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Limited Edition 300 vinyl copies 140 grams for "RSD 2019".

The Italian TRJ Records with "Work Out !" wants to show the intention to preserve vinyl and record stores having produced analog master

for "Soul Clap" that will be released for the "Record Store Day 2019". The Work Out ! with "Soul Clap" explore Jazz, Funk and Soul looking

for the roots of the past, trying to build something delight.

Crackazat & Heist present: “Senses”. A stunning mini album that sees the artist deliver a heartwarming perspective on contemporary electronic music
On “Senses”, we see the pure talent of Crackazat come to life like never before. We’ve all danced to “Alfa” or his most recent hit on Heist “Demucha” and have heard his venture into the more poppy side of things with his 2022 album ‘Evergreen’ on Freerange. “Senses” however, is on another level. Crackazat takes you on a sonic journey exploring his musical personality with live keys, vocals, bass and production all coming from his studio in Uppsala, Sweden. The
jazzy horns that are featured throughout are recorded by Adeev and Ezra Potash, better known as the Potash twins. The duo took a sidestep from their recordings with John Legend, Robert Glasper and even Diplo to dive into this project with Crackazat and help him deliver arguably his best work to date.
The 6-track album starts off with the low-slung groove of ‘I need to know’. The whole atmosphere is warm, dreamy and seems to be written to lift your spirits, no matter where you are in life. Plucked strings, arpeggios and long horn notes give this song its energy, which is subtly supported by lo-fi drums and sparse bass licks.
“Do you think about me”, keeps the energy tight with a lovely drum groove and a sparse bass section. From the first note of the track, you get the feeling like the energy could change any moment. Halfway through this is exactly what happens, when uplifting keys and a buzzing lead take control of the track. The string arrangement is subtle enough to never overshadow the other instrumentation, but simply adds a beautiful layer to a track that’s already filled with
emotion. It’s all smiles when the energy of this track is set loose!
If “Do you think about me” is Crackazat in pop mode, “Freddie’s Groove” is Crackazat in full-on jazz mode. The nod to Freddie Hubbard is clear, and Crackazat cleverly takes ideas from both the jazz legend and his legendary French sampler, Pepe Bradock for this track. The horns are deep and moody, the groove is jazz-house at its best and Crackazat’s soft vocals have the perfect amount of fragility to fit the groove. The changeover into a stabby synth section
halfway through the track is a subtle reminder from the skilled producer that – even with all these musical elements – he can direct you to the front of the dancefloor with the twist of a note.
“Phantom” sees Crackazat move into a shuffling Latin-dance vibe. Here, the song reaches its full potential through the horn section, so it’s only fitting that this is the feature track for the Potash Twins. The Latin rhythms are lush, the key progression is on point and the energy on this track just keeps on going with layers and layers of horns, powerful vocal chops, and subtle but effective percussion changeovers.
“Endless life” is a track that feels like it’s building up momentum with every repetition. Whether it’s the broken beat groove, the offbeat keys or the sparse horn hits, chord hits or leads, there’s a certain energy in this track that takes a hold of you and simply doesn’t let go.
The outro “When we last met” is built around vibey drunk keys and a downtempo hip-hop groove. There’s a hint of old school D’angelo in this track and you can clearly hear the artist feels at ease with the path he’s taking the listener on. It’s a perfect ending to a record that showcases the beautiful world that Crackazat has crafted through his compositions and one thing is for sure: This is an album we will all keep coming back to for a long time to come.
Yours Sincerely,
Maarten & Lars

