‘Naz’ is debut album of Iranian singer and film star Liraz and Israeli producer Rejoicer, fresh from his Stones Throw release

Liraz is influenced by Iran’s female musical icons of the 1970s – like Googoosh and Ramesh – and her debut album Naz is as fiery and defiant. She sings in Farsi, on an album dominated lyrically by the role of women in society and musically by the bounce of hip-hop and electronica. It is produced by Rejoicer (Yuvi Havkin), an Israeli beats, jazz and electronica artist who released an album on Stones Throw in August.

Liraz is driven by the diverse assemblage of stories which make up her heritage and her music has mobilised a campaign around women’s rights. Raised in Tel Aviv in Israel, her parents are from Iran yet political circumstances have meant that she’s never been able to visit, following the 1979 revolution. She is also a successful actor in both Israel and Hollywood, acting with the likes of Philip Seymour-Hoffman (A Late Quartet) and Naomi Watts (Fair Game).  It was in LA that Liraz heard music she could relate to and express herself through.

“Persians have these nice, polite manners of being like an Iranian woman,” she says. “You have to be good to your husband, good to your family, very polite… this is the only way I knew.” By way of illustrating her point, Liraz refers to the career of legendary pop singer Googoosh. It was in her music that she first saw a public image of a female Iranian swaggering with confidence, opening her eyes to this dusted-over lineage of public female figures in Iran. “But after the revolution, Googoosh was forced to stop singing, eventually leaving Iran so that she could keep singing outside her homeland,” Liraz says. “It’s a reflection of the newly-restricted role for female musicians in the revolution’s aftermath – and for female singers in particular, who are prohibited from performing solo for male audiences.”

The role of women in society is ever present in her lyrics. In Nozi Nozi she presents the idea of an Iranian archetype of a sweetly-smiling wife, subtly trying to wrestle what she wants out of her husband. Several of the tracks are covers of Iranian artists, like Hala Bavar, a version of one of Googoosh’s songs, pondering inner turmoil and how it relates to daily reality.

Collaborating with producer Rejoicer, also based in Tel Aviv, has created a fusion of Iran’s gamut of traditional instruments and a chemistry of hypnotic songs and heavy-weight beats.

Naz by Liraz is out now on Dead Sea Recordings.

Follow Liraz on Instagram HERE 


Left Ear’s next release is ‘Percussions Pour La Danse’ – a deep percussive journey where Africa meets Western jazz via computerised dance

This next  instalment from Melbourne’s Left Ear Records is an album created to accompany contemporary jazz-dance classes – Percussions Pour La Danse – and was a 1980s collaboration between contemporary-dance instructor Tony Kennybrew and Jean-Pierre Boistel.

Tony – a Washington native who had studied, taught and danced professionally since the age of 12 – found himself in France in the late 1980’s, where he linked up with like-minded musician Jean-Pierre. The Frenchman had recently returned from a six month trip to West Africa.

According to Left Ear: “Tony used the music when teaching contemporary jazz-dance classes and to accompany live performance, allowing students to dance slowly, rapidly and change speeds without changing the tempo.  In order to reach the spatial possibilities he was striving for, Jean-Pierre would also use computer assisted programming to sample and re-play his own instrumentation. This allowed him to lay down the tempo of the track and then play live over the top, which in turn gave him the freedom to add the desired instruments and effects to each song.”

Jean-Pierre’s use of the Kalimba, Talking Drum and Sanza gives the album a distinctly African sound, while contemporary jazz-dance time signatures adds a unique perspective to these traditional instrumentations.

It’s another wonderous and priceless treasure brought to us by Left Ear Records. Click here to visit the label’s website and hear their past reissues.

20 year quest complete: Jazzman announce first official reissue of iconic Don Rendell and Ian Carr Quintet sessions at Lansdowne

The complete Ian Carr and Don Rendell Lansdowne recording sessions have a full and unprecedented boxset reissue from Jazzman Records on November 16th. They have been remastered from the original analogue master tapes at Abbey Road Studios and will come with replica artwork, design and  paper stock.

This project has been 20 years in the making and this labour of love has received extra special care – even by Jazzman’s lofty standards. The booklet contains never before seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton.

