Cerca:at jazz

The agony of hard bop, the rise of jazz-rock, and the emergence of free jazz. The definitive live recording that captures the chaos and climax of jazz in Japan.

Japan's jazz scene around 1970 is very interesting. The agony of hard bop, the rise of jazz-rock, and the emergence of free jazz. New music and values were born one after another, and chaos was reached, and up-and-coming musicians ran at a speed that shook off the meter. This album "Sensational Jazz '70 Vol. 1/2" is famous as a live sound source that contains this appearance and enthusiasm. Shibuya Public Hall on April 30, 1970. The Three Musketeers of Jazz Rock such as Jiro Inagaki, Takeshi Inomata, and Akira Ishikawa have all stepped on the stage, free jazz musicians such as Mototeru Takagi and Itaru Oki have finally taken the stage, and musicians who support the mainstream such as Toshiyuki Miyama and Terumasa Hino have stepped "beyond". Led by the sound limited "Mustache", which is said to be the deadliest jazz rock live recording, there are hot performances that make smoke rise.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

Hidden Notes Records (Spindle Ensemble, Fran & Flora, Josh Semans) and Tardigrade Records (Cosmo Sheldrake, Howl) are excited to announce a unique collaboration to release ‘Selected Worlds’, the monumental and ambitious debut triple album by composer and pianist Daniel Inzani. Over the past 2 decades you might have seen Inzani performing with dozens of bands from Bristol’s underground alternative and avant-garde scene, blending classical, jazz, contemporary, improvisation, unusual harmony and rhythms as a band leader and collaborator. He’s released an avant-garde collaborative album with Alabaster dePlume, is the musical director and arranger for Cosmo Sheldrake’s 19 piece live band, leads his own critically acclaimed modern chamber quartet Spindle Ensemble and (the now disbanded) 8 piece Ethiopian Jazz meets Frank Zappa group Tezeta, He has toured worldwide as a keys player, collaborated with Canadian ensembles Evergreen Club Contemporary Gamelan and London Symphonia and co-founded Bristol’s experimental collective Bloom, leading to tours and releases with UK rocksteady favourites Count Bobo, the psychedelic space doo-wop of Dubi Dolzcek and many more. After years of recording, touring and eclectic composing he has gathered a trusted set of musicians who are both skilled improvisers and virtuoso players to record an instrumental triple album for release under his own name. The 3 vinyl discs act as albums in their own right, each with different sets of musicians, instrumentations, genres and intentions. The 3 discs were recorded live over 3 day periods in quick succession, with Daniel’s regular collaborator Cosmo Sheldrake engineering the recording sessions. It’s quite possibly the only album you’ll ever hear that starts with a neo-impressionist string quartet, goes on to merge avant-garde symphonic arrangements with group improvisation and ends with an 8 piece cosmic jazz band wigging out, yet Inzani’s voice is clear throughout making for a cohesive 2 hour odyssey from the mind of a composer whose idiosyncratic style thrives through variety Listeners will hear influences from the aforementioned composers including Mingus, Tsegué-Maryam Guèbrou, Ravel and Moondog in Inzani’s music but might also find the soundtracks of Morricone and Jonny Greenwood nestled alongside the loose freeform leanings of Alabaster dePlume, the contemporary jazz of Kamasi Washington and the unique collaboration by Floating Points and Pharoah Sanders (minus the electronics perhaps.) Daniel will be performing a special preview of the album with an 11 piece band at WOMAD Festival (27.07) and a launch concert at this year’s Hidden Notes Festival in Stroud (21.09), with further tour dates to be announced

This is the third album by Sound Limited, also known as "Hidden Treasure". This gloss. This depth. Takeshi Inomata's jazz rock has entered a new dimension.

Sound Limited, which was formed at the end of 1969, recorded three albums in quick succession in 1970, as if to reflect Takeshi Inomata's enthusiasm. The third of these albums is New Rock In Europe. This album is composed mainly of songs by European musicians such as The Beatles, Donovan, and Nino Rota. There are many highlights to listen to, such as "Something," which fascinates with Kimio Mizutani's shimmering guitar, and "Barabajagal," which has an exciting tight groove, but I am happy to see a revival of Inomata's original "Mustache," which is part of the group's repertoire. ?Sounds Of Sound L.T.D.? This is the third recording after "Sensational Jazz Vol. 1/2", and this version is glossy and psychedelic as if it concentrates the atmosphere of the entire album. It is a monumental work that makes it known that Jazz Rock by Inomata has entered a new dimension.

text by Yusuke Ogawa (UNIVERSOUNDS / DEEP JAZZ REALITY)

The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

Finnish quartet Superposition returns with their second album, "II", on We Jazz Records. The band will premiere their new album live on the same day at Helsinki"s Odysseus Festival, organised by We Jazz. Led by drummer Olavi Louhivuori, Superposition features Linda Fredriksson and Adele Sauros on saxes and Mikael Saastamoinen on bass.

New one-off pressing coloured vinyl 18th anniversary edition of the long-out-of-print Studio One Soul 2, the long-awaited second volume of one of the largest selling Soul Jazz Records’ Studio One collections.

Studio One Soul 2 takes us deep into Jamaica’s long-standing fascination with American Soul and Funk music.

Featuring a host of seminal Reggae artists who all first established their careers at Studio One before finding worldwide success. Featured artists include Horace Andy, The Heptones, Cornell Campbell, Ken Boothe, Jackie Mittoo, Jacob Miller and many more A-Class Studio One legends interpreting both classic and littleknown American Soul and Funk tunes by the likes of Curtis Mayfield, Bill Withers, The Five Stairsteps, Marvin Gaye, The Stylistics, Lee Dorsey, Al Green, Syl Johnson and more.

Curtis Mayfield is without a doubt the main soul influence for many reggae groups in the 1960s and 70s. Cornell Campbell’s ‘Ten to One’ featured here is a stunning recut of the original Studio One single by The Mad Lads who first covered this Curtis-penned hit for the Impressions. Another great Curtis Mayfield production, The Five Stairsteps and Cubie’s ‘Don’t Change’, is interpreted by Studio One soul man Winston Francis. Similarly, Devon Russell’s superb ‘Make Me Believe in You’ is, if anything, superior to Curtis Mayfield’s ground-breaking original.

While American Soul and Funk remain a constant source of inspiration on this album, classic DJs such as Prince Jazzbo and Little Joe also used these rhythms to ride vocal toasts over to serious effect. This selection features a mixture of classics, super-rare and unreleased tracks from Studio One all lovingly digitally re-mastered for this release. The vinyl edition also comes on super-loud double vinyl housed in gatefold sleeve and with download code. The new CD edition comes as digipack plus booklet. Another essential Studio One release.

Aki is an emerging jazz collective led by drummer Anke Verslype. The core of the group consists of guitarist Willem Heylen, bassist Ruben De Maesschalck and harpist Marjolein Vernimmen. They perform atmospheric jazz with at its base uncomplicated, restrained melodies whose boundaries are pushed during improvisations.

With two previous EPs, "Warm Days" and "Niobe," aki has already impressed. In the fall of 2022, they surprised their audience with the debut of their first full-length album,

titled "Nader," released under W.E.R.F. records. This album featured an exciting collaboration with Joachim Badenhorst on clarinet, who added a new dimension to their sound.

