that retains a South African Flavour.
Produced by Sipho Gumede (This album was his first production for M.E.L.T)

Good Friends

In October of 1995 I received some of the worst and best news of my adult life simultaneously. I was informed that my wife, whom I had been with for seven years, and married for five, was moving out and wanted a divorce. I was also informed the same week that my record company B&W music had agreed to pick up their option to do a second record with me. This was the best news I could possibly receive as far as I was concerned. It allowed me for the next four months to dive into writing, arranging, producing, and playing music which is my main purpose for being here on earth. It also probably saved my sanity.

Live At Ronnie Scott's (BNET005)

Recorded at Ronnie's during their 1995 European tour, this album marks the debut of the Gary Meek Quartet and here is one man's subjective opinion of the show:
'Jazz history is full of gifted, respected interpreters of other people's work who contented themselves with doing just that. The eighties "jazz revival" moved the goalposts, driving record companies to look for new young stars, and the growth of cheap and accessible independent recording also opened doors previously kept shut until a lot of dues-paying had been done. The result has been a busier, higher-profile jazz scene, but with a good many player-leaders who maybe should have thought about it longer. Gary Meek (is) the gawky and energetic saxophonist and flautist who has regularly performed in Britain with Airto Moreira and Flora Purim... His technique is dazzling but his music still unformed, hopping between airy Latin street-dance themes on the flute, stuttery tenor sax funk and rather bland ballads, with all the music sporadically shot at by a battery of percussive synch effects. But Meek is in the premier league as a soloist, which makes his act an ambivalent business. His toying with short, blurted phrases as springboards to new figures recalls both Wayne Shorter and Sonny Rollins, and his soprano sound on slow music has a glowing ripeness rare for practitioners of the instrument.'
John Fordham, The Guardian, 13.3.95

Time One (BW057)

After four years as one quarter of Fourth World with Airto Moreira, Flora Purim and José Neto, Gary Meek left to pursue a solo career, but very much with their blessing, as their contributions to this album demonstrate. José plays guitar on most tracks and has written a song, while Airto contributes a number that only he could have written. The result is a smoother, silkier sound, but with the distinctive Meek hallmark of outstanding musicianship and the Fourth World knack of finding the right driving rhythm to keep the music well clear of the middle of the road. This unique array of eclectic music, performed by some of the best musicians in contemporary jazz, represents a calling card for Gary Meek's musical diversity and ability across a range of instruments. But it is Meek's saxophone work that is the chief highlight of this set.

Album

"Johnny Fourie is one of the greatest guitar players of our epoque"
John Mc Laughlin

In Memory of Thunder (BW056)

"This Brazilian world rock experience tells the story of the great spirit of Thunder that surrounds this planet, giving us energy and inspiration," says José Neto, the brilliant Brazilian guitar virtuoso who has been described as a natural and worthy successor to Jimi Hendrix.
"We tracked all the music live at Fantasy Studios in Berkeley, CA, capturing many moments of true expression and spontaneous improvisation. On this recording, we kept to a more 60s or 70s style, using mostly analogue resources. Keeping overdubs to a minimum, we tried to retain that special essence of live performance, so that In Memory Of Thunder represents the sound of our hearts."
'Neto is most remarkable for his startling textural variety and close attention to the details of timbre and tone, but his extended wah-wah solo on the album's stand-out track, 'Silvia' will delight all who still fret about finding a successor to Neto's chief inspiration, Jimi Hendrix.'
Chris Parker, The Times, 9.8.96
'Flowing, percussion drenched grooves easily prove Neto's strongest platform, allowing him to accelerate his springy Hendrix/Santana thrust into a simmering head of steam without the usual cliché traps of this idiom.' ?Tower Records Top Magazine

Live at Guiting Power Village Hall (BNETCD013)

The Neto Band, comprising Frank Martin on keyboards, Gary Brown on bass, Celso Alberti on drums and percussionist Marquinhos Brazil, has been coming to London to perform at Ronnie Scotts' club every summer since 1994. Over the course of successive visits to England, Jose and his band has formed a special relationship with the residents of the Gloucestershire village of Guiting Power and, during their last visit, the Neto band performed a special show for their friends in the local village hall.
An astonishing display of controlled pyrotechnics....Leaving scurrying, hard-edged funk with softly wafting ballads, he demonstrated just how much territory opened up by Hendrix in the 1960s still remains for subsequent generations of guitarists to explore.
Chris Parker, The Times

Neto (BW037)

This is the kind of album that Jimi Hendrix used to make and, maybe, Carlos Santana still could. It was Hendrix who inspired the young Neto to learn the guitar in his native São Paolo and to treat it with respect; to not play at all rather than play something forgettable. The Neto style - throwing away the plectrum and using thumbnail and four fingers to create chords and octaves that surf on top of melodies that take up permanent residence in your subconscious - is unique to the man in the bandana with the buccaneer's earring.
Equally at home on electric or acoustic guitar, the Paradis Avalon with its amplified nylon strings is the perfect companion for José's intricate Latin style, able to burst forth in a torrent of cadenzas when the muse connected. Designed by Rolf Spuler and Mathias Glob of Switzerland, the Paradis has inbuilt 'polysubbass' which is triggered electronically when played in the lower register to produce a completely unique sound: a solid bodied guitar with the tone of an acoustic instrument. On this album, however, the Fender Stratocaster, the Takamine Classical and Alvares Yari 12 String are all handled here with equal dexterity.

Guardian Angel

Track Listing (30 Second Samples)

1 Guardian Angel
2 Razorback

Bible of Dreams (BR042CD)

The 1997 release of Bible of Dreams marked Juno Reactor's fourth album. Relatively different from the previous three albums, Bible of Dreams marked a dynamic transformation away from the typical dance-techno formula that continues to dominate the genre. It moved away from being a musical journey to a focused powerful electronic sound scape with more punch and drive. With the single "Conga Fury", Watkins introduced Amampondo, Nelson Mandela's favorite traditional South African percussion act, to the world of Juno Reactor. Later that year, Watkins took Amampondo on a five week tour of the U.S. with him opening for Moby. The performances proved a crowd pleaser, and Juno Reactor kept Amampondo as a full time tour collaborator.

Conga Fury

Track Listing (30 Second Samples)

1 Conga Fury
2 Magnetic (remixed by Robert Leiner)
3 Feel the Universe (remixed by Koxbox)

God Is God

Track Listing (30 Second Samples)

1 God Is God [Rock of Sion Mix]
2 Biot Messiah
3 God Is God [Revelation Mix]
4 God Is God [CJ Bolland Mix]

Gods & Monsters

A brand new age of music arrives as composer Ben Watkins takes us into uncharted territories of sonic awareness. This is the seventh awakening of Juno Reactor, which has transformed its sound through film music. From The Matrix films, Reloaded and Revolutions, to his work in the Japanese films Brave Story and Dimension Bomb, which premieres at The Kennedy Centre in Washington in February, Watkins fascination with Japanese animation makes it way in Gods and Monsters with the excellent cover painted by Koji Morimoto. It’s inside Morimoto’s characters that Juno’s music currently lives, the mystery of the unknown. WARNING: DO NOT DRIVE WITH THIS MUSC ON! When the road disappears it’s dangerous.

