Arthur Verocai, Nu Civilisation Orchestra, Mulatu Astatke, Stereolab, Scientist, Sampa The Great, Yukimi Nagano, Adam F, corto.alto, Yazmin Lacey, anaiis, Jamie Woon, Kahil El'zabar, Joshua Idehen, Musclecars, The Speakers Corner Quartet, Barker, Ana Frango Elétrico, Jazzanova, Da Lata, Bel Cobain, Natural Information Society, Momoko Gill, Roge, Soyuz, СОЮЗ, Actress, Aja Monet, Amaro Freitas, Blawan, Butcher Brown, Cleo Reed, Dave Okumu, Gary Bartz, Matthew Herbert, The Outlook Orchestra, james K, John Glacier, Joy Crookes, Kofi Stone, Lone, Shabaka, Elliott Skinner, The Heliocentrics, The Zawose Queens, Gena, Karriem Riggins, Alexander Nut, Alix Perez, Atjazz, Beatrice M., Bryan Gee, Calibre, Charlie Dark, Coco Maria, Colleen Cosmo Murphy, Cosmo Sofi, DBridge, Double O, F.A.R.O, Giles Smith, Glenn Underground, Guedra Guedra, Iration Steppas, Jamz Supernova, JKriv, Josey Rebelle, Klone, Facta, Kenny Dope, Luke Una, Mantra, Marcia Carr, Mr. Scruff, Nightmares On Wax, Palms Trax, Pariah, DJ Perception, Poly-Ritmo, Reni, Ruby Savage, Sadar Bahar, Saige Sounds, Shy One, DJ Spinna, Tama Sumo, Lakuti, Wookie, Yoofee, TA$HA, Toribio, DJ Flight, Dr Banana, Tone B. Nimble, izco, Ehua, and Femi Koleoso

Hailing from the western Ethiopian city of Jimma, young Astatke was sent by his family to study engineering at Lindisfarne College in Wales in the 1950s, however went on to graduate with a degree in music, later studying at the Trinity College of Music in London, UK. In the 1960s the percussionist moved to Boston, U.S. and studied vibraphone and percussion at the Berklee College of Music, where he explored his interest in Latin jazz.

After moving to New York City, U.S., Astatke released a pair of albums “Afro-Latin Soul, Volumes 1& 2” in 1966. The albums featured mainly instrumental songs and was credited for establishing bongo and conga drums as standards in Ethiopian popular music. In 1972 the composer released the album “Mulatu of Ethiopia”, introducing the sound, now known as Ethio-jazz, both in Ethiopia and the U.S. Around this time the percussionist collaborated with revered artists including Mahmoud Ahed and Duke Ellington, which represented the golden age of instrumentation and rhythm in Ethiopia’s pop and jazz circles.

Following the Derg military junta, the majority of Ethio-jazz labels in Ethiopia were forced to flee, including Amha Records, which had release the bulk of Astatke music in the country. The musician kept a relatively low profile during the 1990s, with his music only found in certain underground circles, however he received somewhat of a resurgence in the 2000s among western audiences, thanks to his feature in the 2005 Jim Jarmusch film Broken Flowers, and being sampled by the likes of Nas, Damian Marley, Kanye West and Cut Chemist.

In 2004 Astatke collaborated with the U.S. band Either/Orchestra, subsequently making appearances in Scandinavia, London, New York, Canada and Germany. The percussionist later worked with the London-based collective The Heliocentrics, which featured re-workings of his classic Ethio-jazz material as well as new productions.

Born to a Malaysian Chinese father and a Scottish mother, Jamie Woon was one of the first solo artists to take a breed of dubstep into the pop charts after the rise and rise of James Blake. Bafflingly enough, this sound of the South London underground got some of its first mainstream exposure from a BRIT School graduate, who was only a year younger than Amy Winehouse. Combining the sound of dubstep with an aching soul voice and pure pop melodies, Woon put his first songs on the internet and was signed to Live Recordings by 2007, the same year he released his first E.P “Wayfaring Stranger”. Wisely, he let his sound and his songwriting skills mature between then and his debut album.

In between, the style of hushed, natural electronica that he’d pioneered had become a genuine commercial force thanks to the success of The XX and the aforementioned James Blake. Because of this, Woon placed fourth in the BBC’s annual sound of 2011 poll, and his debut album, “Mirrorwriting”, cemented him as one of the most vital voices of his generation. Since then, he’s all but left the spotlight, only returning for acclaimed tours and collaborations with his close friends (and sometimes housemates) Portico and on Disclosure’s album track “January”. Don’t be fooled though, this is an artist nearing the peak of his prowess, and where he goes next is going to be sensational. Highly recommended.

Comprised of DJs Alexander Barck, Class Brieler, Roskow Kretschmann, Stefan Leisering, Axel Reinemer, and Jürgen von Knoblauch, Jazzanova’s members all met at the Berlin-based club, Delicious Doughnuts. Expressing an interest to create a sophisticated, jazz-infused sound that borrows influences from past decades of dance music, the collective formed Jazzanova in 1995. It was two years however before the group yielded any rewards for their efforts, when BBC DJ Giles Peterson premiered the group’s debut production, “Fedime’s Flight” on his radio show. This success led the group to produce remixes for the likes of 4hero, Men from the Nile, and Ian Pooley, which subsequently comprised the group’s early compilation, “The Remixes 1997-2000”.