For theirlatest album and upcoming tour, aki once again joins forces with Joachim Badenhorst and asked Niels Van Heertum (euphonium) as a guest. This expansion enriches the color palette of their music and brings out a new depth. Together they create a unique sound that takes listeners on a journey of warmth and melancholy, somewhere between cinematic landscapes, jazz and minimalism.

Ltd Edition - 200 copies**

Canadian-currently-residing-in-Berlin and multi intstrumentalist Aidan Baker teamed up with Dutch demolition duo Dead Neanderthals late 2023 to work on the collaborative album entitled Cast Down and Hunted.

Cast Down and Hunted is an abstract affair. Angular and dark, droney and lush. Two lengthy tracks, Subterfuge and Paranoia, each fill one side of the LP, which will be released by the Dutch label Moving Furniture Records.
The artwork was made by Steven Kenny and the album layout was done by Rutger Zuydervelt (Machinefabriek).

The album was mixed and mastered by Marlon Wolterink at White Noise Studio.

ABOUT AIDEN BAKER
Aidan Baker is a classically-trained multi-instrumentalist focusing on the electric guitar as his primary instrument. Using prepared and alternate methods of playing the guitar, along with various electronic effects, Baker creates music which generally falls within the ambient/experimental genre but draws on influences from post-rock, shoegaze, electronica, neo-classical, and jazz.
A highly prolific artist, Baker has released numerous recorded works, both solo and with various group projects—most notably his dreamsludge duo, Nadja—and including collaborations with Tim Hecker, Carla Bozulich, Jussi Lehtisalo, and Andrea Belfi, among others—on such independent labels as Karlrecords, Gizeh Records, Important Records, and his own imprint, Broken Spine Productions. A frequent live performer, Baker has toured extensively around the world, including appearances at such international festivals as FIMAV, SXSW, Incubate, Unsound, Roadburn, and Mutek.
Originally from Toronto, Canada, Baker currently resides in Berlin, Germany.

ABOUT DEAD NEANDERTHALS
Dead Neanderthals have spent more than a decade putting together an eclectic and envious back catalogue that spans multiple genres – from free-jazz to grindcore to doom drone by way of psychedelia – and continuously throwing curve balls that defy expectations. You never know what you’ll get, but you know it’ll be heavy.


ABOUT MOVING FURNITURE RECORDS
Moving Furniture Records is a label based in Amsterdam, The Netherlands specialized in releasing experimental electronic music, run by Sietse van Erve, started in October 2008. We are mostly interested in drones, minimalist, microtonal and field-recordings music.
Moving Furniture Records has released music by both renowned, musicians such as Richard Chartier, BJNilsen, Jos Smolders, Gareth Davis & Merzbow and Machinefabriek, as (young) new talent such as Gagi Petrovic, Fani Konstantinidou, and Ryan van Haesendonck.
Aside from the regular releases Moving Furniture Records has two special series: Eliane Tapes: music inspired by and dedicated to the work of Éliane Radigue. Contemporary Series: contemporary music written for acoustic and electro-acoustic ensembles and solo artists.
Moving Furniture Records also organizes concerts in various venues in Amsterdam. For all our releases and more information

If there's one musician in the last decade that you may hear in wildly diverse musical contexts it is Belgian electric bassist and sound sculptor Farida Amadou. Not only can you enjoy the unerringly skillful command she has over her instrument but also the transformative power to reinterpret and expand her material in spontaneous and unconventional ways.

Amadou is self-taught and radically aware of her idiosyncratic relationship with the bass guitar. She neither emulates the virtuosos of the electric bass, nor does she use the instrument as a pure sound generator that merely emits humming and feedback. She takes a completely independent and unique approach. This freedom enables her to create an overwhelming wall of sound, as well as simple, clear structures that are rhythmically concise yielding a wide associative space that lands somewhere between free jazz and noise.

Her work is often concentrated and circular where motifs are established and developed outward. It is an organic sound in the literal sense of the word, constantly in motion, yet resting in itself. The three solo pieces she has recorded for Week-End Records emphasize her impressive ability to ignite ecstasy from tranquility, to fan out a whole range of moods from a few potent ideas.

These attributes make her a musician who enriches every group she plays in, because she is present with her assured and crystallized sound but refrains from being domineering. However, her strengths are even more apparent when she plays solo: the contrasts between the dark, heavy clouds of sound and the rhythmic passages, and the transitions between movements which always sound "logical" yet surprising.

Her new solo album, "When It Rains It Pours" presents Amadou as an inspired improviser who follows her musical intuition and acumen to create a truly unique soundworld. Rarely has improvised music sounded so succinct and compelling.

Wenn es in den letzten zehn Jahren eine Musikerin gegeben hat, die man in den unterschiedlichsten musikalischen Kontexten immer wieder hören will: nicht weil sie eine passable Mitspielerin wäre, sondern weil sie diese Kontexte jedes Mal bereichert und auf spontane, unkonventionelle Weise erweitert, umdeutet, in neue transformiert, dann ist es die belgische E-Bassistin und Klangskulpteurin Farida Amadou.

Sie ist Autodidaktin - und sie versteht diese Selbstaneignung des Instruments radikal. Weder eifert sie den Virtuosen des E-Basses nach, noch verwendet sie das Instrument als reinen Klangerzeuger, der bloß Brummen und Feedbacks von sich gibt. Sie geht von einem völlig eigenständigen Ansatz aus. Der ermöglicht es ihr, eine überwältigende Wall of Sound zu kreieren genauso wie einfache, klare Strukturen, die rhythmisch prägnant sind und einen weiten Assoziationsraum zwischen Free Jazz und Noise eröffnen. 

Ihre Musik ist konzentriert, hat einen langen Atem, kreist um Motive, entwickelt daraus neue Linien, die Amadou im Spiel weiterverfolgt. Es ist ein im Wortsinne organischer Sound, ständig in Bewegung, dabei in sich ruhend. Die Stücke, die sie für Week-End Records aufgenommen hat, unterstreichen ihre beeindruckende Fähigkeit, aus der Ruhe die Ekstase zu entfachen, aus wenigen Ideen eine ganze Palette an Stimmungen aufzufächern.

Das macht sie zu einer Musikerin, die jede Gruppe, in der sie spielt, bereichert, weil sie präsent ist, ohne zu dominieren, weil ihr Sound so prägnant ist, ohne die anderen zu übertönen. Im Solo treten die Stärken ihres Spiels aber noch stärker hervor: die Kontraste zwischen zwischen dunklen, schweren Klangwolken und den rhythmischen Passagen, vor allem die Übergänge, die immer „logisch“ klingen, aber zunächst unerwartet kommen und ihren eigenen Weg einschlagen. Ihr neues Solo-Album, “When It Rains It Pours” zeigt sie als inspirierte Improvisatorin, die sich nie bloß ihren Einfällen hingibt, sondern die Ideen zu Ende denkt, oder besser: spielt. Selten klang improvisierte Musik so kompakt und zwingend.