SHANGO (ELM8033)

First released by Electric Melt on the 10th September 2000 Shango features a number of MELT artists like Mabi Thobejane, Deepak Ram, Boris Salchack, Busi Mhlongo and members  of Amampondo, Mandla Lande, Simpiwe Matole and Michael Ludonga.

Further information as well as 30 Second samples of the tracks below will be listed soon, so check back again to listen to this incredible new album. 

INTRODUCTION

In 1998 Robert Trunz had the notion that an album by a group from Cape Town called TransSky(Brendan Jury & Warrick Sony) produced by Greg Hunter would be a good thing. He set about making it happen first getting Greg to Cape Town and booking a couple of weeks time with what was then Shifty Studios. Getting to know and work with Greg through this period was a great education and a privilege for me. I learned a lot about the world of synthesized ORB style sound and frozen ants. This was the first of three work periods with Greg which spanned three years. It was, however, the period where we all did the preliminary recordings which would form the texture of the whole album. Everything was recorded and assembled onto 24-track ADAT system using an old Protools system to edit and loop. All sounds were originated by our performances and those of the special sessions which we hosted at the studio. Brendan had left Cape Town and the project by the time of Greg's second and third visits which saw the pieces morphing into huge sound epics with sampled and performed merging together processed and squeezed into the ether. Strings and things were developed and added at Milestone. Speakers were blown. Greg left with a box of mixes and we resolved to do a track each separately and release it all as a band called PLINC the album Turntabla. Greg was never entirely happy with many of the tracks and the distance and interest made the project difficult to complete for him, other things cropped up and life overtook us all. Robert approached me towards the end of 2007 and asked if I would revisit it as a Kalahari Surfer and finish it off, which I did. Many of the original pieces had chunks of samples that we could never hope to clear without great expense so I had to strip things out rework, replay and remix. These were sent to Greg who sprang some new mixes into the timeline and gave constructive spiritual guidance. This then is the final putting to bed “Turntabla” with the last track being a homage to the great intelligence which guides us all.
Om purnam ada punam idam
Thanks to Robert Trunz for a decade of patience. 

Warrick Sony

All profits from the cd sales go to the Kalahari Garden Project and the Himba peoples initiated by Hattie Wells.
http://www.globaldiversity.org.uk/regional_programmes/southern_africa/community_conservation.html

for more details and interviews with Hattie please click on:

http://www.youtube.com/watch?v=iqZHOlCuD0k
http://www.youtube.com/watch?v=GrsVDhM_4oY

MZA 008
L.A.P. Stiff Pap & The Gang

READ ALBUM REVIEW

Live in Moscow

Live At The ZMF Freiburg
LSM

Urs Leimgruber, soprano, tenor saxophones; Patrick Scheyder, piano; François Moutin, bass.

Recorded at the Zeit-Musik Festival, Freiburg on 29 June 1992.

Lungiswa - Ekhaya

MADIBA (BW086)

"It's a gem...in turn relaxed, loping and out-there wiggy, full of lovely textures from a range of instrumental collaborators (guitars, flutes, brass, keyboards, dobro, bass etc - but always held in tasteful check) and co-vocalists including Busi Mhlongo...glorious music which is simultaneously familiar and refreshing."
Folk Roots magazine

First Double 1 & 2

is a special collaboration with 3 of the top Zulu string players being Madala Kunene, the late Baba Mokoena on guitar and Bernad Sibusiso Mndaweni on electric bass. special guest Mabi Thobejane

Baba Mokoena Seakoeng was one of the finest mbaqanga guitar-players and a well known collaborator with Madala Kunene.
Simon Baba Mokoena was born at Umkumbane in Durban in the late '40. He started making music at the age of 12, playing a home-made guitar made from a five-liter oil container. At 17, he picked up his brother's acoustic guitar and has never looked back. Baba's first gig was with a group called Mhlathi and His Comets, whom he stayed with for four years. Next he met Dick Khoza, a jazz drummer. They formed a small jazz group with Pat Matshikiza on piano and Victor Gaba on bass, playing gigs around Durban.

KING OF ZULU GUITAR (BNET001)

Bootleg recording with stereo DAT in Sipho
Gumede's backyard and farm in the year 1995

Track Listing (30 Second Samples)

1. Indiza (Aeroplane)
2. Nqo, Nqo, Nqu
3. Amnandi Amasi
4. Khono Thwele
5. Cabazini
6. Apartheid
7. Gumbela

UXOLO (MZA 036)

special guest: Umshika Shika Qabe (guitar)

Peace, oscar nominations and a lifetime of plucking strings and chickens The 21st century has been hard for many live performers. Chiefly because DJing and digitally generated music leave little room for traditional musicians to earn a living playing live. This led to arguments and discontent amongst several artists in Kwa-Zulu Natal. To a point when in 2004, I decided to pack my car with a portable DAT recorder (plus a couple of microphones) and head off to seek peace between the bickering factions by using music as a medium for negotiation. Uxolo is the result of this mission.

MADAMAX (BW2119)

MADAMAX is a superb collaboration between veteran M.E.L.T.2000 artists - South African trance musician Madala Kunene who amongst other projects released the sensational Kon'ko Man (on the M.E.L.T. 2000 label), and Swiss guitar supremo Max Lässer, famous for many recordings, including Between and A Different kind of Blue (M.E.L.T.2000.)

$9.99

KONKO MAN (BWSA 058)

2006 re - issue with new cover sleeve and a new CD remastered by London engineer Chris Lewis.
Shortly after working with Madala and Airto during the Outernational Meltdown recordings, Pops Mohamed called me early 1995 to say that the Shades choir from London was touring South Africa and that he wanted them to record a few tracks with Bafo Madala. A few weeks later the tapes arrived in the UK during a recording session with Airto Moreira and Flora Purim who were so touched by the music that they asked to take the material to Santa Barbara for further production and overdubs. The track Konko Man or Strong Man has travelled the world and has helped forming a global fan base for this gentle Zulu man from Kwa Zulu Natal. The Oscar nominated local film YESTERDAY for which Madala composed the music, has cemented his reputation and his views expressed in his songs attract a lot of young South Africans in search of traditional values.

Abangoma, Sani Bonani and Igwababa feature the amazing vocals of Busi Mhlongo from the times when Madala first introduced Busi to the label owner Robert Trunz during the recording sessions in Johannesburg in 1995.

