Dopeness Galore Holland Vinyl & CDs

Review: As well as serving up some of the best in contemporary b-boy boogie swerves and blessed disco from the likes of Inkswel, Andras Fox and more, Kid Sublime's oh so appropriately named Dopeness Galore label does occasionally dip toes in archival waters. After reissues of Chet Baker and Pharaoh Sanders, Dopeness Galore are back on this flex with an LP of jazz bop burners from the masterful saxophonist George Adams. Now sadly departed, Adams was a Jazz multi-instrumentalist who was pretty active up until his passing in 1992. Suitably titled Finest, this six track selection canvasses the '70s and '80s era of the Adams discography with his dramatic way of playing the saxophone really coming to the fore. Dope!

Review: Hands down winner of 'title of the week', this cheeky disco number is brought to us by Chicago veteran Rahaan. Boasting the vocals of the mysterious Saucy Lady, the original is a warm and glowing retro disco romp complete with authentic brass and strings. Rahaan also provides a larger, extended mix in which he strips the opulence down to a more bareback groove, inserting a big and nasty raw electro bassline to help bring the dancefloor to a suitable climax (of joy).

Review: The music of London based collective Los Charly's Orchestra dips a 70s boogie sound with a Latin touch, and lends itself well to the exemplary mixing talents of Chi-town don Rahaan, who remixes "Swinging To The Bass" for Dopeness Galore Holland. Rahaan captures the funk that lies at the core of this track, using it as the base on which to manipulate and twist the music. It's a light footed disco cut, with a hook that slices clean through the spattering of jazz-licked murmurings. The dub mix overwhelms you with a driving bass line and tinkling piano solo, with Rahaan borrowing each epic element and composing a fresh and lively sound. Do check.

Review: Between 1970 and 1995, tenor saxophone player Pharoah Sanders was recording for a number of different small independent jazz labels. One of those labels was Netherlands based, Timeless. This is a double LP compilation of those recordings...
He recorded three LPs for the label: 'Africa', 'Moon Child' and 'Welcome to Love'. Now Dopeness
Galore have compiled the highlights of these records available on 'Finest', a solid eleven track compilation.
These Timeless recordings were recorded in short periods of time, often a few days. 'Moon Child', for
example, was recorded in one night in 1989. Pharoah Sanders: 'The night we put this album together
we were all extremely exhausted. We had been touring when we arrived at this studio in Paris. The
session lasted all night.'
On his Timeless debut 'Africa', Pharoah Sanders (1940), intended or not, makes a link to the past. Not
only does he pay explicit tribute to his late mentor John Coltrane, he is also joined by pianist John
Hicks, who was part of Sanders' first ensemble in 1963. By that time Pharoah Sanders was living in
New York and was struggling to make a living, at times sleeping on the streets. It was joining
Coltrane's ensemble which brought Pharoah Sanders stability and wide acclaim. After Coltrane's
passing Sanders continued to work with his wife, Alice. On 'Welcome to Love', playing a series of
famous ballads, the thin, reserved approach is reminiscent of Coltrane. However, it is still marked with
Pharoah's trademark sound.

Review: Between 1970 and 1995, tenor saxophone player Pharoah Sanders was recording for a number of different small independent jazz labels. One of those labels was Netherlands based, Timeless. This is a double LP compilation of those recordings...
He recorded three LPs for the label: 'Africa', 'Moon Child' and 'Welcome to Love'. Now Dopeness
Galore have compiled the highlights of these records available on 'Finest', a solid eleven track compilation.
These Timeless recordings were recorded in short periods of time, often a few days. 'Moon Child', for
example, was recorded in one night in 1989. Pharoah Sanders: 'The night we put this album together
we were all extremely exhausted. We had been touring when we arrived at this studio in Paris. The
session lasted all night.'
On his Timeless debut 'Africa', Pharoah Sanders (1940), intended or not, makes a link to the past. Not
only does he pay explicit tribute to his late mentor John Coltrane, he is also joined by pianist John
Hicks, who was part of Sanders' first ensemble in 1963. By that time Pharoah Sanders was living in
New York and was struggling to make a living, at times sleeping on the streets. It was joining
Coltrane's ensemble which brought Pharoah Sanders stability and wide acclaim. After Coltrane's
passing Sanders continued to work with his wife, Alice. On 'Welcome to Love', playing a series of
famous ballads, the thin, reserved approach is reminiscent of Coltrane. However, it is still marked with
Pharoah's trademark sound.