After years of visiting graveyards, combing through haunted houses, and pursuing (heh heh) dead ends, we finally tracked down the rights to the legendary Frankie Stein and His Ghouls series! Why did we risk life, limb, and livelihood to find these records? Well, first of all, long-time Real Goners know we LOVE these campy ‘60s takes on horror rock—witness our previous macabre moves into the Zacherle, Munsters and Groovie Goolies franchises. But there’s something extra special about these Frankie Stein and His Ghouls records. You wouldn’t think that Halloween records released by a subsidiary (Power Records) of a children’s specialty label (Peter Pan Records) would be so…er…visceral, but these records are definitely the most out there of their kind. And there might be a reason for that…you see, it has been revealed that the Power label enlisted the aid of some very, very interesting musicians for some of its projects. For instance, the imprint’s 1966 album Batman and Robin by The Sensational Guitars of Dan and Dale was actually produced by Tom Wilson of Bob Dylan, Velvet Underground, and Mothers of Invention fame—and the band was made up free jazz legend Sun Ra and members of The Blues Project! Which has led to all sorts of speculation about who Frankie Stein and His Ghouls actually were; among the names bandied about are guitarist Duane Eddy, jazz saxophonist Max Greger, and, yes, Sun Ra and the Blues Project again. At any rate, prepare yourself for frenetic rock-and-twist workouts punctuated by deranged howls and shattering sound effects. And with a back story like this, it’s no wonder original copies of these albums sell for downright horrifying prices…here come the last two for a truly fiendish finale!

PM Warson returns with the new album "A Little More Time". Having established himself as "one of the leading lights on the modern-day R&B scene" (Shindig! magazine UK), his third long-player represents an expansion of his mid-century vision. Less a departure, more an arrival, the album moves beyond the R&B revivalism of his previous work, taking in a breadth of styles and moods within its distinctly '60s sonics.

Recorded at Lightship 95, London's floating analogue studio, the 10 original tracks combine the direct feel of live performance, alongside a developed songwriting and production approach. The album is led by the second single (following "Right Here, Last night") and title track "A Little More Time" setting the tone with a dose of sweeping vintage pop and uptown soul. "For this record I wanted to channel the sound I'd developed playing live with a band, while at the same time further exploring my songwriting. I allowed my wider influences to permeate a bit more and placed the vocal and lyric more forward in the songs" PM Warson says.

PM Warson is a UK musician, songwriter and producer. He emerged in 2021 with the album "True Story", after a series of DIY vinyl releases. Breakout single "(Don't) Hold Me Down" surfaced initially among soul collectors (with the original release clocking in at over $200 on collector sites), before finding a wider audience on European radio and streaming platforms.

With touring opportunities limited due to the ongoing pandemic travel restrictions, he turned his attention to a quick-fire follow-up. The lean, brooding "Dig Deep Repeat" was released in May 2022, led by the single "Leaving Here". Extensive tour and festival dates throughout Europe followed, where he gained a reputation as an impressive live act, performing alongside the likes of Cedric Burnside, Robert Finley, Nick Waterhouse and GA20.

After a run of dates in France, and an appearance at the legendary 100 Club in London, he set about working on new music during 2023. Having released the single "Right Here, Last Night" as a 7inch vinyl on his own Acid Jazz-distributed FYND marque, he teams up again with Légère Recordings for his third album, the expansive "A Little More Time".

The next album in our Cuban Classics series is a hard one to pigeonhole. It’s a real oddity, unique and not in keeping with the majority of Cuban albums we know, but it's all the better for this. Coming courtesy of Juan Almeida, the Fantasia LP is an eclectic and epic, instrumental ride through Latin jazz-funk, trippy electronics and orchestrated classical music. Sounding at points like a full-blown orchestrated score to a dusty animated film extravaganza, with phrases and passages repeating like the appearance of ghostly spectres throughout the recording. At others, it busts into exotic funk, psychedelic-trippiness and Afro-Cuban percussion.

As rich and varied as the record, so too was Juan Almeida's (Juan Almeida Bosque) life. A descendant of African slaves born in a poor neighbourhood in Havana in 1927, Almeida went from bricklayer to university law student, through which he would meet Fidel Castro. He played a key role in the Cuban revolution, becoming the only black commander and famously voicing “Aqui no se rinde nadie!” (“Nobody here surrenders!”) when outnumbered at the start of the offensive. Castro would later make him one of his vice presidents, but Almeida’s legacy does not stop there. He also became the composer of over 300 popular Cuban songs, many of them recounting his days as a guerrilla.

Produced, orchestrated and conducted by Rafael Somavilla, who worked on a vast array of Cuban recordings including Raúl Gómez's 'Instrumental' which we also reissued on Mr Bongo, the feel of Fantasia is big, luscious, grand and pop-classical. It has become a highly sought-after, cult Cuban rarity amongst collectors and like many great albums, every repeat listen brings with it new elements previously unnoticed. Such is its richness and depth. A truly mesmerising, off-the-beaten-track instrumental record.

Quirky and very engaging singer-songwriter from London; mentored by John Lee Hooker and Benny Gallagher and with ten albums to her credit, this pianist, singer and flamenco guitarist defies categorisation, but has thus far succeeded in gaining new fans from appearances at Glastonbury, The Jazz Café and the 100 Club, and at music festivals in the USA, Greece, Romania and Germany. With lyrics sometimes witty, sometimes poignant and always reflective, this is music for anyone who’d rather hear the singer than the electronics.

Limited Opaque Green Vinyl. Anthony "Ant" Davis is a distinguished hip-hop producer, one-half of the renowned duo Atmosphere, and a founding member of independent record label Rhymesayers Entertainment. His decades-long career of beat-making has also included works for MF DOOM, Brother Ali, Murs, Rav, Sage Francis and a dozen others. Raised in a military family, his nomadic upbringing exposed him to many diverse influences and, coupled with his father's love for collecting records, laid the groundwork for his deep appreciation for all sorts of music. Ant's latest endeavor, Collection of Sounds, is a four-volume series of instrumental works showcasing the breadth and depth of his musical expertise. The Collection of Sounds series offers a window into Ant's creative journey, reflecting his evolution as an artist over the years. Drawing from a vast vault of unreleased material, he's exhumed cross sections of his catalog with surgical precision, organizing songs by sound rather than mere chronology. Volume 1 is at times so intimate as to border on claustrophobia, like the creeping "Bar One" or the haunted twinkling of "I Was Always A Collector" while other tracks are expansive enough to fill entire venues, like the forebodingly airy "4-Track Beyond Beat 1996." Many of the beats on Collection of Sounds: Volume 1 have pockets that are practically begging for rappers to explore. When he first pondered releasing an instrumental series, Ant figured he might want to make the songs more intricate than the ones gave to his rapper collaborators, filling up the space in the mix that would normally be given over to their vocals. "But then it would be jazz, right?" he says with a loud laugh. "And I'm not that." Fitting, as Collection of Sounds is not about forgetting who you are-it's about remembering, reconfiguring and reimagining, all at once; a testament to Ant's artistic integrity.

LIMITED REPRESS ON 180g DOUBLE VINYL WITH DOWNLOAD CARD. This is the debut album from multi talented musician and producer Quantic. Having just turned 21 years old at the time of completion, this album was a positive indication of things to follow. Like the Bonobo album Animal Magic , this entire album was recorded in the writers bedroom - showing that DIY culture is strong and healthy in the UK and that good creative music can successfully be made and released to an appreciative audience without unnecessary hype. 'The 5th Exotic combines a variety of influences from jazz to soul to funk to hip hop. All the tracks have a strong musical element and a variety of tempos but each individual song has a connection which makes the album work as a whole. Like any good album this is one that grows on you with each listen. Richard Dorfmeister (Kruder & Dorfmeister) described The 5th Exotic as one of the best beats albums I have heard . Overall, The 5th Exotic is a truly accomplished debut album with a sound and style that is truly original.