POWER TO THE WOMEN (BWSA 108)

The Rough Guide to World Music said in 1999:

"After making a few great but oscure recordings in the mid 1970's Madosini disappeared into the Transkei only to be rediscovered by Robert Trunz of M.E.L.T. 2000 who proceeded to showcase her artistry wit symapthetic ad imaginative production techniques, a leap of musical (and financial) faith that could only have occured with a non-South African record label. The result is a wonderful exposition of tradition enhanced by technology."

Madosini was actually rediscovered by Dizu Plaatjies and Mzwandile Qotoyi (founding members of AMAMPONDO) who after contacting Robert Trunz in the UK took her to Milestone recording studios in Cape Town. A great variety of Madosini's songs were recorded without further overdubs. When the M.E.L.T. team arrived in Joburg in 1995 with Cuban conga master Changuito, bata player Mayito and student Robbie Geerken they met up with Dizu, Mzwandile and the Amampondo choir from the township of Langa to complete three exiting days of overdubs and traditional songs. Some of the traditional Xhosa songs were  later released under the title Fidel Pondo with a reference to the amazing contributions of the two Cuban masters Changuito and Mayito.

Earth with II Suns

DJ and producer Mario Cee's first solo album contains some strong dance floor tracks like "Negativity" which headed the KISS FM charts when the album was released.

House tracks with World Music flavour!

Max Laesser & Madala Kunene - Bafo

OF ANIMALS, CHILDREN, BLUES AND LOVE

MZA 044

featuring: Madala Kunene, Max Laesser, Christoph Stiefel, Walter Keiser, Lungiswa Plaatjies & Bernard Sibusiso Mndaweni

(for more details check Max Laesser's website)

Track Listing (30 Second Samples)

1. Unogwaja
2. Yelele
3.. Amasi
4. Namhla Kungawe
5. First Jam
6. Bafo
7.Merisha
8. Siyakhala
9. Emagcekeni
10. Kommetjie
11. Ucilo
12. Ulimmat
13. Ubongo
14. Uthando
15. Unogwaja (Later)

Ark - A Different Kind Of Blue (BW018)

Swiss-born Max Lässer has been playing professionally for more than 20 years and this, his ninth album, is a showcase for his mastery of a prodigious range of instruments. Whether Lässer is playing guitar, keyboards, mandolin, dobro, bass or percussion, you can hear the love and pain squeezed out of the instrument. What is unique about his style is the glorious way in which he draws on the Swiss folk roots of his childhood and blends these, plus more contemporary influences, with a World Music consciousness.

Between (BW103)

featuring Busi Mhlongo, Lungiswa, Pops Mohamed, Amampondo & Jessica Lauren,. Four years after A Different Kind Of Blue (BW018), Max Lässer has brought out his new CD, 'Between'. It is full of surprises; the result of both a new beginning and a breakthrough. With rhythmic eloquence, it documents the milestones of a musical and above all a personal process of growth with power and verve. The first fruit of this development is his collaboration with a group of female singers and musicians from South Africa.

Darkness Pass - Solo Piano (MZA 009-2)

A double CD of the secret Solo Piano recordings titled DARKNESS PASS made by the late genius Moses Taiwa Molelekwa and recorded in Johannesburg during the mid 90Ùs has been released on April 17th 2004 to coincide with his birthday.

NOTES BY ROBERT TRUNZ
Back in 1994 during the Outernational Meltdown recordings, in the early hours of the morning after we had finished one of the many late night recording sessions Moses and I were the only ones left in Downtown Studios, Jo'burg. We were hanging out together, with Moses seated at one of the pianos whilst I settled down on the floor next to him. It was there that I first heard him playing solo piano.
Moses took me on a journey that lasted almost 3 hours, a journey that for somebody who is normally not particularly enamoured by the piano expanded my horizons and revealed a depth of Moses that few people have ever had the privilege to encounter. It is the soundscapes this young artist drew every time he sat in front of a piano or keyboard that fascinated me from the onset when I first heard him play live in 1993.

Finding One's Self (BW053)
Debut album

Originally released in 1994, "Finding One's Self" garnered much praise from all quarters. Moses won the SAMA Best Jazz award in 1995 aged 24. Accolades for this first, yet surprisingly mature collection: " Molelekwa is widely hailed as the inheritor of Abdullah Ibrahim's mantle, a creator of hymn-like harmonies rolling under jubilantly jazzy melody lines, propelled by the leaping vitality of South Africa township music" John Fordhaham, The Guardian.
By 1998 , his album "Genes & Spirits" had conquered new territory, incorporating drum 'n' bass and combining programming and live virtuosity. International recognition was quick to follow. This music examines Moses' roots. Eleven years later, it stands up brilliantly.
Robert Trunz

Genes and Spirits (BWSA079)

The second solo album from one of the world's most gifted young pianists, the late Moses Taiwa Molelekwa. This is an audio CD that also contains video clips and information about Moses which is read from the CD-Rom drive of a home computer.
Genes & Spirits is an album of contrasting moods and textures, from the staccato phrasing of Down Rockey Street to the stark lyricism of Sogra (Mmatswale/Mamazola). Infused with 'ubuntu', the intensely spiritual quality of black community life, this album pays its respects to South Africa's jazz past - but it has its feet firmly on the road to the future.

Check Moses' interview on the making of this album.

All songs composed & arranged by Moses Taiwa Molelekwa except

“Spirits of Tembisa”, by Moses Molelekwa and Andrew Missingham

All songs produced by Moses Molelekwa & Andrew Missingham except

“Dance to Africa”, produced by Moses & José Neto; Rapela produced by Moses

& Brice Wassy

All songs published by T. Tones Publishing

Recorded and mixed at: Rhino Studios Bophuthatswana, SA; Downtown Studios Gauteng SA; The

Garden London, UK; Real World, Bath, UK; Brownhill Farm,

West Sussex, UK; Livingstone Studios, London, UK.

Engineered by: Richard Mitchell; Jasper; Richard Edwards; Pete Hoffman; Mark

Braithwaite; Russell Kearney; Chris Lewis; Peter Thwaites (Dance to Africa)

Assisted by: Neelam; Sie Medway-Smith; Derek Fischer; Simon Burwell

Executive Producer: Robert Trunz

The enhanced portion of this CD+ was designed by Mark Allin @ Hypa Solutions: Photography by Peter Williams  Sleeve Design by Swifty

Taiwa’s Special Thanks: The Lord Almighty for giving me the ability to create music. May His name find glory and praise in my works.

My parents and my sisters for their constant encouragement and belief in me. All the engineers and musos who prepared the fire, flavoured stirred and mastered

the dish: “it’s a delicious one”. Flora Purim, Chucho Valdez, Brice Wassy (Pa-tshi-tshi), Jose Miguel, Khaya Mahlangu, Lawrence

Matshiza and Dennis Rollins for adding their magical touch to the album. It was an honour working with you. Russell Herman for ensuring that everything inside and outside the studio was in order.