Coltrane, Shorter, Hubbard, Davis & Perkins from a Latin perspective! The Mantecas represent one of the finest concentrations of experience and talent in Latin and Jazz music ever to be based in the UK. A pure uplifting Latin Jazz music celebration. NOT-TO-BE-MISSED!! Recorded at different locations in London during 2022/23. Mixed at Abbey Road Studios in March 2023. The Mantecas (formerly known as "Manteca") is an eight piece, London-based, Latin Jazz, Soul and Boogaloo band well known for creating a party mood at festivals and gigs everywhere they go, from Glastonbury, Ealing Festival and Tropical Pressure Festival to The 606 Club and The Jazz Café in London. They have a particular ability for bridging the culture gap with any audience getting all crowds up hitting the dance floor in a jive. The Mantecas will blow your mind with a mesmerising mix of salsa, Cumbia, Funk, Latin jazz and Boogaloo. For this new release album, the band is exploring the legacy of some of the Jazz giants through a Latin lens, reworking timeless pieces by Coltrane, Shorter, Davis, Hubbard and Perkins, giving them the infusion of Latin rhythms while remaining true to the Jazz language. The band is made up of some of the best musicians in the Latin, Jazz and Pop scenes in London: TRYPL HORNS: Paul Booth (Incognito/Brand New Heavies), Trevor Mires (Jamiroquai/Incognito), Ryan Quigley (Gregory Porter/Beverly Knight) Dave Oliver: Keys (Lisa Stansfield/Snowboy) Satin Singh: Percussion (Jazz Jamaica/Roberto Pla/Pucho and the Latin Brothers) Javier Fioramonti: Bass and arrangements, MD (Alex Wilson/Jack Costanzo/Joe Bataan/Salsa Celtica) Flavio Correa: Vocals (Omar Puente/New Regency Orchestra) Will Fry: Percussion (Tom Misch, Tony Allen) Rob Luft: Guitar (Dave O'Higgins, Byron Wallen) "Expect loads of hard-hitting salsa, exploding drums and outrageously funky boogaloo". Time Out * "Ripping new Latin Jazz band from the finest musicians of London". Fact Magazine * "One of the best Latin Jazz-funk bands working the scene today". The Jazz Café, London Ltd Ed.

Legendary international DJ, Keb Darge, fell under the spell of this music when his Japanese girlfriend forced him to go down to a ‘Rockabilly’ night back in 1989. As soon as the DJ dropped the needle on Johnny Burnette’s ‘Rockabilly Boogie’ Keb was mesmerized. He was soon hunting down the hideously rare top tunes and slipping thousands of pounds into specialist collectors like Boz Boorer’s back pocket, when the legendary guitarist was not recording or touring with Morrissey. Of course, Keb was then taking these records and introducing them to new audiences in his DJ sets worldwide.

Although it has taken an age to persuade him, Keb has now applied his perfectionist compiling skills to pick 14 killers to grace this fantastic collection. Ranging from the bopping Glen Glenn’s ‘Blue Jeans and A Boy’s Shirt’ to the almost hillbilly Jimmy Johnson’s ‘All Dressed Up’. This is a must-have compilation not only for those who have been oiling their quiffs for decades, but also those wondering what this “rockabilly” is all about. Keb drops you in at the deep end with no easy-going fillers, and you’ll be glad he did.

Keb has written the sleeve notes and with cover art by the legendary Robin Banks – this album looks as good as it sounds.

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Celebrate the technical expertise of the world's finest LP pressing plant — Quality Record Pressings — with the finest LP sampler ever assembled!

The Wonderful Sounds Of Quality Record Pressings includes music hand-picked by Acoustic Sounds CEO Chad Kassem and classical music tracks chosen by the team at Reference Recordings.

Every song meets the criteria of excellent performance, perfect recording and flawless mastering. What better way to celebrate such a monumental anniversary for one of the absolute leading brands in analog high fidelity than with this to-die-for LP sampler? Contains most genres of music — blues, jazz, classical, R&B and female vocal. From now on, you'll only need to carry one demo record around with you.

Vinyl expert Michael Fremer, of Analogue Planet and Stereophile, gives you a track-by-track tour of the history and production of the songs on this special album.

What separates our world-renowned Quality Record Pressings LPs from other manufacturers? Since Acoustic Sounds CEO Chad Kassem launched QRP in 2011, the focus has been on producing consistently virtually silent vinyl playing surfaces, as well as reproducing details that were hallmarks of vintage labels — the "deep groove" label of Blue Note LPs, for example.