Released in 1963 on the Contemporary Records label, “The Cry!” Is a free jazz album by saxophonists Prince Lasha and Sonny Simmons. Also featured are Gary Peacock and Mark Proctor (bass), and Gene Stone (drums). This new edition, released as part of the Acoustic Sounds Series, features (AAA) lacquers cut from the original master tapes by Bernie Grundman and is pressed on 180-gram vinyl at QRP, and presented in a tip-on jacket.

ercury Rev take you on a swan dive into the mystic: a rapture of ballad-dreams and emotional memoir at the crossroads of The Dharma Bums, Pet Sounds and Side Three of Electric Ladyland. A profound, transcendant trip from the psychedelic explorers who brought you Deserter's Songs.
David Fricke In upstate New York, deep in the seam between the Catskills mountains and the Hudson Valley, a richly swelling, spellbound sound emerges, eddying and flowing like the local Esopus Creek, or in the slipstream of the grander Hudson river, carrying the flotsam and jetsam of our hopes, dreams, fears. A sound composed of organic and electronic; guitars, keys, brass, strings, woodwind, drums - and a voice of incantations, tapping streams of consciousness that similarly eddy and flow.
Spiritually, literally, psycho-geographically: where else does Mercury Rev’s ninth album Born Horses spring from? This cascade of gleaming, glistening psych-jazz-folk-baroque-ambient quest that searches its soul but can never truly know the answer? A sound and vision linked to their exalted past whilst quite unlike anything they have created before?
The answer is somewhere between the homes of founder members Jonathan Donahue (the hamlet of Mt Tremper) and Grasshopper (the town of Kingston), in their veins and brains of their now-legendary tapping of musical cosmology, and the vital presence of new permanent member Marion Genser (keys), plus long-term ally Jesse Chandler (keys) and guests Jeff Lipstein (drums), Martin Keith (double bass) and Jim Burgess (trumpet). A place that feeds off the levitating mood of their last album, 2019’s expansive tribute Bobbie Gentry's The Delta Sweete Revisited, and the instrumental psych explorations under the names of Harmony Rockets and Mercury Rev’s Clear Light Ensemble, and the spiritual guidance of avant-garde artist Tony Conrad and Beat poet Robert Creeley, to whom Born Horses is
dedicated.

Repress on Limited Crystal Clear Vinyl and Black Vinyl to coincide with new album ‘Daylight’ release

The album was recorded at the top of an East London tower block, mixed in a beach hut on Camber Sands and gilded by Bollywood strings is already setting its sights hide and wide, but when the sound and vision encompasses panoramic electronic soul laced with a viscerally personal reaction to the mad times we’re living through, we’re in the presence of something special

Our two British protagonists are Sean Dickson, a former indie star who reinvented himself as an electronic adventurist - musician, DJ, producer – whose last album Ft. featured a stellar line-up of guest vocalists, including Yoko Ono, Fred Schneider (B- 52’s), Alan Vega, Crystal Waters (fronting ‘Testify’, which topped the US Billboard dance chart) and David McAlmont - the last, a thrilling singing sensation with an illustrious history, from indie-soul pioneers Thieves and the legendary McAlmont & Butler to purer soul and jazz recordings and a striking collaboration with minimalist composer Michael Nyman.

Don Juan's Reckless Daughter is a 1977 double album by Canadian singer-songwriter Joni Mitchell. Her ninth album, it is unusual for its experimental style, expanding even further on the jazz-influenced sound of Mitchell's previous recordings. Mitchell has stated that, close to completing her contract with Asylum Records, she allowed this album to be looser than anything she had done previously.

Don Juan's Reckless Daughter was released in December 1977 to mixed reviews. It reached No. 25 on the Billboard charts and attained gold record status within three months.

Shadows and Light is the second live album by Canadian musician Joni Mitchell. It was released in September 1980 through Asylum Records, her last release for the label. It was recorded in September 1979 at the Santa Barbara Bowl in Santa Barbara, California.3

For the album, Mitchell was backed by a band of acclaimed jazz and fusion musicians consisting of guitarist Pat Metheny, bassist Jaco Pastorius, drummer Don Alias, keyboardist Lyle Mays, and saxophonist Michael Brecker. Additionally, vocal group the Persuasions appear on the title track and a cover of Frankie Lymon & the Teenagers' "Why Do Fools Fall in Love".


[a] a1. INTRODUCTION [1:51]
[b] a2. IN FRANCE THEY KISS ON MAIN STREET [4:14]
[c] a3. EDITH AND THE KINGPIN [4:10]
[d] a4. COYOTE [4:58]
[e] a5. GOODBYE PORK PIE HAT [6:02]
[f] b1. THE DRY CLEANER FROM DES MOINES [4:37]
[g] b2. AMELIA [6:40]
[h] b3. PAT’S SOLO [3:09]
[i] b4. HEJIRA [7:42]
[j] c1. BLACK CROW [3:52]
[k] c2. DON’S SOLO [4:04]
[l] c3. DREAMLAND [4:40]
[m] c4. FREE MAN IN PARIS [3:23]
[n] c5. BAND INTRODUCTION [0:52]
[o] c6. FURRY SINGS THE BLUES [5:14]
[p] d1. WHY DO FOOLS FALL IN LOVE [2:53]
[q] d2. SHADOWS AND LIGHT [5:23]
[r] d3. GOD MUST BE A BOOGIE MAN [5:02]
[s] d4. WOODSTOCK [5:08]

Empty Empty is Cinema Paradiso's 3rd album. Cinema Paradiso functions as a trio without a leader, consisting of Kurt Van Herck (Brussels Jazz Orchestra, Dizzie Gillespie Big Band, Bert Joris Quartet), Eric Thielemans (A Snare is a Bell, EARR, Talking About the Weather) and Willem Heylen (KRAKk, Aki, Sargam).

After his guest contributions on several tracks during the recording sessions that resulted in the compilation of the first two albums (Volume I and Volume II), Jozef Dumoulin (Lidlboj, The Red Hill Orchestra, True Company) was involved in the entire creation and recording process of Empty Empty.

Now focusing on original compositions (along with some Indian chants and a piece by Claude Debussy), this album also distinguishes itself from the previous two albums by presenting a new sonic landscape. Blending the rich timbres and textures of both the acoustic and electric sonic worlds of the musicians, we were looking to get a strong, direct, full sound that still retains enough detail and acoustic warmth.

The album was recorded and mixed by Joris Caluwaerts (Stuff) at his Finster Studio in Antwerp.

Dutch artist LEYO delivers his debut album via Cécille Records this September, comprised of eight originals and featuring collabs with Toman and Thierry Ganz.

LEYO is a project based out of Amersfoort in the Netherlands, marking its beginnings here with an LP composed utilising a
full band set up, vocals from Thierry Ganz and a singular collaborative appearance from fellow Dutch artist, Toman. The debut album showcases LEYO’s depth of influences, straddling the lines throughout between soulful electro-pop and funkinfused disco jams through to more raw house and sun drenched lounge cuts.
Opener ‘Hello (Intro)’ sets the tone with bumpy drums, psychedelic guitar tones and a dreamy phone call voice before
‘Don’t Do It’ picks up the pace, blending funky guitar lick, organic percussion and resonant synth leads with sporadic vocal
chants. Thierry Ganz first appearance on the album follows with ‘Know Your Name’, merging together Ganz hypnotic vocal
stylings with choppy bass stabs, cinematic strings and crisp disco drums. ‘Open Up The Trunk Do It’ then shifts gears into
jazz-tinged raw house territory via twinkling keys, saturated drums and a vacillating low-end drive.