My best friend and wife - Ndiyabulela Kwalo. This album is dedicated to my son, Sityebi Kagiso; “Zöe”

Track Listing (30 Second Samples) 

1. TSALA (4:56)
2. SPIRITS OF TEMBISA (4:59)
3. DOWN ROCKEY STREET (8:30)
4. ITUMELENG (5:41)
5. SOGRA (MMATSWALE/MAMAZOLA) (6:36)
6. GENES AND SPIRITS (4:21)
7. KWAZE KWANGCONO (6:01)
8. RAPELA (5:59)
9. DANCE TO AFRICA (5:17)
10. NTATEMOHOLO (4:37)

Quotes from Ian Nicolson:

Take 24-year-old South African pianist Moses for example. He grew up in Tembisa - a township near enough to Jo'burg to make the contrasts painfully stark - listening to Parker, Miles and the fifties canon of immortals on wickedly expensivevinyl passed around like scripture from one believer to another. But all around him was the potent influence of Hugh Masekela, Abdullah Ibrahim, Kippie Moketsi and Dudu Pukwana, and it's an updated version of their magical integration of late 20th century African harmonies, melodies and rhythms into modern jazz that Moses is after.

His second allbum for the "no boundaries" M.E.L.T. 2000 label - which specialises in modern music from Southern Africa - is a delightful dip into a barrel filled with seductive influences. Moses has layered Cuba (with celebrated Cuban pianist Chucho Valdes as mentor), Brazil (Flora Plurim's unmistakeable vocalisations), the Cameroon (funked up by Brice Wassy's infectious time-keeping), and even Bristol (just a lickle drum'n'bass from somewhere...) over his own instinctive township feels. The resultant blends are so cheering I think Taiwa's left hand could probably heal the sick - or at least make them feel a sight more chirpy. Heartily recommended.

Moses Taiwa Molelekwa: Voice Of The New Generation

A child plays in the dusty streets of Tembisa Township on Johannesburg’s East Rand. It is

1978. From one doorway floats the scratchy sound of a Charlie Parker album. From

another, an equally scratchy recording by alto saxophonist Kippie Moeketsi. And down

the street, live, on a bare piece of open ground, the complex, multi-layered polyrhythmic

drumming of a troupe of traditional Pedi musicians...

It’s from these three roots that Moses Taiwa Molelekwa’s unique jazz piano has grown.

South Africa is one of the few countries outside the USA where jazz has been a

genuinely popular music, and not the preserve of an elite. In the townships, American

jazz was (and is) purchased at great expense; heard avidly; the solos dissected with skill.

But there’s also a unique South African jazz heritage, blending folk styles, modern

instrumentation and big-band swing. In the marabi music of the 1940s and 1950s, three

chords and a two or four-bar sequence carried a hypnotic, constantly changing melodic

ribbon. The music grew, enfolding and adapting influences from bebop, free jazz and

rock, and - in a society of enforced migrancy between city and countryside - constantly

receiving fresh transfusions from a score of distinctive folk traditions. And it was dangerous

music: challenging the cultural categories and divisions of apartheid and the rules

which tried to legislate settled black citizens out of existence. It has its heroes (like the

legendary Moeketsi), its exiles (Masekela, Makeba, Dollar Brand, Dudu Pukwana, Chris

McGregor and more) and its own canon of standards - including many defiantly joyful

titles which threw apartheid’s laws back in its own face.

That musical heritage can be heard in Molelekwa’s complex, percussive left hand,

(‘NtateMohalo’) in fractured, staccato phrasing (‘Down Rockey Street’) and in the close-

to-marabi structure of ‘Itumeleng’. It’s also there in the stark lyricism of ‘Sogra

(Mmatswale/Mamazola)’, with its folk-like simplicity of melodic line. South

Africa sings in Molelekwa’s almost choral approach to instrumental arrangements,

and in his densely-textured use of percussion.

But there’s more to South Africa than rhythms and harmonies, and more

to this album than South Africa. The intensely spiritual quality of black community

life (“botho”/“Ubuntu” - respect for the humanity of others) is sewn with

unbreakable thread to its music. Apartheid’s project of de-humanisation created

spiritual tragedy and crisis in the townships. And Molelekwa, growing up in

the 1970s and 1980s, was also marked by that crisis. He told a film-maker:

“There was so much pressure, everyone had to find a way to let it out. The

pressure drove my best friend into crime; I’m lucky, I can deal with it through

my music.” Those emotions, too, are here: the warmth of friendship, the joy of

celebration and the regret for what has been lost.

The 1990s are a time of movement and hope for South African jazz.

There’s a rediscovery of musics which were pushed underground or into exile,

like the free jazzing of Brotherhood of Breath. And there’s a new process of

musical bridge-building to the sounds of the rest of Africa, to Asia and Latin

America and to the clubs of Europe and America. That process resonates on

this album in the collaborations with Chucho Valdez, (‘NtateMoholo’) and

singer Flora Purim (‘Sogra (Mmatswale / Mamazola)’). It dances through the

ragga flavours and programmed drums of ‘Spirits of Tembisa’.

What makes this work unique - and much more than the sum of its influences

is Molelekwa’s own voice as a musician, his vision and his technique.

Equally fresh are the approaches of his South African collaborators, in the main

young players from his own generation. This album pays its respects to South

Africa’s jazz past- but it has its feet on the road to the future.

Gwen Ansell, Johannesburg 1998

LIVE AT THE FIN DE SIECLE FESTIVAL, NANTES 1997 (MZA005)

Moses Taiwa Molelekwa - Live in Jo'burg

Anointed by the random hand of talent, the late Moses Taiwa Molelekwa was born April 17, 1973 in the township of Tembisa, Johannesburg and raised to the sounds of Herbie Hancock, Miles Davis and John Coltrane. Moses love of music was fortunately nurtured by his father and at an early age he already performed at KIPPIE'S - a premier jazz club. In 1988 he joined Hugh Masekela's band and later toured the US with Dorothy Masuka and Julian Bahula. Moses growing reputation also brought himwork with Miriam Makeba. The two studio albums he released were heralded in the west as cutting edge and also earned him several South African Music Awards. Despite his limited recording career, he was acknowledged as a "modern great". He had widened his range by producing other artists including Sibongile Khumalo and TKZee the biggest selling Kwaito group. Taiwa's last project with classical virtuoso pianist Joanna MacGregor (June 200) took him on tour of the UK and South Africa.

