Sol Re Sol

Miller, Sidney

Linguas De Fogo

Sol Re Sol

Sol Re Sol Records is happy to announce the reissue of Sidney Miller’s lost classic Linguas De Fogo. Originally released in 1974, Miller’s third album is one of the best Brazilian records of its time. A seamless mesh of Brazilian pop, psychedelia and Bossa Nova, Linguas De Fogo could almost be mistaken as Tropicalia—if Miller hadn’t distanced himself from the genre. Of Linguas De Fogo, Flabbergated Vibes writes, “The record is dreamy, hazy, psychedlicized, progressive MPB that evokes early Lô Borges, or Beto Guedes, or the first Nelson Angelo / Joyce album.... The arrangements are all great, balancing his relaxed, almost sedated vocal lines against taught, double-tracked flute harmonies or funky electric piano or keyboards or fuzzy electric guitars that sometimes sound like it was plugged straight into the mixing board and using the input as an overdrive.... This album is very deserving of that tag of ‘lost masterpiece’ that gets thrown around a little too freely these days.” Miller first received notice in 1967 when Nara Leão recorded five of his songs (along with four by Chico Buraque, to whom Miller was compared). This was soon followed by his own album and recordings of his songs by Quarteto em Cy. He then contributed music to film (many for his friend director Paulo Thiago) and plays (one of which he collaborated on with Caetano Veloso and Gilberto Gil). While his songs were recorded by Veloso, Leão, Quarteto em Cy, MPB-4, Alaíde Costa and Gal Costa, Miller released only two more...

Sedition Ensemble

Regeneration Report

Sol Re Sol

***It is the late 1970s and recently politicized filmmaker and musician ED MONTGOMERY makes his way from San Francisco to New York City. His thought is to find like-minded musicians in order to create a politically-infused, free jazz-inspired performance ensemble. He starts playing in Latin groups and takes part in jam sessions at Bobo Shaw’s LaMama space. He finally assembles a group of musicians and starts making some seriously funky and far-out music. In 1979, Montgomery meets ROBBIE MCCAULEY, a performer & playwrite (she’d later win an OBIE for her work), who proved to be the perfect front person for what became the SEDITION ENSEMBLE. But McCauley wasn’t the only major talents in the group. BERN NIX of Ornette Coleman’s Prime Time and the Contortions played guitar. MELVIN GIGGS of Defunkt, the Decoding Society, and later the Rollins Band was on bass. BEN BIERMAN played horns with Johnny Pacheco, Larry Harlow, Hector Lavoe and other Latin greats. BOB DE MEO drummed for Jackie Byard, Eddie Gale, and high life star Souliman Rogie. Together and with others, the Sedition Ensemble recorded their one and only album, Regeneration Report in Brooklyn, April 1981. Released on Mongomery’s Context Music label, Regeneration Report got some notice, but not what it deserved. The music is a tough blend of funk, jazz, no wave, and Latin—very strong stuff that sounds as fresh today as it did in 1981. It was the lyrics that kept the Sedition Ensemble from a larger audience. Revolutionary words with absolutely no...

Master Musicians Of Jajouka

The Primal Energy That Is The Music And Ritual Of Jajouka, Morocco

Sol Re Sol

***In 1972, JOEL RUBINER made his way to Jajouka, Morocco to do fresh recordings of THE MASTER MUSICIANS OF JAJOUKA. He knew that there was an audience for the unfiltered sounds of the group and spends the summer with a tape machine and the musicians. Jams formed into songs, Rubiner had tapes that music freaks would die for. Hypnotic, pulsing, energetic, and discordant—the Rubiner recordings needed to be released. In 1974, Adelphi Records took a chance on the Master Musicians and released The Primal Energy That Is The Music And Ritual Of Jajouka, Morocco. When the album was released on CD, it netted the All Music Guide's Best of Genre award.Out of print on vinyl for over twenty years, The Primal Energy... makes a return on Sol Re Sol Records a spin-off of avant-rock label S.S. Records). Sol Re Sol's repressing of this classic album contains the of the original (remastered by JOHN GOLDEN), plus the original liner notes by ROBERT PALMER. The packaging however is something new—housed in a gatefold sleeve, it includes a new cover with little seen Rubiner photographs from the time the album was recorded. The recordings and photographs have been fully licensed. The group's publishing royalties have been paid. No one is getting exploited order to return this wonderful music to vinyl. Fans of Sublime Frequencies, Mississippi Records, the Nonesuch Explorer series, Ocura Records, and the Ethnic Folkways series will dig this release.