Up next LEYO welcomes both Toman and Thierry Ganz into the mix for ‘That Booty’, a high octane disco house jam fuelled
by swinging drums, soulful vocals and tension building atmospherics. ‘That’s Why’ then brings down the pace to a more
dreamy aesthetic with fluttering keys and wandering synths intertwined with congas and breathy vocals. The final full
length track ‘Without You’ then lays down a shuffled rhythm section and plucked guitar lines with hypnotic chords and
filtered vocals throughout its six and a half minute duration before ‘On My Mind ft. Thierry Ganz (Outro)’ concludes the
package in a fully- fledged funk fashion, Ganz lays down his signature vocal style uttering the tracks title while underpinned
by wandering bass notes, bouncy drums, wandering guitar notes and Moog style synth licks.

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

Das Bristoler Jazz-Kollektiv Ishmael Ensemble verdeutlicht mit "Visions Of Light", dem Nachfolger ihres gefeierten Debüts "A State Of Flow" (2019, "Album Of The Month" Mojo, The Guardian), wie zwischenmenschliche Beziehungen unter den Musikern atemberaubend ehrgeizige und emotional eindrucksvolle Kompositionen entstehen lassen können. Unter Leitung des Saxofonisten Pete Cunningham hat sich das Ensemble als explosive neue Kraft im UK Jazz profiliert, deren cineastischen Tracks Dub und elektronisches Feingefühl aus der vitalen Bristoler Szene kombinieren. Cunninghams Aufstieg als gefragter Produzent führte zu Remixen für Techno-Legende Carl Craig und das legendäre Blue Note-Label.

For over three decades Toby Marks, aka Banco de Gaia, has been redefining world electronica, leaving an indelible footprint on the global music scene, rousing many a dancefloor, and inspiring countless musicians to follow. At the forefront of blending acoustic and electronic sounds, integrating themes and techniques from cultures and traditions the world over, Toby has worked with musicians and producers as ingenious and diverse as Pink Floyd's Dick Parry, Natacha Atlas, Tim Wheater and Hawkwind– to name just a few.

Ranging from cinematic ambience to pounding dancefloor-fillers, his music defies genres, and borrows from a wealth of musical sources and styles. Toby's background in jazz and rock combine with his love of dance and world music to produce a glorious, uplifting and, at times, mesmerizing sound.

Rio-born, Joyce Moreno, is one of the greatest Brazilian artists of all time. The voice, the playing, the writing, they all combine to make her a true allrounder. She possesses the ability to transport, captivate and transcend listeners. With a career that has spanned more than 30 albums and over 50 years, she continues to record and tour the world.

‘Aldeia de Ogum’ is one of her most well-known songs. With a joyfully jazzy arrangement, building Latin percussion, Brazilian flute and tropical atmosphere, this full-bodied samba smash became an anthem amongst London’s DJs and dancers in the Acid Jazz days. A favourite of Patrick Forge and Gilles Peterson, it was regularly spun at their legendary Dingwalls sessions.

Originally featured on her sought after Feminina LP from 1980, it also appears on our 'Essential' Joyce compilation from 1997. The original pressing of this Brazil 45 was the first time the track had been released on 7".

A fellow Rio native, Rosinha was a highly acclaimed composer, arranger and guitarist who played with legends including Baden Powell, Sérgio Mendes and Sivuca.

Here we present her stunning cover of the Gershwin classic, ‘Summertime’. Rosinha’s elegant, instrumental interpretation showcases her majestic guitar playing, and what a player she was! Backed with beautifully arranged, emotion-drenched strings, this track is guaranteed to stir your soul.

'Summertime' is taken from her 1975 RCA LP entitled Um Violão Em Primeiro Plano. The original pressing of this Brazil45 was the first time the track had been released on 7".

Remastered with refreshed artwork.

2024 Reissue

Strut present the first definitive retrospective of an icon of 1970s and ‘80s soul, jazz and disco, Patrice Rushen, covering her peerless 6-year career with Elektra / Asylum from 1978 to 1984. Joining Elektra after three albums with jazz label Prestige, Patrice had shown prodigious talent at an early age and had first broken through after winning a competition to perform at the Monterrey Jazz Festival of 1972. By the time of the recordings on this collection, she had become a prolific and in-demand session musician and arranger on the West coast, appearing on over 80 recordings for other artists. She joined the Elektra / Asylum roster in 1978 as they launched a pop / jazz division alongside visionaries like Donald Byrd and Grover Washington, Jr. “The idea was to create music that was good for commercial radio / R&B,” Patrice explains. “We were all making sophisticated dance music, essentially.”

Drawing on some of the leading musicians in L.A. like saxophonist Gerald Albright, drummer “Ndugu” Chancler and bassman Freddie Washington and keeping an open minded approach from her training in classical, jazz and soundtrack scores, Patrice’s music was a different, more intricate proposition to many of the soul artists of the time. “L.A. musicians were not so locked into tradition,” she continues. “None of us were accustomed to limitation and the record label left us to take our own direction.”

Early classics like ‘Music Of The Earth’ and ‘Let’s Sing A Song Of Love’ were among Patrice’s first as a lead vocalist before her ‘Pizzazz’ album landed in 1979, featuring the unique disco of ‘Haven’t You Heard’ and one of her greatest ballads, ‘Settle For My Love’. “Although ballads make you feel more vulnerable as an artist because they are often personal, I think listeners relate to that sincerity,” she reflects. By now, Patrice’s records were supremely arranged and produced as her confidence as an all-round writer, producer, arranger and performer grew. Slick dancefloor anthem ‘Never Gonna Give You Up’ and the ‘Posh’ album in 1980 led to her landmark album ‘Straight From The Heart’ two years later. Receiving little support from her label, Patrice and her production team personally funded a promo campaign for the first single from it, ‘Forget Me Nots’. It went on to peak at no. 23 on the Billboard Hot 100 and the album was later Grammy-nominated, while the track became a timeless anthem and popular sample, inspiring Will Smith’s theme for the film ‘Men In Black’ and George Michael’s ‘Fastlove’.

Patrice’s final album for Elektra, ‘Now’ kept the bar high with sparse, synth-led songs including ‘Feel So Real’ and ‘To Each His Own’. It concluded a golden era creatively for Patrice which remains revered by soul and disco aficionados the world over.

‘Remind Me’ features all of Patrice Rushen’s chart singles, 12” versions and popular sample sources on one album for the first time. Formats included a 3LP set and 1CD fully remastered by The Carvery from the original tapes. Both formats include an exclusive new interview with Patrice Rushen and rare photos.

• First definitive Patrice Rushen compilation released on vinyl since the ‘80s
• Includes all of her chart hits, DJ favourites and sample sources
• Official release featuring full interview with Patrice Rushen about her career and music • Features rare photos from her personal collection + some of the photographers she has worked with during her career
• Fully remastered by The Carvery from the original ¼” tapes
• Start of full Patrice Rushen reissue programme from her Elektra era

Almost three decades on from their last release, Acid Jazz forefathers Galliano are back with news of their new LP ‘Halfway Somewhere’ which is being released on Gilles Peterson’s Brownswood Recordings on 30 August.