Piano & keyboards: Moses Taiwa Molelekwa - Drums: Sello Montwedi - Bass: Joss Dhlathu - Percussion: Tlale Makhene - Keyboards: Robert Manaso - Sax: Moses Khumalo

WA MPONA (BWSA2281)

Followers of jazz and world music in South Africa were stunned by the news that Moses Taiwa Molelekwa had been found dead in his Johannesburg offices. Aged just 29, Molelekwa had already carved out for himself a place in the country's musical pantheon as a uniquely gifted keyboard man and composer who had started to blossom from his jazz roots to a richer and more eclectic style which drew on the music of Cameroon, Brazil, Jamaica, Cuba and London's clubland.

Music With No Name Volume 1

- the first ever World Music remix project was released in 1995 allowing CLUB- and dance floor access for a new and largely unknow music genre! - Melt 2000 presents a number of mainly South African artist with a Madala Kunene remix by Smith & Mighty that became a smash it when first played out by YFM DJ Rudeboy Paul.

Music With No Name Volume 2

We are approaching the year 2000 - five years after the first sensational offering of Music With No Name Vol.1 - a unique remix project involving World Music artists mainly out of South Africa.

Volume 2 we present herewith is more jazz orientated - again with a fine bunch of remixers at work - enjoy!

VIBRATIONS FROM THE MOTHERLAND

VIBRATIONS FROM THE MOTHERLAND is a celebration of Africa, an acknowledgement of the Dark Continent’s huge influence on western music & rhythms. The MELT 2000 label works tirelessly to promote the cause of South African musicians, artists, its people & their struggl' Alan Gubby has invited some of the coolest producers in western jazz, electro & funk genres to remix stand-out MELT recordings under a simple directive – ‘respect the original artists and make western ears & dance floors pay attention’.

Global Africa - Genres are so yesterday!

album remixed by:  Monde Mkhizwana

(check Monde's blog)

The forth element of Melt2000 is an album that has combined internationally known powerful mystical voices and instrument players who are South African based musicians such as Busi Mhlongo, Madosini, Mabi Thobejane, Thabang Tabane and guitarist Madala Kunene while fusing them with a younger generation of singers such as Kwani Experience band members bass guitarist Lesiba Magongwa, lyricist Kwelagobe Sekele and vocalist Bafana Nhlapho.

Ohm

Enigmatically un-named, the debut album from Ohm is more than a collection of songs, it represents the band's influences and mind. Not easy when you consider who makes up the band.
Ohm consists of Brendan Jury (Trans.Sky, Urban Creep), Sven McAlpine (Plain, The Original Evergreen), Andre Van Rensburg (Supernature), and Gaston Goliath (Interzone, Wendy Oldfield Band, The Original Evergreen, Urban Creep). That line-up alone should let you know that you are in for an unpredictable ride. Jury has managed to congregate a circle of musicians who are not submerged by his influence. Throughout the tracks, you can hear Andre's stubbornly eclectic guitar style flaring out, Sven's roaring bass lines and Goliath's unpredictable rhythms.
Yes, it's a rock album, but an album more along the unpredictable lines of Faith No More than Guns 'n Roses.

VARIOUS ARTISTS

Track Listing (30 Second Samples)

1 Hungry on Arrival
2 Giya Kasiamore
3 Sanibonani
4 Bongani's Theme
5 Ningakhali (Don't Cry)
6 Mamaye
7 The Long Walk to Freedom

Healers Brew
from the Outernational Meltdown sessions recorded in South Africa 1994

The Outernational Meltdown sessions had a simple mandate; bring into the studio a bunch of South African musicians who during the age of repression had little chance to expand their musical horizon and invite some of the finest western Jazz and World  musicians, then watch and see what happens. Among others was Brazilian master percussionist Airto Moreira, Sao Paolo born guitarist Jose Neto, South African bassist Sipho Gumede and Pop Mohammed. After two weeks of spontaneous recording sessions in Jo'burg and Cape Town out came  three albums dubbed the Outernational Meltdown Series no longer available except in form of a compilation called Hungry On Arrival. All three complete albums are available for digital download only.

This album is a compilation of the now deleted recordings first released in 1995 under the heading of Outernational Meltdown Soouth Africa with 3 titles then called "Free At Last" "Healers Brew" and "Jazzin' Universally". The album contains a couple of Q videos which can be viewed on your PC or Mac.

The energy of these recordings lies in the spirit of exchange; an exchange of rhythms and colours between musicians who came together to break the isolation that had too long been forced upon a people - the year is 1994 and it was time for the musicians of South Africa to join with the rest of the world.

The game plan was vague but under the loose direction of two South African musicians, bassist Sipho (pronounced 'Seepo') Gumede, Pops Mohamed and Brazilian master percussionist, Airto Moreira. The two weeks of recording in Cape Town and Jo'burg were fired by the winds of spontaneity.

Kicking off the set, 'Hungry On Arrival' is exactly as the title suggests. Airto and São Paulo born guitarist, José Neto, along with two North Londoners, trumpeter Byron Wallen and drummer Andrew Missingham, had flown into Jo'burg, dumped their bags at the hotel and headed for the Downtown studio. It took no more than bass-man Fana Zulu to drop a funky 5/4 B-line for the rest of the posse to jump right on it. Listen to percussive touches of pianist Moses Molelekwa, the momentum whipped up by Airto, the sweeping muted horn of Byron, the sensual but ecstatic guitar of Neto and the feverish vocals of Shaluza Max. I think Miles Davis might have ventured a smile at this cut.

If music is the healing force of the universe, then in South Africa it has a special role. This is a nation where a spiritual undercurrent underpins everything, where tribal traditions are tuned to the past present and future through the spirits of the ancestors - the Amadlozi. Coming from the spiritual tradition in Brazil, where his father was a healer, Airto Moreira was naturally keen to make contact on a musical level with this tradition in South Africa. Appropriately, a day of special recordings had been arranged through Pops Mohamed. There was to be a session with a group of sangomas: traditional healers, the direct line to the spirit world and the ancestors of the sky people. Once in the recording booth, they switched their street clothes for traditional dress. Their presence was magnified as they revealed themselves in plumed head dresses and toting fly whisks with short spears. They were adorned with complex, patterned beads and protective amulets. They gathered in a circle beneath the microphone. As they knelt on the floor, khambas (traditional beer pots) before them, Susan launched into a spoken but charged invocation that was to stir the spirit world, praise the god of the sky, Nkulunkulu, and bless the season in progress. Incense was burned as the hair whisk flashed through the air. The drums were like rolling thunder.The local musicians had piled into the studio and like me were checking the goings on beyond the glass. They were clearly unused to such happenings in the recording studio. Under the guidance of Pops the next song was soon underway and Airto, who had slipped quietly into the recording booth, joined them. There was a serious intensity in the air, everyone felt it, especially Airto, who was playing one of the drums. It wasn't until much later that we discovered that the percussionist had directly encountered a spirit from the other side.