The five albums – Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969) and Live (1969) – have reached almost mythical status in the collector’s world. The collective second hand market value comes to an astonishing £6,000.

The quest to bring these remarkable recordings back to life connects with the beginning of the life of the label Jazzman Records. It was 1998 when a young ‘Jazzman’ Gerald put in a request to Universal Music to license for reissue one of his all time favourite records, Dusk Fire, by Don Rendell and Ian Carr Quintet. He had got lucky a few years before and found a lone copy at a New York Record Fair. British jazz records were not nearly as sought after or as popular outside of the UK, and unaware of it’s hefty price tag, a vendor sold him a copy for just $12. The plan was for this to be the first reissue LP on Gerald’s newly formed Jazzman record label. That plan was scuppered though.

So what’s taken so long? The 20 year wait is finally over, but the time taken was even with the knowledge that these albums were owned by Universal. Gerald’s initial request to them was denied as the company was unable to locate the original paperwork and could not direct the enquiry appropriately. Gerald persevered, but failed for many years.  Eventually a friend took a job at Universal and from then it took two years to find the right department, locate the paperwork amongst many thousands of others in their archives and finally seal the deal.

The Don Rendell/Ian Carr Quintet played together for seven years and made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by Denis Preston and recorded at his Lansdowne Studios, Preston was a legend in his own right, responsible for many Trinidadian calypso records from young Caribbean immigrants arriving in London in the 1950s and ’60s, as well as working with other renowned jazz musicians like Jamaican Joe Harriott and Indian Amancio D’Silva.

The band was primarily made up of saxophonist Don Rendell, trumpeter and composer Ian Carr, and pianist and composer Michael Garrick. It was Garrick who was influenced by Indian, African and Middle Eastern music that gave the band their otherworldly sound. The addition of Ghanaian percussionist Guy Warren on their final album Change was a catalyst to the band’s dissolution as “not everyone took to him”. Ian Carr went on to form the legendary jazz-rock band Nucleus, while Rendell and Garrick furthered their jazz careers with their own solo projects.

“They were five guys putting forward their ideas in music,” according to Jazzman Gerald. “It became especially interesting when Michael Garrick joined. The combination of personalities just worked; Ian Carr was the driving force, Michael Garrick the main writer and Don Rendell was the experienced career musician. They were a brilliant team who pushed the boundaries to create their own identifiable sound.”Click here to go to the Jazzman Records website.

Luaka Bop’s latest reissue is ‘Universal Philosophy’ by Preacherman – playing T.J. Hustler’s greatest hits

Preacherman aka Tim Jones aka Midi Man aka Ironing Board Band is the latest artist to be unearthed by Luaka Bop. Following highlighting of other psychedelic luminaries – Shuggie Otis, Tim Maia, William Onyeabor and Doug Hream Blunt – this release nestles nicely between them and is out now. 
A typewriter repairman for IBM by day, fixing Selectric Typewriters and word processors, Preacherman (or other alias) spent his nights during the early 80s performing in the dimly lit lounges of Las Vegas. Playing his modified Hammond organ, he’d changed to play a Moog synth and a ‘singing’ ventriloquist dummy called T.J Hustler, together they engaged in long philosophical soliloquies over new age lof-fi funkiness.

T.J. Hustler is Jones’ most notable alias now following the reissue of the mega-rare Age Of Individualism LP from 1979. In the years since, he’s released two even rarer CD’s as Preacherman, captured on this Luaka Bop reissue: Universal Philosophy: Preacherman plays T.J. Hustler’s Greatest Hits.

Jones has always been fascinated by technology and is an engineer in his own right. He adapted a Hammond B3 organ to play a Moog synth with some of the organ’s keys (some sYll played the organ) and also adapted the organ’s foot controlled bass levers to play two Moog synth bass pedals (a failed item Moog made for a few years). 
These days Jones is CEO and founder of Up ProducXons and lives with his 103 year-old mother overlooking Lake Merric. Perfomances nowadays feature his Casio CTK-7200 keyboard, equipped with five wireless mics and a P.A.With this Jones performs karaoke and whatever song request his audience might have. Unfortunately, T.J. Hustler (the puppet) lives in a storage unit in Las Vegas, Nevada, along with the modified organ.

