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Somewhere amid the sea of pimps and tough guys, Blaculas and Blackensteins that came to characterize the films of the Blaxploitation era was a curious little oddity that defied classification. Not scary enough to be horror, too supernatural to be drama, with far too many animal sacrifices to be a romance, Lord Shango represented a solemn, contemplative, spiritual alternative to the sort of “exploitative” sex and violence-laden criminal storylines that gave Blaxploitation its name.Released in early 1975, Lord Shango’s marketing materials painted it as a horror movie…but in truth, it’s a thoughtful, deliberately paced blend of genres similar in tone and cultural content (comparable to the spirit and feel of the 1973 film Ganja & Hess…and also starring Marlene Clark) and plays like a “woke” old-timey melodrama in the mold of the “race films” of the early 20th century from pioneering black directors like Oscar Micheaux and Spencer Williams. This racial consciousness is undoubtedly a manifestation of the Afrocentrism and Black Power movement of the ’60s and ’70s.Writer Paul Carter Harrison, whose playwright background comes through in the literate, dialogue-driven script, was raised in a family that had roots in Marcus Garvey’s Pan-Africanism movement and the Gullah culture, and a couple of years before Lord Shango, he wrote a book about the imprint of traditional African beliefs on the black experience and the need to reflect this influence in the arts.Released by Bryanston Pictures who rose to prominence by financing and distributing films such as the crossover porn sensation Deep Throat, as well as big horror & cult films like The Texas Chain Saw Massacre, Bruce Lee’s Return of the Dragon, the Andy Warhol productions Blood for Dracula-Flesh for Frankenstein, John Carpenter’s Dark Star and the animated Blaxploitation parody Coonskin.Like the movie, the soundtrack showcases a clash of different “worlds” — musically speaking, that is. Three distinct musical styles run throughout the film, each serving to set the tone for one of the primary settings: gospel in and around the church, African drumming in the Yoruba village and jazz/R&B/funk in the “real world”. The music in Lord Shango is almost a character unto itself.The man versatile enough to provide this vital musical accompaniment was accomplished trumpeter, singer, composer & conductor Howard Roberts…known for his work with icons such as Nina Simone, Miles Davis, Aretha Franklin and countless others. Roberts had already released a couple of his own albums, including one that seems like a direct precursor to Lord Shango: 1968’s Let My People Go, in which he set traditional African-American spirituals to African percussion. As the popular saying goes: the right man for the job.Howard Roberts put his musical expertise to use on the set of Lord Shango. But it wasn’t a one-man show, of course. Among the talent he brought was ‘Gospel All Stars’ member Ella Mitchell (Sylvester, Peter Tosh), Chief Bey (Art Blakey, Pharoah Sanders) and Howard Roberts’s own Chorale (naturally) who had already worked with greats such as Ahmad Jamal and Little Richard. Vocals were also handled by the prestigious Aaron Staples Community Choir…and Milford Graves (the trailblazing free jazz percussionist) supervised the African drumming, which was reportedly performed by a pair of “African priests”.The soundtrack to Lord Shango has it all! Expect hypnotic Yoruba drums, call-and-response chants, spiritual belting gospel choirs with Doo-wop backings…to more contemporary R&B jams with an easy-going Al Green soul-vibe, blazing funk (the more ‘stereotypical’ Blaxploitation sound), an array of fantastic jazz permutations, soothing piano ballads combined with cool mid-tempo horns…and even ‘loungy’ Latin fusion jazz-funk. This album is a must-have piece of art that just begs for a place in every serious soundtrack collectors’ collection.Originally released in 1975 on Bryan Records (the musical division of Bryanston Pictures) it has since then become a hard-to-find collectible record that fetches high prices on the second-hand market. Tidal Waves Music now proudly presents the first official reissue of Howard Robert’s classic soundtrack to ‘Lord Shango’. This unique album comes as a deluxe 180g vinyl edition (strictly limited to 500 copies) with obi strip and featuring the original artwork. Also included is a double-sided insert featuring original movie stills and lengthy-exclusive liner notes by renowned Blaxploitation author Mark H. Harris. Released exclusively for Record Store Day 2021 and available in participating stores worldwide on June 12th, 2021.

JAUBI continue the Nafs journey, which commenced with the single “Satanic Nafs” (featuring the remix by legendary LA producers The Gaslamp Killer & Mophono) released in March 2021. Now JAUBI draw on the elements of North Indian classical music, Hip-Hop and modal/spiritual jazz in their debut LP entitled “Nafs At Peace”.The journey officially began back in April 2019 when London’s multi- instrumentalist and 22a Record label boss Ed “Tenderlonious” Cawthorne and Polish pianist/composer Marek “Latarnik” Pędziwiatr of EABS/Błoto, visited the group to record in Lahore.Together they channelled their personal struggles at that time into the two recording sessions allowing the musicians to find a spiritual path through this musical purge.Nothing whatsoever was written down during the recording sessions - no sheet music and no song titles, which allowed the six musicians to forget about their worldly issues.In many ways, the journey represents a struggle and an expression of gratitude and an acknowledgement that the musician's inspiration comes from a higher power. The album cover portrays the mother of JAUBI’s bandleader, tearfully praying to God to get her son through that dark period of his life.The first step of the journey can be heard on “Satanic Nafs” which refers to the lowest level of the Self which was released 26th March 2021 through Astigmatic Records.The album title ‘Nafs At Peace’ refers to the last purification step the self has been through. At this level, the Self no longer struggles because one has complete love of God, by becoming at peace and tranquil with God’s will. We hope all can achieve the stage of “Nafs At Peace” … Inshallah. creditsreleased May 28, 2021All songs composed by Ali Riaz Baqar except for 'Mosty' composed by Marek PędziwiatrAli Riaz Baqar - GuitarZohaib Hassan Khan - SarangiQammar 'Vicky' Abbas - DrumsKashif Ali Dhani - Tabla, VocalsTenderlonious - Flute, Soprano SaxophoneLatarnik - Fender Rhodes Mark II, Grand Piano, Yamaha PSR-550,Korg MS-20, Moog Voyager, Hohner Clavinet Pianet DuoVox Humana chamber choir (Oslo) - Vocals on 'Seek Refuge'Recorded at Riot Studios in Lahore, Pakistan in April 2019 (A2, A3, A4, B1, B2) and Newtone Studios in Oslo, Norway in August 2019 (A1, B3)Session Engineers: André Viervoll (Newtone Studios) annd Farhad Humayun (Riot Studios)Mix: Rhys DowningMastering: Paweł BartnikExecutive Producer: Łukasz WojciechowskiA&R: Łukasz Wojciechowski, Sebastian Jóźwiak & Oliver ReevesPhotography: Ali Riaz Baqar, Uzma Rao, Sebastian JóźwiakGraphic design: AnimisiewaszCalligraphy: İlkay Kanar© 2021 Jaubi℗ Jaubi & Astigmatic RecordsAll Rights Reserved

From start to finish this album features the most insane Jazz-Funk tunes ever released on a Library LP from Italy. Amleto Armando aka 'Puccio' Roelens was a great and requested composer and arranger of the time, been working for Rai and Vedette Records and being also a orchestra leader and pianist. Along with "ROCK SATELLITE" this is a KILLER Funk record all the way through, and the most similar record to mythical Torossi's FEELINGS. Incredible B-boy drum breaks in this session with spacey Fender Rhodes, cosmic Synth, mad Fuzz and treated Wha-Wha, heavy basslines, and huge horns section where Dino Piana Jazz trombone seems to play and so on..