Jazzin' Universally
from the Outernational Meltdown sessions recorded in South Africa 1994

The Outernational Meltdown sessions had a simple mandate; bring into the studio a bunch of South African musicians who during the age of repression had little chance to expand their musical horizon and invite some of the finest western Jazz and World musicians, then watch and see what happens. Among others was Brazilian master percussionist Airto Moreira, Sao Paolo born guitarist Jose Neto, South African bassist Sipho Gumede and Pop Mohammed. After two weeks of spontaneous recording sessions in Jo'burg and Cape Town out came three albums dubbed the Outernational Meltdown Series no longer available except in form of a compilation called Hungry On Arrival. All three complete albums are available for digital download only.

Peter Giger  -  Jazzz

Track Listing (30 Second Samples)

1 Jones Bones
2 Sweet and Short
3 Rue de la Tour
4 Frankfurt - Maputo
5 Zbigi
6 Henrik's Choice
7 Gaba
8 Sweet Maya
9 Some Drum Samba

Mozambique Meets Europe

PETER GIGER’S FAMILY OF PERCUSSION & FRIENDS
feat. Tom Nicholas, Dom Um Romao, Gerd Dudek, Vitold Rek & GRUPO TIMBILA EDUARDO DURAO

Track Listing (30 Second Samples)

1 Jones Bones
2 Nbantumbuane
3 Matekenba
4 Zavala-Rio-Nessau
5 Kuweleka
6 Frankfurt-Maputo 

Pops Mohamed & Sie Medway-Smith - Harrison Thando

Pioneered and created just after Pops recorded his legendary album HOW FAR WE HAVE COME. Sie Medway-Smith assisted and engineered at MILO studios in London and all the Bushmen songs and the many traditional instruments Pops brought along inspired him to convince Pops to create this masterpiece of ambient ethnic African & UK breakbeats. The album remained unreleased for over a decade and is now available for digital download only. I'm very happy to see this beautiful piece of early ethnic electronica finding its way onto your MP3 players and straight into your brains.
Thank you Sie and Pops for being so patient - god bless Africa and our Bushmen family in the Kalahari who are the inspiration for a lot of the beautiful music that has come from this label.    Robert Trunz

HOW FAR HAVE WE COME (BW088)

Pops Mohamed, South Africa's unofficial Minister for Music, is on a mission to prevent the indigenous music of the rainbow nation being overrun by American pop. A perfect mix of traditional and modern forms, this album is based upon an amazing set of recordings with the Khoi-San Bushmen of the Kalahari desert. Made over three days in a makeshift studio set up in the back of a 4X4 drive jeep, the tapes were then flown to London, where Pops worked with musicians including Andrew Missingham and Chris Bowden of Barungwa, Jessica Lauren and Yolanda Charles, to produce an album that is truly a unique meeting of cultures. Pops combines a contemporary electric line-up with the unusual textures of traditional African instruments offset against jazz, funk, dance and township rhythms. His own vocals are mixed with samples of the chants of the San people to produce a richly textured, thoroughly modern music that's deeply imbued with the indomitable spirit of ancient Africa. In booklet accompanying the CD, Pops tells the story of each song:

A booklet accompanying the CD tells the story of each song, along with the ?A booklet accompanying the CD tells the story of each song, along with the background to the whole project, written by Pops and featuring photography that gives an insight to the life of the San people. A percentage from the sales of the album is being donated to the Khoi San Foundation.

Pops Mohamed meets London Sound Collective (ELM8004)

Drum n' bass with ethno sounds

Pops Mohamed is South Africa's unofficial Minister for Music and is renowned for his dedication to protect and preserve the indigenous tribal music from his homeland. Interestingly however he is simultaneously at the helm of the current world music movement experimenting with global sounds - fusing tradition with modern technology.
This collaboration with the cutting edge underground drum'n'bass outfit, The London Sound Collective demonstrates the innovative and versatile vision that is Pops' trademark. This vinyl is an explosive fusion of East London urban sounds with indigenous instrumentals, guaranteed to fully possess the senses. Marking a new style of drum'n'bass, the essence of South African music has been brought to the global dancefloor.

LOTUS BLOSSOM (MZA 006)

Pops Mohamed, Greg Hunter, Gloria Bosman, Suzan Hendricks Johannesburg to London via Cairo
Traditional African music has grown in popularity rapidly over the last decade. Unlocking the inspiring and healing qualities of African rhythms and melodies (both ancient and new) from the Mother continent as well as the diaspora, is a job still in its infancy. Yet a greater challenge perhaps, remains not just the locating and preserving of the old songs and chants, but significantly finding ways of informing the hearts, minds and technologies of the 21st century with the spirituality and timeless wisdom of the older musics. African music doesn’t simply belong in a museum or on the shelves of the Smithsonian Institute. It dwells on the streets and in the temples, churches and clubs of the diaspora of which we are all part - whether observers or participants. The MOOD AFRICA© series seeks to advance just such an agenda. Listen to how the uplifting creativity plays out here on LOTUS BLOSSOM.
Pops Mohamed

PROTOCOL - Live !

Force Majeure (1992)

Tracks (30 Second Samples)

1. The Gooz
Written by Simon Phillips and Ray Russell

2. Force Majeure
Written by Simon Phillips and Ray Russell

3. Two Socks
Written by Simon Phillips

4. Harlem Nights
Written by Simon Phillips and Ray Russell

5. Cosmos
Written by Simon Phillips

6. Blue Shoes, No Dance
Written by Ray Russell

7. The Bottom Line
Written by Ray Russell

8. Streetwise
Written by Simon Phillips

9. One for CI
Written by Simon Phillips

10. Outback
Written by Simon Phillips

Recorded at Freiburg Zelt Festival by Ric Walton on June 20th and 22nd 1992
Mixed at Last Chance Studios, London by Ric Walton and Stuart Bruce

Ray Russell - Guitar
Anthony Jackson - Bass
Tony Roberts - Horns
Simon Phillips - Drums

REFLEXIONEN - LIVE AT THE MONTREUX JAZZ FESTIVAL

URS LEIMGRUBER (SAX)
DON FRIEDMAN (PIANO)
JOEL ALLOUCHE (DRUMS,TABLA)
PALLE DANIELSSON (BASS)


recorded by John Dunkerley & Terry Nelson
Mastered by Rik Walton
special thanks to Claude Nobs

Olembelona Ricky (BW113)

"Everyone wants to live longer, to be creative and original. Everyone wants to do things in a new way. Do not forget the roots. Without them we will never be able to realise the real power"
Ricky Randimbiarison
Headlines declaring 'Ricky Mania!' in the Malagasy press testify to the popularity of Ricky Randimbiarison, who is know throughout the island as 'Olombelona Ricky' ('Ricky-the-human-being'). Fully versed in the diverse forms of indigenous music in his native country, this album represents Ricky's first outernational venture.
Originally recorded in Switzerland in 1996 by Ricky and his band - Toty, Seta, Luc, Mendrika & Rivo - this music was remixed at Brownhill Farm, west Sussex by Airto Moreira and Ricky in July, 1997, with overdubs by Mabi Thobejane, Suzan Hendricks, Diana Moreira, and Mantombi from Amampondo.
All music and lyrics by Ricky, except: 'Adolantsento', composed by Toty with lyrics by Ricky; 'Tsy Hiady', composed by Ricky with lyrics by Pilaza; 'Faradia', composed by Mantombi with lyrics by Ricky.