By this point Jazzanova had gained real momentum in dance and house circles, which Barck, Brieler, and von Knoblauch built on by performing DJ sets the world over. Upon its official release on the newly-founded Jazzanova Compost Records, “Fedime’s Flight”, soon became a staple of DJs’ sets across Germany and Europe, and was subsequently succeeded by the production, “Caravelle”. In 2002 following five years of hard graft, Jazzanova issued their debut full-length “In Between”. Featuring remixes of their debut, the compilation “Remixed” followed in 2003, marked by guest contributions from Kyoto Jazz Massive, Ayro and King Britt.

Jazzanova continued their prodigious remix output well into the new millennium, with mixes of artists including Liquid Lounge, Ursula Rocker, Marshmellows, Calexico, Shaun Escoffery, and Status IV. In 2005, entrusted with the jazz label Blue Note’s entire back-catalogue, Jazzanova issued the compilation “Blue Note Trip: Lookin’ Back/Movin’ On”, turning old jazz numbers into dancing catalysts. A second remix album appeared in 2005, “The Remixes 2002-2005, showcasing the group’s most recent output, followed by “Glow and Glare” in 2005, and “Paz e Futebol” and “Broad Casting” in 2006.

The group’s sophomore full-length “All the the Things” was issued on Jazzanova Compost Recordings in 2008, marked by soulful vocals from the likes of Leon Ware, Dwele, and José Jones and rapper Phonte Coleman. A host of remixes followed, as did a second album of Blue Note mixes “Blue Note Trip: Scrambled/Mashed” in 2006, and the compilation “Belle et Fou” in 2007. The collective’s third full-length “Upside Down” was released in January 2012, following which Jazzanova hit the studio with a live band and Paul Randolph to create the well-received “The Funkhaus Studio Sessions” in 2012.

Before Carthy delved into his musical excursions he studied fine art at the Psalter Lane campus of Sheffield Hallam University and worked as a shelf stocker for his local branch of Kwik Save. The name Mr. Scruff derives from his ‘scruffy’ facial hair and appearance and his signature loose-lined drawing style. Carthy started DJing in 1994 initially to Manchester, UK audiences then nationwide who would go to hear his eclectic mixes of funk, soul and electro, and apt use of samples.

Around this time Mr. Scruff released his first 12” vinyl “Hocus Pocus” on the small Manchester label Robs Records and soon after the EP “Sea Mammal” which created a small around the artist. The releases set the scene for Carthy’s debut self-titled album which was released May 12, 1997 which along with “Sea Mammal” incorporated the DJ’s fondness for the sea and marine life. The DJ has also made a name for himself with his notorious all-night DJ sets with his genre-blurring style.

Mr. Scruff's two follow-up albums “Keep It Unreal” and “Trouser Jazz” were released on the bigger label Ninja Tune. “Keep It Unreal” features a variety of samples from wildlife narrator David Attenborough to T-Bone Walker’s “Hypin’ Woman Blues” and vocals from Roots Manuva. The DJ and music producer’s three subsequent albums “Ninja Tuna” (2008), “Bonus Bait” (2009) and “Friendly Bacteria” were all released on the label Ninja Tuna – a collaborative label of Mr. Scruff and Ninja Tune, and saw the DJ collaborate with a number of artists including Alice Russell, Agent K and Robert Ownes.

Carthy’s most recognisable hit “Get a Move On” has its sample roots in Moondog’s famously-brassy “Bird’s Lament” and has been used in commercials from Volvo to France Télécom and GEICO insurance. Mr. Scruff’s laundry list of popular singles and mixes speaks volumes to his quality and respect in the industry, and are almost as popular as Carthy’s own tea company affectionately named Make Us a Brew.

Evelyn is known for delving into a number of genres with his music and is never afraid to try something completely bizarre. Although starting off with hip hop as their main genre, Evelyn (with the help of former partner Kevin Harper) began to expand their audience with the incorporation of many different elements, from more dance-esque music to the introduction of live musicians to create tunes with a jazz vibe, evident in the 2006 album “In A Space Outta Sound”.

In his extended career of over 20 years, Evelyn has produced 11 albums/LPs, most of which have made an impact in both the UK and the U.S. Earlier releases such as “Smokers Delight” and “Carboot Soul” achieved popularity in Britain, charting at #84 and #71 respectively. However, it was the album “Mind Elevation”, released in September 2002, that saw him reach his highest position in the charts at #47.

Evelyn's music could be categorized into many different genres due to the amount of different instruments and elements each one uses. Although not known for possessing a stereotypical club sound, Evelyn has been performing for many years at Las Dalias, one of Ibiza's most famous nightclubs. During his set “Wax Da Jam” (evolving from his “Wax Da Beach” parties that were held on San Antonio Bay) he promotes his relaxed and feel good vibe to the party goers. Nightmares On Wax said himself that “Everyone turns up as individuals but everybody leaves as one”.

Nightmares on Wax has been associated with some of the biggest names in music, including De La Soul and Roots Manuva, and regularly performs with live musicians whilst on set. His most latest album is entitled “N.O.W Is The Time”, released to commemorate his career (which has now spanned a quarter of a century) and the fact he is the longest serving artist at Warp Records.