The craft of pressing fine vinyl is perfected in such details. Such as plating lacquers within 24 hours of their arrival at the plant. Cut grooves are prone to change with temperature fluxuations, high humidity and time. The sooner that lacquers are plated, the better the fidelity of the final pressing. Other keys include using a proprietary silver spray formulation, made fresh daily. And incorporating computer microprocessors on our presses to precisely control press functions with absolute precision. And an imbedded temperature sensor in the dye cycles the press with just as much control. The result — more consistency in each LP, high fidelity and reduced distortion. The ultimate sonic advantage.

By All Means (Feat. Herbie Hancock, Freddie Hubbard,
Lee Ritenour, Seawind Horns)
Reissue of Alphonse Mouzon's killer 1981 album 'By All Means', featuring
Herbie Hancock, Freddie Hubbard and Lee Ritenour - the album is a
classic of the period, blending funk, disco, and improvisational creativity
At the time of his death in 2016 at the age of 68, drummer, composer and multiinstrumentalist Alphonse Mouzon had for decades been a major force within the
jazz, fusion, R&B and pop arenas. The early eighties was a time when Mouzon
toyed with disco and channelled funk. His musical amalgam was a far cry from
the Saturday Night Fever brand – he brought more funk, more soul, more
spontaneous creativity into the mix.
For 'By All Means', Mouzon brought together musicians who were masters in
virtually any musical style. The rhythm section belonged to the who's who of the
LA studio scene. Electric bassist Scott Edwards had worked with such stars as
Stevie Wonder, Smokey Robinson & Aretha Franklin. 21- year- old guitarist Paul
Jackson Jr. was just beginning his stellar career, had recorded with Aretha
Franklin and within a few years he would participate in Michael Jackson's Thriller
and Bad and would go on to work with the likes of Elton John, George Duke, Al
Jarreau, and Marcus Miller. Lee Ritenour began playing and recording with
Mouzon in 1974. At the age of 17, Ritenour first worked with Tony Bennett. He
was also brought in to put a little more rock in the rock 'n roll of a couple of takes
on Pink Floyd's seminal "The Wall". Over the years he has recorded with many of
the giants of pop, rock, and jazz, and his own recordings have had a slew of
Grammy nominations.
Herbie Hancock stands beside Mouzon as the other major presence on the
recording. Like Mouzon, at the beginning of the eighties he delved into disco,
adding danceable grooves to the mix. During this period Mouzon was Herbie's
drummer on four of Hancock's albums, so it seems appropriate that these two
like- minded musicians came together for this recording. The Seawind Horns
provide the last needed ingredient in this tasty musical concoction. Guesting on
the title track, trumpet great Freddie Hubbard's contributes a flashy solo.
By All Means, get out on your private dance floor and get up with it.

Led By Saxophonist Rob Mitchell, Abstract Orchestra Have Been A Consistent Presence On The U.k. Music Scene, Touring Constantly In Promotion Of Their Debut Lp "dilla" And Follow Up 45 "new Day Feat. Illa J", Steadily Building A Loyal And Supportive Fanbase.inspired By The Legendary Live Performances Of The Roots With Jay-z And The 40 Piece Orchestral Arrangements By Miguel-atwood Ferguson Of The Work Of J Dilla, Classic Arranging Techniques Underpin Modern Loop-based Structures, Breathing New Life Into Familiar Material.

The Band Itself Is Based On The Classic Jazz Big Band Instrumentation Of Saxes, Trumpets And Trombones And Features The Cream Of The North Of England's Jazz Scene Who Collectively Have Played With Jamiroquai, Corinne Bailey Rae, Mark Ronson, Martha Reeves, John Legend & The Roots, Roots Manuva And Amy Winehouse.

"madvillain Vol. 1" Takes The Template Of Their Debut Lp "dilla" And Applies The Same Approach To The Collaboration Ofmf Doomandmadlib, Akamadvillainand Their Albumsmadvillainyandmadvillain 2. Sampling The Likes Of Sun Ra, Bill Evans, Freddie Hubbard, George Duke, Dr. Lonnie Smith, Quincy Jones And Stevie Wonder Gave The Albums A Jazz Oriented Feel And Ethos Which In Turn Lend Themselves Perfectly To The Deconstruction And Re-imagining Of Abstract Orchestra. As With Their Debut, All The Tracks Were Recorded Live In The Studio With Very Few Overdubs.