RESPECT (BW2094)

"Robert 'Doc' Mthalane may not be a household name, but the South African master guitarist spent much of the 1990's both playing and writing songs for the acclaimed Zulu singer Busi Mhlongo and her group Twasa. Sadly Doc fell victim to tuberculosis and died prematurely in 1998, but not before leaving us with one last exquisite album of uplifting and heart-rending beauty. From the languid opening chords of Eva, the slowly surging crescendoes of Masihlanganemi to the rousing rhythmic call to action of Mamambo, this is one of those rare albums that can enrich your life and soothe your soul." 

JENESAISQUOI

The Jenesaisquoi Project displays to remarkable effect another side of the song writing and arranging talents of Swiss keyboard virtuoso Rolf Schimmermann. The melodic, soulful side of his character is centre stage, with the spotlight falling on the stunning vocal talent of Sam Howard, a new torch singer who hails from Bath, but who comes spiritually from Philadelphia.

Making his presence felt throughout is Ray Russell on guitar. He manages to create a simultaneously soulful and bluesy feel without drawing attention away from the core melodies. Fellow B&W Music artist, Mark Jefferis, guests as vocalist on 'A Dream of You', which, as lyricist, he invests with particular feeling over a richly textured arrangement featuring Andy Mackintosh on sax.

SURU

Rolf is an exceptionally talented Swiss composer on piano and keyboards, with a quite unique appreciation of how keyboards and percussion can work eloquently together. He wanted to put some of these ideas into practice and needed an exceptional drummer/percussionist to work with. Cue Fredy Studer. The bass was supplied by Dill Katz and a dream horn section arrived courtesy of Stuart Brookes and Tony Roberts.

ROOTS & ANCESTORS 1

Roots and Ancestors, Vol. 1 features traditional-sounding pieces from South Africa, including Zulu, Xhosa, and Bushmen artists. These are modern recordings that retain ancestral elements, and highlights include the jaw harp-driven lead track "Uthendo Lupele" by Madosini, and the vocal brilliance of the Ladyfrere Xhosa Singers on "Nontokazi."

Sanscapes Vol. 1
Visions Of The Bushmen

Remixes from the album Bushmen of the Kalahari

Track Listing (60 Second Samples)

1. ANNA GOUTE - INTRO
2. RAJ GUPTA - HUNGRY MAN (AFTER DINNER MIX)
3. ANIMAL RADIO - KALAHARI WARRIORS (SQUIDDLY MIX)
4. MAHDI HADDAB - NXA
5. KRISHNA/RASHID - QUANDODO REMIX
6. DUB TREES - KALAHARI (DUB DISCO MIX)
7. GAMBIT - TRIBAL CHESS
8. KIRK DEGIORGIO - CRY OF THE BUSHMEN
9. SMADJ - SWEET WILD REMIX
10. ABZOLUTE ZERO - ETHNIC MIX
11. SOUL DRUMMERS - CELEBRATION MIX
12. BOB HOLROYD - LOOKING BACK
13. ZENA EDWARDS - KHOISAN ULTRA AFRICAN

SANSCAPES Vol 2

Future Visions of the Bushmen

Remixes from the album Bushmen of the Kalahari

Track Listing (60 Second Samples)

1. INTRODUCTION BY ANNA
2. ZET - MY BUSHMEN PEEPS (MAMA DANCE)
3. EBOMVU GABI LE ROUX KALAHARI MIX
4. CLAPS & BOW AT BROWNHILL FARM
5. VOODOO JULIE
6. LEKKER LEKKER
7. PURPLE MIX U
8. HONEY SONG
9. LOOKING BACK !GUBI'
10. CROCODILE RIVER
11. KALAHARI SAN STORM
12. KABUYE (THE RETURN) SILK T/BEN AMATO
13. MELT MIX
14. MUHADI (INTERLUDE)
15. ACID ROCKERS MIX
16. AMBIENT MIX

Shende Lami

Track Listing (30 Second Samples)

1 Shende Lami
2 Saafu
3 Benikuphi.
4 Wena Kuphela
5 Saafa (Gauteng Remix)
6 Shende Lami Dub

Ungenwe Yini

(Simply Hot And Naturally African) Three young and highly talented vocalists from KwaZulu Natal with fine stage appearance have conquered the hearts of radio DJ’s and music compilers across the country. Shana was discovered by Busi Mhlongo, while performing at the Bat Centre, Durban.

DOWN FREEDOM AVENUE (BW051/BWR051)

With the advent of a new political dawn in South Africa, the vibrant musical tradition of the townships is now emerging onto a world-wider stage. Sipho Gumede's first recording for B&W Music is the latest result of rich vein of music mined by the jazz fraternity of Durban that includes Darius Brubeck and Chris Merz of Counterculture. The album conveys the turbulence and pain of a nation straining to be reborn.
From the beginning of track one, Sipho Gumede's masterful bass playing dictates the direction of the playing, with Baba Serakoeng caressing sweet runs from the upper register of his guitar and Sithembiso Ntuli letting fly on tenor sax. 'Ngiyabonga Thanking You' provides a platform for Sbongiseni Shange and son, with Faca Kulu and the assembled Zulu choir of the Challengers to explore the kind of territory made familiar by Ladysmith Black Mombaza.
'Song For Johnny Dyani' is a masterpiece of mellow, plaintive jazz with lyrical guitar playing from Baba Mokoene, sensitively supported on keyboards by Barney Bophela with Chris Merz' soprano sax giving voice to the emotion of the tune, rendering vocals unnecessary. Johnny must have been quite a guy.
The sinuous, insistent rhythm of 'Please Don't Dance' allows the funkier side of the band to assert itself, with Sbongiseni Shange's delightful drumming to the fore. The teasing guitar of 'Nozipho, the Dancer' makes this cut the obvious choice for a single.
Seven tracks in, the haunting vocals of Sthembiso Shange mark out 'Hlabelela, Just Sing' as a classic while the choir transports you to heaven. Welcome to a new South African standard.
'Village Lullaby' is the sound of home, a reminder that even under oppression mothers must still care for their children, seasons arrive and depart and the eternal wheel keeps turning.
A native hymn of praise, 'African Wedding' uses tribal drums and voices to capture the occasion. 'Country Side' is a fitting conclusion to the album, laying down the arm colours of the Natal landscape using Matume Rachabane's muscular alto sax and virtuoso piano playing from Barney Bophela.
The listener is left with a rolling landscape of sound, etched with optimism of a people emerging from political darkness, marching step by step as the lights go on Down Freedom Avenue.