Born out of London’s underground clubs and warehouse parties of the mid to late eighties, with the debut single on the Acid Jazz label in 1988, Galliano came out of a culture that spanned music, dance, fashion, art, design, and the written word.

When they arrived as the first act on Gilles Peterson’s Talkin’ Loud label in 1990 with ‘Welcome to the Story’ (produced by Chris Bangs who invented the term Acid Jazz) dressed in Gabicci sweaters, beads and skullcaps they captured a scene built on re-invention. “We were all playing around with what we could get our hands on whether that was a seventies book on Jamaican style or old Last Poets and Watts Prophets records,” says Gallagher. “We’d been recycling things for a few years but suddenly everything had coalesced and you’ve got an amalgam that seemed quite solid.”
For their first album since 1997, Rob Gallagher and his partner, vocalist Valerie Etienne, are joined by Galliano stalwarts Ernie McKone on bass, Crispin Taylor on drums, and Ski Oakenfull on keys (with guests including saxophonist Jason Yarde and percussionist Crispin ‘Spry’ Robinson).

Where the old Galliano recycled records they heard at clubs, today they are responding to the kaleidoscopic global jazz scene - from Total Refreshment Centre in London to International Anthem in Chicago. More than forty years since they came together, Galliano are still only ‘Halfway Somewhere’, but listening to the album they are obviously having fun getting there. “I think the stars have to be aligned when you redo things,” says Gallagher. “Coming at it from this door is very different to the door we came into back then. But once it's existing it is something. But I’m still not sure what that something is.”

At once a spiritually-charged journey and a shit-kicking party record, American Cream Band comes to Quindi covering all the bases.
American Cream Band was formed by Twin-Cities musician Nathan Nelson around 10 years ago, taking the form of improvised live shows and albums Frankensteined from these sessions into exultant, fully-formed records you can sink your teeth into. The trick with improvised music is to start with intentions, however abstract they might be, and Nelson leads his rolling cast of collaborators into the creative fray with subtle guidance which drives the impulsive musical moment forward.
The band's previous records have manifested on labels like Moon Glyph and Medium Sound, and now Presents arrives in a freewheeling flash of snappy new wave, skronky sax, call and response sass and some krautrock-minded sonic cosmology. The album came together in December 2021, when Nelson took ten musicians to legendary studio Pachyderm in Cannon Falls, Minnesota. Living together, eating together, and with Nelson quietly setting up his low-key magick intentions around Jupiter's planetary frequency and the studio's abundance of elephant statues and carpets, they laid down some drum-heavy sessions that became the building blocks of the record.
'Taste What We Taste' is the perfect example of an exuberant groove pounded on skins as a vessel for a joyous get-down, with the singers and players free to freak out on top. Nelson remains at the centre of the melee, throwing half-sardonic, half-heartfelt calls out for connection. 'Banana' celebrates nonsense and holds down the most serious of beats - a disco-not-disco deadeye dripping in late night sleaze and lysergic potential. On 'Royal Tears', the jagged guitar chops call back to Gang Of Four, while the hot n' heavy sax from Cole Pulice baits James Chance and all the other angular New York un-jazz misfits.
Amongst his other implied intentions for the recordings, Nelson wanted to channel opposites, not least the distinct male-female energies in his vocal sparring with the girls on assistance duties. It wouldn't be right to call them backing singers as they shoot back at his punchy mantras, bringing a certain fierce femininity that tips its hat to The B-52's Cindy Wilson and Kate Pierson, not to mention iconic post-punk bands like Au Pairs, Delta 5 and Bush Tetras.
There's space for the dreamier kosmische which has crept into the American Cream oeuvre in the past, as 'Sirens' opens the album up in a swirling pond of rag tag percussion and molten synths. 'Words Would Handcuff Us' cools the whole riotous assembly down in unmoored perfection, a strung-out Bossa nova seance dusted with celestial drips from analogue spaceships.
Equally treading the line between light and dark, conscious and unconscious, the sacred and profane, Presents is a life-affirming, creep-under-the-skin listening experience - a joyously transient chapter in the evolution of American Cream Band.

Calm's superb Before album is the gift that keeps on giving as Hell Yeah serves up a collection of the best remixes from it. Willie Graff, Gallo and Aura Safari all step up on a fresh 12" that lands this summer.

Before arrived on double vinyl in 2022 after a CD-only release in Japan in 2021. Since then it has become a Balearic mainstay and go-to record for lovers of lavish downtempo sounds. Now, remixes of three tracks from it all appear on this one record with Ibirican-American Willie Graff going first. He is a deep house don who has held several key residencies around the world while dropping his sublime sounds on the likes of Leng, Music For Dreams and many more. His remix of 'I Love You' is a gloriously horizontal one with blissful piano keys rippling over the bubbly drums and bass. Yearning reed melodies add an emotional romantic edge to make this a standout in any setting. Then comes Gallo, the Balearic Gabba Sound System member and resident at Berlin Balearic nightspot Buena Onda. His 'Tropical Hinterhof' remix of 'I Love You' is expertly exotic and soothing as mellifluous keys rain down over a groove as smooth as silk. It's a heart-achingly beautiful sound that will make for truly special moments on the dance floor.

Italian collective Aura Safari then offers two different remixes. They are master musicians who have served up a superb double album Islands Dreams here in late 2023 where they showcased their escapist blend of dub, jazz, Afro-cosmic, Balearica and boogie. First up, 'Feel It' (Aura Safari Desert mix) is six minutes of oriental melody over loose drums. There's a playful feel to the dancing piano keys and richness in the percussion that makes this one a sophisticated sound for both early evening warm-ups or moments of late-night reflection. 'Kunpoo' (Aura Safari Daydream mix) has a nineties feel with its gentle breaks, hypnotic string loops, and sustained chords. They break over you in gentle rays of earth and euphoria to ensure utterly blissed-out results.

These four versions all bring sophisticated dance floor energy to the timeless originals.

With extensive practical and academic understanding of the ‘remix’ process, Stian Balducci takes on the role of audio architect in this refined and redesigned remix album.

His meticulous approach has not replaced, but built upon Kjetil Jerve’s piano material and boasts a thorough dedication to mood and timbre through-out. The outcome combines new strokes of colour and delicately layered textures, offering fresh perspectives to an old canvas. The aural landscape takes shape in progressive, parabolic pulsations, coupled with sparse, rhythmic heart-throbs that embody the faint silhouettes of drum reverberations. This atmospheric landscape is complimented with subtle, pensive keys from Kjetil’s piano recordings that add emotional depth to the work and pay diligent tribute to the free structures of jazz.

The final project may be understood as a window, giving view to life’s sentient and evocative themes, without ever infringing on their delicacy. The sonic progressions tap into nature’s cycles through meditative repetition and offer the listener some brief respite from innate human habits of over-thinking.

As the contents of the album unfold, we are taken reassuringly by the hand to familiar, foreign lands, filled with curious sonorous tales and subtle insights that shed light on a world of deeper perception.

In keeping with the communal ethos of Dugnad Rec, ‘Tokyo Tapes: Piano Recycle’ reflects a thoughtful exchange between Stian and Kjetil. Stian professed that the project went ahead with just one rule: “to work only with the original source material, no external samples or sound sources”. This puritan approach spotlights a shared characteristic between them; namely, a unified desire to explore vibrations and a wholistic dedication to sound experimentation.

An All-Time Jazz Audiophile Masterpiece - Now on UHQR!
200-gram 45 RPM 2LP release limited to 5,000 copies
Mastered by Kevin Gray at Cohearent Audio from the original analogue tapes
Set includes 8-page booklet with liner notes by renowned jazz critic Bob Blumenthal
Pressed on Clarity Vinyl at Quality Record Pressings
Purest possible pressing and most visually stunning presentation and packaging!
One of the most classic jazz albums and live recordings, a regular on most best-of jazz lists!

The fourth and final album by one of the most influential groups in jazz history, the Bill Evans Trio album Waltz For Debby was originally released in 1962 as a companion to Sunday At The Village Vanguard. It captures the mesmerizing and intimate live performances of Evans and his trio at the Village Vanguard in New York City. The album showcases Evans' unique approach to jazz piano, characterized by delicate touch, introspective improvisation, and profound musicality.

The title track, "Waltz for Debby," serves as the centrepiece of the album. It is a hauntingly beautiful composition penned by Evans himself as a tribute to his niece, Debby. The waltz unfolds with a graceful and melancholic melody, carried by Evans' masterful piano playing.

Throughout the album, Evans and his trio venture into other classic jazz standards, including "My Foolish Heart," "Detour Ahead," and "Milestones." With each performance, they delve deep into the heart of the music, exploring its nuances and improvising with a profound sense of lyricism. Evans' introspective style shines through, as he delicately navigates the harmonies, unveiling layers of emotion and introspection.

The beauty of "Waltz for Debby" lies not only in the musicianship but also in the intimate atmosphere it creates. The live recording captures the ambiance of the Village Vanguard, with the audience's presence adding an extra dimension to the music. The subtle clinks of glasses, the occasional applause, and the hushed whispers become a part of the experience, enhancing the authenticity and charm of the album.

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is creating the definitive Waltz For Debby reissue: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of this one-of-a-kind reissue.

Four glorious sides of 200-gram Clarity Vinyl from QRP, the world's best pressing plant. Cut at 45 RPM to reduce distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately. UHQRs from Analogue Productions are the gold-standard in premium vinyl releases, with attention paid to every single detail. The proprietary vinyl compound enhances the sound quality, offering improved dynamics, detail, and tonal accuracy. The heavier vinyl minimizes resonance and warping, providing a stable and flat playing surface. And great care is taken to eliminate any surface noise or imperfections throughout the manufacturing process.

Overall, UHQR Clarity Vinyl from Analogue Productions is a sought-after format among audiophiles and collectors who value the highest possible audio fidelity from their vinyl records.

Waltz for Debby stands as a testament to Bill Evans' genius as a pianist and composer. It is a profound and evocative exploration of melody, harmony, and improvisation, revealing the depths of emotion and the artistry that Evans brought to his music. The album remains a beloved gem in the jazz canon, cherished by fans and musicians alike for its timeless beauty and the lasting impact it has had on the genre.

PYJÆN are delighted to announce the release of their second album 'Feast', planned for September 2021 on DeepMatter Records. The five-piece outfit reaches inside the deep, multidimensional well of what is broadly called Jazz, bringing together all its diverse components in a singular, emotional sound. After setting a blueprint for their multifaceted artistry, combining cross-genre sensibilities with ferocious talent on their first two releases, PYJÆN have been busy writing and recording music for their second album, their most accomplished offering yet. ‘Feast’ was recorded at Peter Gabriel's legendary Real World Studios in Bath over a full week in November 2020. This proved to be an unforgettable experience, which elevated the music and created an unrivalled connection between the 5 band members and the albums featured artists Nix Northwest, Elisa Imperilee, Hilts and Corto Alto.
With the recording of this new record, each member of the group brought their own specific flavour to the table.

They explain: “We want the album to showcase our growing abilities and confidence as a group of 5 individuals, each with strong personalities and varied sets of influences, while still leaving room for featured artists, an exercise we thoroughly enjoyed on our 'Sage Secrets' EP with Blue Lab Beats and Odette Peters.” The EP reached over 1M streams on Spotify within only a few months, testimony that the band has become a major force in the UK "Jazz and beyond" scene. Their new album will fearlessly navigate the world of funk, jazz, hip-hop and punk. With their trademark raw energy, their objective is to bring people together in their love for music. 

Adventurous songwriting, meticulous timing, incredibly tight horn arrangements and an obvious joy to play together are the PYJÆN trademarks. These are brought to the table in ‘Feast’ through vibrant melodies and rich cadences. The band presents a full course musical experience with four singles: in ‘Beetle Juice’ the band joins forces with rapper Nix Northwest to offer a delicious tune characterized by an easy-going yet alluring atmosphere. ‘The Nightbus’ sees a vivacious journey narrated by enticing piano, guitar and trumpet motifs. ‘Moonlight’ sets a sultry tone with Elisa Imperilee’s ethereal vocals accompanied by delightful and intricate beat sequences. ‘By Your Side’ is the final instalment before the great ‘Feast’ showcasing an enchanting vocal exchange between Byulah and Renato Paris. With its mouth-watering combinations of jazz, ‘Feast’ is a witness to the band’s exponential growth, taking listeners on a vivid sensory experience

Formed in 2016, PYJÆN is composed of Dani Diodato (guitar), Dylan Jones (trumpet), Ben Vize (sax), Benjamin Crane (bass) and Charlie Hutchinson (drums). Releasing their debut self-titled album to wide critical and public acclaim, they have gathered support from the likes of Gilles Peterson, Huey Morgan, Jazz FM, and Clash Magazine to name a few. Live, as seen at A Love Supreme, Ronnie Scott's, Jazz Cafe or Brainchild Festival, the atmosphere is sizzling and the sense of enjoyment communicated from the stage is infectious.

PYJÆN is the reflection of 5 souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN’s story will be expressed not only musically but also with other visual arts.

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Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott’s as well as playing Glastonbury, Love Supreme and Brainchild Festival.

Described by Jazz Wise Review as having “a groove propelled with dynamism and formidable technique”, PYJÆN seamlessly meld funk, afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music.

Their debut self-titled album ‘PYJÆN’ was released on 20th September 2019, both digitally and physically with 300 limited copies of Vinyl being distributed across selected UK record stores, as well as Bandcamp.
The album will also be supported by a graphic novel, which will tell the story of PYJÆN and the influences and stories behind the songs.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

 A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.

1STEP Process 180g 45rpm 2-LP, Pressed on VR900-Supreme Vinyl!
The ultimate edition of Frank Sinatra’s famed 1950 concept album
Cut Using Original Analogue Mix-down Masters by Chris Bellman and Andreas Meyer! Strictly Limited To 5,000 Numbered Pressings!
Two 45-rpm 1STEP LPs pressed by RTI on VR900 Supreme Vinyl
New lacquers cut after each run of 500 pressings
Distinctive Impex 1STEP packaging featuring a gorgeous tip-in 36-page booklet with exclusive photography and period graphics, an expanded historical essay by Charles L. Granata

A heavy-stock two-sleeve Monster Pack jacket by Stoughton Printing and a luxe colour-matched slip case


We are beyond thrilled to announce the release of a very special limited edition of Frank Sinatra’s historic Sing and Dance with Frank Sinatra on Impex 1STEP! Our all-analogue 2-LP set adds further narrative substance and sonic greatness to The Voice’s first big-band jazz long-play vinyl “concept” album! Our 33.3 release was a landmark reissue, but this is a whole other level!

Like all Impex 1STEPs, this audiophile recording is pressed at 45-RPM on high-definition, VR-900 Supreme vinyl for incredible clarity, immediacy and a tonal depth that virtually mirrors the original monophonic master tape. Additionally, the tapes and discs we mastered from have rarely been used by other labels, delivering the original recording sessions closer than releases whose tapes have gone through mastering chains over and over. Silent, flat surfaces provide for near-perfect audio playback without distracting non-fill issues.

Exclusive to the Impex 1STEP edition are two previously unreleased bonus recordings and an extended version of the “It All Depends On You” Session + Take, where Sinatra capably arranges the musicians in real time!

The luxurious 1STEP packaging includes a gorgeous 36-page full-colour booklet with expanded historical liner notes, unique photos and graphics, and a deluxe slipcase. It provides an excellent listening experience and a “coffee table book” for your living room or den!

Repress!

Condition is the 2019 debut, full-length album from Natty Reeves. 11 tracks painting internal monologues and complex feelings across mesmerising groove-driven melodies and brightly coloured guitar soundscapes.

“I wanted to create an honest musical reflection of my past year. Condition is an attempt to balance my perfectionist approach and the imperfections in day-to-day life. The album was made in my bedroom with some help from close friends.”

All music throughout is written, performed, mixed and mastered by Natty, with the exception of Living Lonely & Living Lonely (Reprise) in which he brought in his good friend and long-time collaborator, Simon Jefferis. As well as being an expression of himself as a musician, it was also an opportunity for Natty to show off his artistic side with a paintbrush – Using paintings he has created himself as the artworks throughout.

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Natty Reeves is a multi-instrumentalist, producer and singer-songwriter currently residing in Brighton, UK. Taking inspiration from the likes of Chet Baker, Blake Mills and Antonio Carlos Jobim, Natty produces music riddled with charm and honesty that blurs the lines between Soul, Jazz and Hip-Hop. Drawing from real-life events and human interactions, Natty's song-writing is simple but potent, often cutting straight to the core of an emotion with a single turn of phrase.

After The Velvet Underground cut three albums for the jazz-oriented Verve label that earned them lots of notoriety but negligible sales, the group signed with industry powerhouse Atlantic Records in 1970. Label head Ahmet Ertegun supposedly asked Lou Reed to avoid sex and drugs in his songs, and instead focus on making an album "loaded with hits." Loaded was the result. It was the group's swan song, with Reed leaving the group shortly before its release. With John Cale long gone from the band, Doug Yule highly prominent (he sings lead on four of the ten tracks), and Maureen Tucker absent on maternity leave, this is hardly a purist's Velvet Underground album. Still, AllMusic gives the album 5 Stars and Pitchfork calls it a "perfect rock 'n' roll record — 40 minutes long, five songs to a side, and not a single wasted note." Loaded is the sort of proper album that feels like a greatest hits collection, with each track thoroughly inhabiting and mastering a dominant rock archetype. Although the songs "Sweet Jane" and "Rock & Roll" distinguished the band as a "seminal proto-punk" act, "The trifecta of 'Who Loves the Sun,' 'Sweet Jane' and 'Rock & Roll' is among the best three-song openings on any rock and roll record," wrote Paste contributor Jeff Gonick Analogue Productions has given Loaded the deserving full reissue treatment: Pressed on 180-gram vinyl at Quality Record Pressings, and housed in a tip-on old style gatefold double pocket jacket by Stoughton Printing.

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, Sfjazz Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

The records is released in two options. Both hvae 180g vinyl records. The first version has two black vinyls and the second limited edition (numbered 100 pieces) has one turquoise vinyl and the other red.

Over the last three decades, Auckland, New Zealand, has given birth to several generations of musicians, DJs, and producers who operated within the interzone between jazz, blues, soul, funk, Latin music, hip-hop, house, boogie, and broken beat. Across two slow-cooked albums that sit at the intersection of machine funk and vivid live instrumentation, Odyssey (2016) and their forthcoming sophomore release Long Road (2024), After 'Ours - the group project of pianist and composer Michal Martyniuk and drummer, guitarist and producer Nick Williams - have comfortably located themselves within this antipodean tradition.

Born and raised in Auckland, Nick Williams grew up surrounded by music from a young age. At home, his mother, Mary Anne, a record collector and DJ with deep, diverse vinyl crates, kept his ear sharp. By the time he was eight years old, he was regularly joining his musician father on stages across Australia in his blues rock band Slippery Sam. In his early twenties, Nick began leading the eleven-piece Auckland Latin-dub-funk fusion big band Tangent, who performed regularly until the late 2000s.

Michal Martyniuk, on the other hand, grew up on the opposite side of the world in Szczecin, Poland. After playing classical music for twelve years and attending jazz school, he relocated to New Zealand with his family in his teens. While studying at Auckland University Jazz school, Michal came into the orbit of the legendary New Zealand saxophonist, composer, producer, and band leader Nathan Haines, who brought him into the same world as future collaborators like Tama Waipara, Batacada Sound Machine, Sola Rosa and Nick.

Inspired by the rich stories of jazz, neo-soul, electronica, and dance music from both sides of the Atlantic Ocean and the open-eared Auckland scene they emerged from, After 'Ours formed in 2011. Born out of a friendship cultivated through playing together at bars and nightclubs around town and home studio sessions. "Nick had family and work, so I had to wait all day," Michal says. "We'd come to the studio at 10 PM and go till 3 AM. That's how we came up with the name.

Session by session, After 'Ours revealed itself to be a creatively fertile meeting of minds. "We both have our angles, but it works well in the end," Nick reflects. "It takes the music to a place we can't get to by ourselves."

Between 2011 and 2016, they wrote and recorded Odyssey with a cast of musical collaborators that included KP, Sharlene Hector & Kevin Mark Trail (UK), Matt Nanai, Nathan Haines, Jakub Skowronski, Nick's partner Ange Williams (nee Saunders) and British producer Mike Patto from the lauded UK future jazz group Reel People. Influenced by the smooth yacht rock of Steely Dan and Donald Fagan, the warm midtempo bounce of A Tribe Called Quest and J Dilla, and the complex jazz/RnB bop of Robert Glasper, Odyssey was a labour of love that emphasised community, warm-hearted hospitality, and care.

Seven years on, they're finally ready to return with Long Road, an album that contains some of their best work yet. As well as reconnecting with past collaborators Kevin Mark Trail and Ange Williams, Long Road sees After 'Ours calling on assistance from Louis Baker, Jakarta-based saxophone player Kuba Skowroński, bassist Dan Antunovich, Los Angeles-based drummer Chris Bailey and the journeyman British soul artist Omar Lyefook.

Across ten songs that plot a stargazed course through their antipodean spin on UK broken beat, jazz, modern soul, and blues rock, Nick and Michal build on everything they learned while writing and recording Odyssey. In the process, they take their joyful musical visions to sublime new heights.