Abstract Orchestra'smadvillain Vol 1. Explores The Jazz, Tv Soundtrack And Film Score Aspect Of The Original Work, Combining It With Classic Big Band Writing And A Focus On Improvisation. There Is A Strong Influence Ofquincy Jones, Lalo Schifrinanddavid Shire(composer Of The Soundtrack Tothe Taking Of Pelham 123) On The Album, And The Arranger Rob Mitchell Crafts His Own Sound That Inhabits The Space Between Madlib's Production And Quincy Jones' Writing. Bandleader And Arranger Rob Mitchell Says Of The Record: "'madvillainy' Is A Jazz Album As Much As It Is A Hip-hop Album And I Wanted To Explore This Reciprocal Territory There Has Always Been Between Jazz And Hip-hop. 70's Cop Show Soundtracks Have Always Captured My Interest And Imagination, And I Discovered So Much Amazing Music Through Tv Themes, Quincy Jones And Lalo Schifrin In Particular. They Explored Sounds That Were Menacing, Angular, Dissonant, Frantic And Yet Captivating. They Were Also Able To Write Music That Was The Flip Side Of All That Dark Chaos, And Write Lush And Beautiful Music. Arranging And Scoring Up Madvillain Vol 1. Has Allowed Me To Explore These Sounds That I've Always Loved, Yet Keeping A Strong Hip-hop Identity As The Core Of Its Sound."

Wewantsounds continues its collaboration with Bob Shad's grandchildren, Mia and Judd Apatow, to present a 2LP selection of 13 turntable-friendly Mainstream Records tracks recorded between 1970 and 1973 and showcasing the label's superb blend of Funk, Soul and Jazz. All tracks remastered from the original tapes, most of them released for the first time since their original release with a few highly sought-after ones. Liner notes by UK journalist Paul Bowler. The Mainstream sound is unmistakable: earthy, rich and funky, it's the signature sound of producer Bob Shad. After working with such geniuses as Charlie Parker, The Platters, Billie Holiday and Janis Joplin over three decades, Shad decided to go back to producing Great Black Music in the early 70s through his label Mainstream Records and started releasing a formidable series of jazz albums known as the 300 series. Released between 1971 and 1974, these albums are the main source of this set. Coincidentally, it opens with one of the two tracks on the tracklist not produced by Shad himself. Saundra Phillips' "Miss Fatback" is nonetheless fascinating as it's one of cult disco producer Greg Carmichael's earliest productions from 1975 (before he went on to produce Inner Life, Bumblebee Unlimited, Universal Robot Band with fellow producer Patrick Adams). The other track not issued by the Shad sound factory is Almeta Lattimore's 7" single "These Memories," a truly great soulful track from 1975 and now a sought-after classic on the international Soul scene. Shad's forte was Jazz, and the sessions usually used the best musicians you could think of, including Bernard Purdie, Billy Hart, Stanley Clarke, Dom Um Romao, Joe Sample, Freddie Robinson, Gordon Edwards, Larry Willis, Wilbur Bascomb to name just a few. Filled with gorgeous Fender Rhodes chords and heavy basslines, they define the unmistakable Mainstream sound which had one foot in the great jazz and bop tradition and the other in the sonic jazz explorations of the early 70s. Oscillating between jazzed-up covers of soul hits like Jay Berliner’s "Papa Was A Rolling Stone" or Afrique’s "Kissing My Love" and more introspective originals such as Hal Galper's "This Moment" or Dave Hubbard's "T.B.'s Delight", They all have this perfect balance between groove and depth. One perfect example is Pete Yellin's "Bird and The Ouija Board," a superb 12 min opus starting off with a deep abstract improvisation before switching to an up-tempo funk beat fueled by drummer Billy Hart and bass player Stanley Clarke.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.