Mad About Records is proud to release an all-time Brazilian Soul Boogie masterpiece. Classic Brazilian Soul from 1979

180-gram black vinyl limited edition transfer from Master Tapes

Don Beto was born in Uruguay and was one of the forefathers of Brazilian Soul Music in 1979 when he released “Nossa Imaginaço,” an LP that had compositions by famed producer Lincoln Olivetti and included hits such as “No quero Mais,” “Tudo Again,” and “Renascendo em mim.” This album received a Golden Globe nomination in 1979.

Don Betto’s “Nossa Imaginaço” appeals to fans of Brazilian music as well as soul and AOR.

Official Reissue Under License by Som Livre

Killer Soul/Jazz-Funk LP was recorded in 1976 in the San Francisco Bay Area.

Rare Groove favorites such as “Losing You,” “Don’t You Think It’s Time,” and “Love Nevermore” appear on the Cult album.

They take their name from their tutor, Bill Courtial, a well-known session guitarist. Pete ‘Coke’ Escovedo is said to be a co-founder. They had previously collaborated as members of Santana’s spin-off band Azteca, a Latin jazz fusion ensemble, most famously on 1973’s “Pyramid of the Moon LP.”

They were introduced to vocalist Errol Knowles, who has a charming albeit restricted vocal style, during these recordings. Courtial’s core consists of the three of them. Meanwhile, the rest of the Courtial was coming together in San Francisco.

The collected ensemble was granted an alternate location at a local club, Butterfields, after their original performance in a play was canceled on premiere night. This was going to be a big break for them since the club manager was acquainted with Bill Courtial, and it had been revealed that Bill wanted to create a band.

The album was released by Pipeline, a tiny label from Woodside, California, in 1976.

Steve Whiting, Whiting & Co. Entertainment A special thanks to Bill Courtial and Susan Courtial.

The Rare Spiritual Jazz Funk Masterpiece is reissued worldwide for the first time with the original four-page guide.

Jothan Callins had previously performed with Olatunji in 1960 before joining The Sun Ra Arkestra and establishing his own Sounds of Togetherness. Cecil McBee, Norman Connors, Joseph Bonner, and Roland Duval are among the members of the band featured on this 1975 New York album.

There is almost no data on Callins and practically nothing about the recordings, which were released as a one-off on Triumph Records. Callins, who was born in Birmingham, Alabama, worked with a lengthy list of celebrities, was an instructor, and earned his Master’s degree at the University of Pittsburgh, where Nathan Davis directed the jazz studies program. 

He founded the Birmingham Youth Jazz Ensemble (BYJE) and was the first Jazz Artist Resident in Birmingham Public Schools. Callins was teaching in New York City at the time this album was published.

British jazz underground masterpiece

Ultra rare UK Prog-Jazz Fusion private-pressing

In 1973, four Englishmen who enjoyed Jazz, rock, and groove agreed to create a separate album at Birmingham’s Zelia Studios. The outcome was Poliphony, and it quickly became a collectible among Jazz-Rock fans.

Reissued Officially Dave Bristow has granted us an exclusive license.

Neil Ardley, Ian Carr, Barbara Thompson, and John Hiseman star in this 1965 British jazz classic.

The NJO was one of those inescapable big-band organizations (originally founded as the Clive Burrows Orchestra) in the mid-60s London scene when practically everyone who was somebody on the scene or almost transited through the group, which was generally the instrument for songwriter Neil Ardley.

The WR album has fantastic names like Ian Carr (of RCQ and Nucleus fame), Barb Thompson, Tony Reeves, John Hiseman (all three of future Colosseum renown), Trevor Watts (future Amalgam), and a slew of less famous but no less talented performers like Paul Rutherford, among others. The list would change to include many additional well-known names.

The New Jazz Orchestra was founded in December 1963, and its title represented both the youthfulness of its members—their age range was only 23—and their purpose to present the unique type of orchestral jazz that was blossoming in America but was still being heard in Britain at the time.

Non-jazz instruments such as trumpets, horns, and bass were added to the conventional brass, saxophones, and rhythm section of the big band. This is the NJO’s debut album, which was recorded in March 1965 in front of an invited audience to put the new band at ease.

The NJO grew out of the “Jazzhouse,” a perfect weekend jazz club based at the Green Man, Blackheath (gutted to make way for Allison Close), where the “house” band was the Ian Bird Quintet (originally consisting of Ian Bird, tenor sax; Clive Burrows, baritone sax; Johnny Mealing, piano; Tony Reeves, bass; and Trevor Tomkins, drums). Paul Raymond and Jon Hiseman took over for Mealing and Tomkins, who left to join the newly established Rendell-Carr Quintet.

Many London-based jazz musicians performed in the ensemble, including Harry Beckett, Jack Bruce, Ian Carr, Dave Gelly, Michael Gibbs, Don Rendell, Dick Heckstall-Smith, Jon Hiseman, Henry Lowther, Frank Ricotti, Paul Rutherford, Barbara Thompson, Trevor Tomkins, Michael Phillipson, Les Carter, Tom Harris, Trevor Watts, and Lionel Grigson. Pieces and arrangements were supplied by Ardley, Gibbs, Carter, Rutherford, Michael Garrick, and composer Mike Taylor.

“The Seventh Son” was published on RA Records in 1980 and quickly became a Jazz Holy Grail. This release is a must-have for anybody who collects Spiritual Jazz.

Malachi Thompson went to Chicago as a kid and began playing the bugle at 11. Malachi played in the Chicago South Side rhythm and blues scene as an adolescent. He attended the Association for the Advancement of Creative Musicians (AACM) in 1968, where he spent some time with the AACM large band.

While residing in New York City, Thompson collaborated with saxophonists Joe Henderson, Jackie McLean, Frank Foster, and Archie Shepp, among others. In 1978, he founded his Freebop ensemble and ended up moving to Washington, D.C. Thompson has also collaborated with Lester Bowie’s Hot Trumpets Repertory Company and founded Africa Brass, a band influenced by classic New Orleans brass bands.

Thompson formed the Sutherland Community Arts Initiative, a non-profit company, in 1991 with the objective of saving the Sutherland Theater on Chicago’s South Side. He also composed background music for a play about the theater.

Thompson said he was treated by radiotherapy and jazz reading after being diagnosed with T-cell lymphoma and given a year to live in 1989. In 2006, he died in Chicago, Illinois, due to a return of his disease.