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Strut present the 4CD edition of Sun Ra's 'Egypt 1971' along with the original albums 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon' released as individual LPs, documenting Sun Ra's first trip to Egypt with his Arkestra in December 1971. In the years leading up to 1971, Sun Ra wrote many compositions and poems specifically inspired by the ancient African Kingdoms and many others with associated mythological and heliocentric connotations. As such, a visit to Egypt and the opportunity for the Arkestra to play there was a matter of necessity. Ra's first ever concerts outside of the US had occurred in late summer and autumn of 1970 with performances in France, Germany and the UK and a second European tour was arranged for late 1971. At the end of that second tour, Ra caught wind of cheap flights from Denmark to Cairo. This release comprises recordings made by Arkestra member Thomas "Bugs" Hunter made in December 1971 in the streets around the Mena House Hotel, Giza, from a concert held at the house of Goethe Institute ex-pat Hartmut Geerken in Heliopolis, from a live Cairo TV channel broadcast and a concert at the Ballon Theatre in Cairo. The impact and significance of these few weeks upon Sun Ra can be measured by the growth and development of his output over the next few years; the immediate post-Egypt period included new studio and live recordings on the Saturn, Blue Thumb, Atlantic and Impulse labels and the 'Space Is The Place' movie. Ra also edited the three LPs of the 'Live In Egypt' series which were subsequently released on his Saturn record label and its affiliated twin, Thoth Intergalactic: 'Dark Myth Equation Visitation', 'Nidhamu' and 'Horizon'. These three albums are now reissued as single LP editions in their original artwork. The 4CD set features these albums alongside previously unreleased material from the December 1971 recordings. All tracks are remastered from the original tapes and the CD set also features a 24-page booklet featuring new sleeve notes and rare photos by Hartmut Geerken and background information on the recordings by Paul Griffiths.

Welcome to the second instalment of my 'Jazz Dance Fusion' compilation series for Joey Negro's Z Records. I continue to look back into the story & history of the UK jazz dance and jazz music scene; a movement that started for me back in the 70's. The sounds of funk & soul mixed with jazz, influences from Brazil, Africa, Europe and all over the globe, textures of instrumental sounds & voices, fuse to create the much-loved 'jazz fusion' sound that we love. Here we are in 2020 when interest in all forms of Jazz is growing fast as DJ pioneers such as Gilles Peterson, Patrick Forge, Perry Louis, Snowboy, Nick Hosier, Alan Mckinnon, Jim Bernardi, Kev Beadle, Harv Nagi, Shuya Okino and David Patterson continue to push all aspects of Jazz to converted and new audiences. So, to this compilation where I am showcasing unreleased material and offering tracks up for the first time ever on vinyl and CD. The track listing covers my addiction to dance-floor jazz, coupled with my passion for vocal and percussive jazz, with my usual trademark latin touches. Hope you enjoy the selection - turn it up loud and feel the jazz passion flow!

Formed in Chicago in 2009, Apiary brought together four of that city's most versatile and prolific musicians: David Daniell (guitar), Steven Hess (drums), Joseph Clayton Mills (electronics), and Jason Stein (bass clarinet). Together, Apiary interwove disparate strands of Chicago's improvised music community, seamlessly incorporating their influences—ranging from jazz to minimalism to noise—into a whole that was dense and hypnotic.

Having developed a reputation for the intensity of their live performances, Apiary entered the studio in the spring of 2010 in an attempt to document their unique sound. These recordings, uncovered and revisited a decade later, have lost none of their power or immediacy. If anything, the intervening years provide a sense of perspective and insight into how vital Apiary's music—grounded in collaboration and possibility—remains. Apiary was reworked and brought to completion in 2020; it provides a fascinating window into a crucial moment in Chicago's musical history, one that still vibrates with startling urgency.