Universal Philosophy grants listeners access to this unique, otherworldly, homespun, folk art funk; concise and Jones’ revealing stream-of-consciousness. It is out now thanks to Luaka Bop.

Listen again: World Treasures Music Radio w/ Judy Pollak (tracklist and link below)

Listen again to the latest World Treasures Music Radio show, featuring an exclusive first listen to the extremely rare In Togetherness album by Judy Pollak and 33 1/3.

Click here to read an exclusive interview with Judy.

Listen to the show:


Aretha Franklin – One Step Ahead

Kalima – Where Is The Sunshine

Sue Barker – Love To The People

Judy Pollak Featuring 33 1/3 In Togetherness – Fascinating

June Evans – If You Want My Lovin

N.S.T. Cophie’s – Bian Ku

Tunde Mabadu – African Parowo

Thabang Tabane – Richard

Black Savage – Sharpeville

Thabang Tabane – Father and Mother

Divine Horsemen chanting

Mushapata – Kmbere Mushimbe

Momo Joseph – Love Africa Soul

Philou Louzolo – Czd

Red Axes – Abidjan (Feat Yakomin)

Nick The Record, Dan and The No Commercial Value Band – Give Me More

Judy Pollak Featuring 33 1/3 In Togetherness – Your Mine

The Nelson Family – Thank You Lord

Judy Pollak Featuring 33 1/3 In Togetherness – More Than Words

(For this song, Judy added: “And by special request, you know who you are…Jud”)

Trio Ternura – A Gira

Chiemi Manabe – うんととおく

Derya Yildirim & Grup Simsek – Nem Kaldi

Elisa Rahbani and His Orchestra – Liza…Liza

Sunghoi Band – Africa Africa (Faze Action Edit)

Judy Pollak Featuring 33 1/3 In Togetherness – Billy’s Coming Back

Judy Pollak exclusive interview – hear her modern soul gems on World Treasures Music Radio tonight at 8pm

WTM is absolutely delighted to bring you the voice and music of a legendary modern soul singer, activist and charity leader.

The very rare LP, In Togetherness, is Judy’s modern soul masterpiece featuring 33 1/3. It is being reissued soon and some of the highlights will be played on tonight’s World Treasures Music radio show, on Kmah Radio, at 8pm (GMT).

Click here to read an exclusive interview with Judy.

Click here to listen to the show from 8pm (GMT).

A mysterious psychedelic masterpiece: the Middle Eastern music of Moontribe is restored from tapes by Fortuna


Moontribe and their collection of deeply rich and heady music is a fantastic treasure that has been thankfully reissued by Fortuna Records. The Tel Aviv based collective will drop this essential artefact on September 28th.

The music is a brew of tribal percussion, hypnotising organs and long echo ripples. African drums, hints of cumbia and the spaced-out sound that Fortuna has been celebrating, through its reissues, are ever present. This release will definitely appeal to fans of Sun Ra and Idris Ackamoor, while providing that uniqueness that fans of the label now yearn for.

On the origin of the recording, the label explains “The two-inch tapes we were handed had no date. The album was, however, recorded by about a dozen musicians, following one spiritual leader, in one, unedited session. Whatever was played on the session ended up on the tape. The group chose to withhold mentioning their names in order to “strip a sense of self” from what they believe, becoming a vessel for a higher being, carrying signals they do not fully comprehend. All we could do is respect their wishes.

“Channelling a triangular pattern between traditional African, Caribbean and Middle Eastern influences, the psychedelic congregation stretch their hallucinogenic message deep into the cosmos, touching the stars and offering a “lament for a moon that never had its own moon”.”

The collective continue to gain critical acclaim from the likes of Gilles Peterson. Their world-class Boiler Room set in 2013 is a must see and future shows look very appealing. It all means that Fortuna Records are a leading light in terms of musical discovery and they continue to captivate here with another essential and coveted recording.

To pre-order, go to Fortuna Records’ Bandcamp.

Check out one of their previous reissued discoveries: