Charles Mingus
Mingus Ah Um

Early 60s cool-bossa-jazz classic gets the Verve Acoustic Sounds treatment for the audiophiles!

Deep, heads down, garage house EP from Kai Alcé and flautist Rasheeda Ali, also featuring Ron Trent on vibes!

Pure Pleasure audiophile reissue of jazz flutist & singer's only album from 1981, sounding like golden era Pharoah Sanders, John or Alice Coltrane. Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded.Adele perfectly mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the epic rhythm oriented “Man From Tanganyika” and kicks off the title track with a mystical “Allahu akbar“ chant which turns more and more psychedelic, reminiscent of Pharoah Sanders' early works. Highly recommended!

Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki - sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound. Check 'Kuro To Shiro' & 'the mellow beauty 'Romance'!

Beaut leftfield ambient, off-kilter folk and improvised acoustic minimalism from Danish musician and composer, who makes his own instruments.

Santilli returns to Mad Habitat after a European sojourn on Growing Bin! The Eora-based multi-instrumentalist is one half of Angophora, but his solo work exists in the lineage of electro-acoustic visionaries like Steve Tibbetts. With each subsequent release, Santilli strikes the balance between mining his well-defined personal aesthetic and expanding his vision.The instrumental palette of this record is centred around guitar and synthesiser, bolstered by an incredible array of idiophones and membranophones. There is no shortage of spellbinding moments, like the glacial synths that pan across “Mirrors”, the cascading beauty of “Colours” or the woodland symphony of “Hollow” - the latter even recalls the environmentally-focused work of Waak Waak Djungi’s Peter Mumme.There’s a common thread across this album in the way it evokes the expanse of nature that Santilli spends much of his time in. All 9 tracks feel like a glimpse into an exquisitely realised scene and across all of them, Santilli's music is suffused with an unhurried sense of ease. The music here feels immersive and panoramic as a result, and we’re grateful to share a glimpse into the worlds Santilli captures.