"Babylon A.M.C." Subtitle: "Instrumental Fantasy for 11 Keyboards & Rhythm and Brass Combination" is the most advanced and versatile work by German composer, pianist and saxophonist Helmuth Brandenburg. The music is arranged in the form of a suite, as a progressive fusion composition of ten individual tracks. These tracks move unconventionally between genres such as jazz, funk, electronica, world music and touches of a Giallo soundtrack. This melting pot flows much like a concept album.

The vinyl LP of the same name was created in 1978 at the RIAS recording studio in West Berlin. An excursion into the so-called "Sound Library" territory for the independent label "Intersound". The music was used exclusively for the synchronization of TV films and radio spots. There is a clear association to the sounds of Giorgio Moroder, Popol Vuh and the French band AIR. Brandenburg mixes these influences and styles in order to shape his own sound vision. For the names of the individual tracks, he only uses terms that hail from ancient Babylon.

Analog synthesizers were still young in the 1970s and one can clearly hear the enthusiasm for experimentation with which Helmuth Brandenburg uses them. Synthesizers are used to create a wall of sound to replace the string instruments. Then used again as the main instrument to provide the melody. On the other hand, Brandenburg is an experienced orchestra leader, still largely rooted in the Analog age and clever enough not to overload the music with electronic effects. The horns contribute important accents to the sound and his rhythm section consists of a punchy electric bass, funky drums and wah wah guitars.

As a composer and arranger, he makes use of a wide variety of influences. The brilliant intro of the LP starts with a full range of cosmic synthesizer sounds, followed by drum rolls and a juicy brass section. A very accentuated rhythm and a funky guitar, in mid-tempo, lead the way into flawless Jazz Funk. This sound dominates the opener "Ele Toldoth" and "Pru Urebu" and is reminiscent of the music from American "cop shows" of the 1970's. The situation is completely different with the electronic soundscape of the track "Amram", which is comparable to the later "French Sounds" by AIR or Etienne De Crecy, before a completely surprising and unusual flamenco guitar takes over the melody.

In "Neschamah", Brandenburg combines similar electronic sounds and effects with a jazzy alto saxophone. With "Tardema" he layers many sounds from "cosmic" synthesizers to create an otherworldly piece of music. All eleven keyboards play around two single piano notes in "Abed". The track inevitably brings to mind the minimal motifs of Steve Reich or a soundtrack by Philip Glass. On the other hand, the spinet-like guitar effect of "Nahor" is reminiscent of an Italo western movie with music by Ennio Morricone or other Italian soundtracks. "Thariah" spreads ambient moods and "Athbash" creates a disco atmosphere in the typical "Munich Sound" of the time. Finally, "Schem-Ajin-Beth" takes up the musical theme of the opener and provides a triumphant conclusion to Brandenburg's fantasy journey.

Helmuth Brandenburg could have been a musicologist or history professor with a particular penchant for music, but fate wanted it differently. He was born in 1928 and his opportunity for a high school diploma fell victim to the chaos of war. It was from an early age that he was forced to earn his own living. As a child he liked to play music and his natural talent was later refined, through extensive training at the Schumann Conservatory in Düsseldorf. As a pianist he was already perfect when his interest began to shift from "serious" to "light" music. To base his activities on an even broader musical foundation, he also learned to play the tenor saxophone. His skills brought him various jobs as a successful jazz musician and arranger.

From 1970 to 1973, Brandenburg led the Berlin RIAS Orchestra as the successor to Werner Müller and Dave Hildinger. He saw it as his main task to develop a new big band sound, which was not difficult for him due to his exceptional arrangement skills. Under the pseudonym Kookie Freeman and with a record deal, he expanded the spectrum of the orchestra and adapted it to the fashions of the time. Brandenburg used new electronic production techniques and added beat and rock music to his repertoire. He then founded the Helmuth Brandenburg Orchester, which also appeared under the names The Helmuth Brandenburg Pop Symphony Orchestra or Kookie Freeman Velvet Sound. During this time, he produced commercial albums in an easy listening style.