UBUNTU HUMANITY (BW084)

Ubuntu is an inborn thing with the African race; its meaning is very deep. 'Ubuntu' means: be honest, be accommodative. Share with those in need and pass on what you know to the young. Save life at all cost, respect young and old. Criticise constructively, feed those who are hungry.
'Ubuntu' is the title of Sipho Gumede's second solo album for B&W/M.E.L.T.2000. Predominantly instrumental, it features the cream of South African musicians and many other artists from the Outernational Meltdown, including Pops Mohamed, Madala Kunene, the late Moses Molelekwa, Mabi Thobejane, Barney Bophela and Zim Ncqawane, among many other talented players.

Skeleton

Maskanda from the township of Umlazi in Durban, South Africa. Produced and recorded by Juno Reactor's Ben Watkins in 1995 during his residence at the seconf Outernational Meltdown sessions in Johannesburg. The album features sessions by Busi Mhlongo, Jessica Lauren, Lungiswa, Max Laesser and Pops Mohamed.

Equilibriste

Smad met and impressed Robert Trunz, owner of MELT2000, with this exotic musical melange. Robert signed him and they released 'Equilibriste'(BW2126), which features Stephano Di Battista, Laurent Robin, F. Thullier, Malik, C. Atef, R Amblard and of course, Sofi Hellborg. Meaning tight rope walker in French, this title reflects his musical interests and attempt to balance the equally powerful sounds of world jazz with jungle. Of this album,he says, "It's a really fine mix between acoustic and electronic. " In fact, he claims that many people couldn't tell the difference. Not only that but the sounds stretch the boundaries of world music to its full extent, bridging many boundaries and echoing the cultural diversity that he has experienced in his life. He performed thirty gigs in 99 in England and France to promote this album.

New Deal

'New Deal'(ELM8027) is his impossibly brilliant second album. Reaching No.4 in the European World Music Charts, 'New Deal' features an Indian violinist playing over a hard Moroccan gnawa rhythm with sirens recorded on the streets of New York. He blends soul-jazz into the Arabic world with a fusion of vocals from Togo in West Africa whilst representing other countries such as Mali, Algeria, India, Turkey, France, Togo, USA, Afghanistan, Italy, Sweden and Cameroon. Both releases feature his Jazz and North African oud playing, exquisitely encircling the breakbeats and electronic music of the contemporary dance culture. Whilst a lot of today’s drum’n’bass is musicians playing on top of DJ’s, Smadj is unique in the fact that he creates the entire sound, the basslines and the acoustic analogue music that enlivens the driving force of the sonic beats. Defining his sound as a breakthrough of electronic jazz and oriental- a move towards jazz/funk in Paris- he says, " I think it's really new. Not a lot of people do Jungle stuff, mixed with Jazz - live with a drummer."
A veritable global mixer, Smadj's acoustic expertise on guitar and oud alongside his professional talents as a programmer make him the perfect person to relate jazz to the rhythmic energy of drum’n’bass. His unique approach to music has been appreciated throughout Europe, as Smadj continues to play at live gigs with Sofi and other musician friends.

10 Songs For Girls & Boys (ELM8002)

Saxophonist and arranger Chris Bowden of Palmskin Productions recieved widespread plaudits for his Time Capsule album - described by i-D magazine as a "journey to the centre of the head". His prior collaboration was with 4Hero, and here he is working with funky drummer and producer Andrew Missingham who was the power behind Barungwa. He also organised the legendary jam sessions at James Lavelle's & Gilles Peterson's club, That's How It Is, and made his name as a producer for the Acid Jazz label. Here they combined the fresh vocal talent of the then 17 year old Nomvula Malinga to make music that can only be categorised loosely as urban dance with a drum and bass sensibility.

Don't Walk Just Wander (ELM8007)

CD single from Square Window featuring a radio edit plus Tormention and PVC remixes

Track Listing (30 Second Samples)

1. RADIO EDIT
2. TORMENTION REMIX - G.MORETTI
3. PVC REMIX - J.COLUCCI & SWEET PEACH 

TM Africa - This album is finally available for download

Some five years ago producer and muso Ben Amato gathered two Malombo drummers representing two generations in Cape Town to record an album with music far removed from their usual style. The drummers are no less than the co founder of the original Malombo - Mabi Thobejane and his nephew Thabang Philip Tabane - the son of founder Philip Tabane. Most of the album was recorded and mixed in my house and it was a great privilege to see Uncle Mabi teaching Thabang some of the old songs from the Northern territories of South Africa with Ben Amato mixing it all his own unigue style. Thanks is given to the members of Amampondo and especially Buddy Wells for his great sax playing.

TRIBAL ETHNO DANCE - Drum 'n' Metal

Creative production by Airto Moreira
Creative sound engineering by Chris Lewis

This is a unique tribal music release presenting ethnic music produced by Airto Moreira who adds his own style and feelings to the field recordings which used simple recording equipment in rural settings.
Robert Trunz

Behind the Night

Track Listing (30 Second Samples)

Track 1
Track 2
Track 3
Track 4
Track 5
Track 6
Track 7
Track 8
Track 9
Track 10
Track 11

ESSENTIAL VIBES

Various Artists

Follow Your Dreams (BW093)

"I've always had this dream of recording an album with South African musicians playing alongside some of the best musicians in the world. I'm also telling my people that this country is unique, that musically, audiences haven't learnt to appreciate what they have available to them. In a way it's a plea to give South African musicians a chance."
"I was usually first in the studio while we were putting it together at Realworld in England. I'd arrive and start playing the chords of Song For The Gurus on the piano and as the guys arrived they would join in.
When the melody played itself out in my head, I would think of these musicians, who were some of the most educated musicians, and I'm not talking of school education, but being educated musically, these guys knew their music. Guys like Duke Makasi, I would imagine myself in their shoes, how they would handle certain things."
A jazz ballad, Song For The Gurus features the mature tenor saxophone of Khaya Mahlangu. The solo guitar is from a sparkling Lawrence Matshiza.

Yana Purim & Heraldo de Monte

Brasilianos Vol. 1

Track Listing (30 Second Samples)

1. Luiza
2. Atraz da porta
3. Romance de amor
4. Isto aqui O que
5. Pra voc
6. Eu e a brisa
7. Cancao do amanhecer
8. My foolish heart
9. Oque tinha de ser
10. Amor comigo
11. Samba de pergunta
12. Retrato em brano e preto