Brandenburg also composed music for countless TV series and orchestrated the soundtrack to the German film classic "Das Mädchen von Hongkong" ("The Girl from Hong Kong"/ music: Gerhard Narholz). In 1971 he recorded two albums "Big Band Beat" and "Brandenburg At The Philharmonic" for BASF. He also recorded several library LPs for the music publishers Sonoton, "Toledo" and "Babylon A.M.C." for the "Intersound" company. On release, these recordings were not available in regular stores. Brandenburg loved his exotic pseudonyms - "Terence Yucca", "Ted Rideout" and "David Xerxes". He died January 17th, 2012.

In memory of Helmuth Brandenburg,
transferred from the original master tape,
lacquer cut by SST, cover photo: Intersound,
reproduction of original cover artwork: Patrick Haase,
producer (for reissue): Ekkehart Fleischhammer

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

Repress!

Formed in 1968, Jazz Sabbath was considered by many to be at the forefront of the new jazz movement coming out of England at the time. The eagerly awaited debut album, scheduled for release on Friday 13th February 1970, was cancelled when news broke that founding member and pianist Milton Keanes was hospitalised with a massive heart attack which left him fighting for his life.


The record company shelved the album and cancelled the scheduled release out of financial uncertainty of releasing a debut album from a band without its musical leader. When Milton was released from hospital in September 1970, he found out that a band from Birmingham, conveniently called ‘Black Sabbath’, had since released two albums containing metal versions of what he claims were his songs.


All recalled Jazz Sabbath albums had been destroyed when the warehouse burned down in June 1970; which turned out to be a case of insurance fraud by the label owner, leaving only a few bootleg tapes of Jazz Sabbath’s live performances as proof of existence.


The album masters were said to be lost in the fire, but were actually misplaced and gathered dust in the basement vaults of the recording studio. These tapes have now been remixed and, half a decade later, will finally be heard; proving that the heavy metal band worshipped by millions around the world are in fact nothing more than musical charlatans, thieving the music from a bedridden, hospitalised genius.

There is not too much info about this strange and mysterious release. Electro, IDM, Jazz-Funk, Disco and many more, scattered in 4 tracks made by unknown artists.
Don´t sleep on this. We'll have only 100 copies available. It's a bit pricey but worth it!

The second 7" box set from We Jazz Records, including five 7" releases from 2019-2020 (WJ0706-WJ0710) and including a sheet with release info plus a We Jazz sticker. Features Timo Lassy & Teppo Mäkynen, The Stance Brothers, Koma Saxo and Oaagaada.

This is the solo debut album from legendary Belgian Jazz Keyboardist Marc Moulin, Originally issued in 1975 after Placebo disbanded. Having played the track B1 "TOHU BOHU" by Gilles Peterson (Acid Jazz Records), vinyl collectors and DJs were looking for this record fanatically. The members of Placebo were taken part in this album as support musicians.

This is the great debut album of "Placebo",released in 1971. They were a Jazz/ Progressive Rock band out of Belgium led by keyboardist Marc Moulin. It includes a cover version of Marvin Gaye's "Inner City Blues" and "Humpty Dumpty" is sampled by Detroit underground hip hop artist J dilla.
Undoubtedly one of the best of Belgian jazz-funk records ever, and now the rare original LP is traded at a high price among vinyl collectors.

"Placebo" is a Jazz/ Progressive Rock band from Belgium, led by legendary keyboardist/composer Marc Moulin. This 12"EP is included 3 live tracks recorded in 1973 when they played in TV programme "Three Days In April" regarding jazz in Belgium. This is the first time to be released these tracks on vinyl!

Amsterdam-based keyboardist, composer and owner of the Flowriders studio Vincent Helbers released his debut album ‘Hear To See’ as Seravince in 2013. A blend of broken beat, future soul and multiple adjective-jazz styles, compiled in a masterfully mixed 45-minute album. Now, 7 years later, the album is released on vinyl for the first time in a limited quantity of 150 copies.

Seravince’s 'Hear To See' sees Vincent cultivating his extensive experience inside the studio. The album is deeply rooted in broken beat drum grooves, provided by longtime collaborator and UK drummer extraordinaire Richard Spaven. These are accompanied by the jazz-inspired harmonies and solos from Seravince himself. All musical elements are one takes, recorded on analogue tape. “I want the sound to maintain the rawness and organic vibe”, Seravince explains. The sensual vocals on the album are courtesy of RH Factor singer Renee Neufville (US) and Sharlene Hector (UK), who’s worked together with Reel People and Basement Jaxx.

Often taken as inspiration by the likes of Miles Davis and Gil Evans, Ahmad Jamal is definitely one of the greatest artists in jazz history. Recorded in 1955 and originally released on the short-lived Parrot label, "Chamber Music of the New Jazz" is a stunning example of the creative, elegant, and precious music played by Ahmad Jamal's early trio. The fruit of the magical interplay between Jamal’s sophisticated pianism, Ray Crawford’s highly rhythmic guitar playing, and Israel Cosby’s fine double bass. Three musicians whose individual roles are fully expressed through the collective approach to a new form of "chamber" Jazz. Highly Recommended!!!

We are happy to announce the first in anew series of 12" releases under DJ'S CHOICE, Four Flies Records' division devoted to fresh and cool new music in genres ranging from tropical funk and nu-soul to hip hop.

Created during the global lockdown, this new release is a joyful invitation to move our bodies and dance – something that, alas, has become almost impossible in this pandemic-ridden year.
Quero Ver Você Dançar is a collaboration between Rome-based DJ/producer The Rebel, Portuguese DJ/producer Dedy Dread, and Brazilian jazz singer Keila Abeid. Other musicians playing on the track – including Neney Santos (percussions), Marco Ravallese (keys), and Fab Samperi (flute) – masterly contribute to its soulful favela vibes.

Housed in a single jacket with beautiful artwork by Roman illustrator Federica Fruhwirth, the 12-inch single also features a super groovy remix by Mo'Horizons which, with its powerful combination of bossa and drum'n'bass rhythms, makes this release a must for tropical-music aficionados.

Also available on all major digital outlets, with two additional remixes by young Brazilian producers Afterclapp and Brasila Strut.

Fourteen Years is the first of three 10” comprising Charlotte Courbe’s third album. It marks her return to Honest Jon’s after two decades.

Recently, Charlotte joined Noel Gallagher’s High Flying Birds, singing and playing scissors. Her recording Born To Lie featured prominently in the TV series Killing Eve. Spotify has just voted her track Rusty amongst the best of the last decade.

After a cancer diagnosis last year, Charlotte felt the urge to produce and release new music. “It became like a vital thing.” MRI Song and Planet Ping Pong were recorded during chemotherapy. Mind Contorted is a duet with Terry Hall, also featuring Terry’s son Theodore, and Noel Gallagher on guitars, in a cover of Daniel Johnston. The song Fourteen Years is the oldest inclusion. Meant for LVC’s second album — I Wish Dee Dee Ramone Was Here With Me — it announces a fresh, freer direction.

The sleeve exclusively presents new work by the celebrated English artist John Stezaker, in the first of a triptych.

Barang Bang Records Archive Series vol. 1

Previously unreleased recordings
Compiled by Gianmarco Liguori

Bernie McGann - alto sax
Kim Paterson - trumpet
Bobby Gebert - piano (side A)
Andy Brown – bass
George Neidorf – drums

Recorded by Trevor Graham in Sydney, Australia (copyright 1966)

There is no more engaging nor distinctive alto saxophone sound on the planet than McGann’s.
Sydney Morning Herald

McGann takes the language of Bebop then bends and stretches it to fit the contours of his own remarkable im-agination.
The Wire

Bernie McGann’s sound is exciting and physical, as heated as any post-coltrane modernist.
Downbeat

A lost treasure of Antipodean jazz

This compilation documents part of an exciting period in Australasian jazz. Recorded in Sydney, 1966, we can hear Bernie McGann was already one of the great Australian jazz stylists. At the time, the only publicly available recording he made was two tracks on the Jazz Australia compilation (1967) (CBS BP 233450).

Two years earlier, McGann was living in Auckland, New Zealand (1963-64). It was here that he worked regular-ly with Kim Paterson, Andy Brown and pianist Dave MacRae, and the basis of this band came into being.

‘Lazy Days’, ‘Chuggin’, and ‘Sky’ were salvaged from a cassette in Kim Paterson’s collection, one of the few remaining copies. Originally intended for a radio broadcast, the master tapes were reportedly destroyed after the session.

‘Rhythm-a-Ning’ and ‘When Will The Blues Leave?’ were taped by Trevor Graham at the Wayside Chapel in King’s Cross. Graham was a Sydney music journalist and ally of the avant garde, with the foresight to capture some of what was happening at the time.

This album is also notable for a rare appearance by the mysterious American drummer George Neidorf (mis-spelt as ‘Neidori’ in the liner notes on the first Soft Machine album), an early influence on drummer Robert Wyatt.

Field recordings of a major artist in strong company – a lost treasure of Antipodean modern jazz.

INDIE EXCLUSIVE, LTD PURPLE VINYL! Among the heroes and innovators of 70s spiritual/progressive/funk/jazz, Doug Carn has always flown a little under the radar. He has long plied his trade with patience and dedication, releasing absolutely stunning albums that are cherished by cognoscenti but lesser known even to the jazz mainstream, even as his influence can be detected among his colleagues. Carn's newest project, his entry in the Jazz Is Dead album series helmed by Adrian Younge and Ali Shaheed Muhammad, takes his unique and timeless art and places it within the context of a musical culture that has always taken cues from his '70s classics. There's no mistaking the musical mind that created legendary albums like Infant Eyes and Adam's Apple, but the encounter of that with the distinctive jazz-hip hop-funk-noir that is the Younge/Muhammad/JID trademark creates something worthy of comparison to Carn's past work but which could only have been made right now.

Cut from the original tapes, remastered – top quality pressing!
Comes with obi, 'Grand Prix du Disque 1958 - Académie Charles Cros', plus black and white photo insert.

In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.

On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere.

The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.

"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

HH is the brand new album featuring Lionel Loueke playing the music of his long-term mentor, the legendary Herbie Hancock. Lionel Loueke is one of the most singular, compelling and innovative artists of his (or any) generation on the international scene. Known for his ability to “transform the guitar into a virtual Afro-Western orchestra” (Jazz Times), he is a musician who transcends genre to create unparalleled sounds. In a deeply personal tribute, Lionel takes Herbie’s best-known compositions (including Cantaloupe Island, Watermelon Man and Rockit), to create music that is entirely fresh and new.

Repress!

Blue Train is a studio album by John Coltrane, released in January 1958 on Blue Note Records.

Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the onlyBlue Note recording by Coltrane as session leader.

includes the complete “Blue Train” album plus the complete album “Lush Life”.

“Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of

jazz music as well.” - Lindsay Planer, AllMusic

An unexpected turn in the career of Argentina's jazzman Jorge Navarro, this daring jazz-funk album begins with a take on Led Zeppelin's Black Dog.

2020 Reissue of "Here Be Dragons" - the second album of The Kilimanjaro Darkjazz Ensemble from 2009. Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble & The Mount Fuji Doomjazz Corporation now finally make all long-time sold out releases available again on all formats (cd, vinyl, digital).

"Here Be Dragons is a timeless piece of music. Composed and created with total musical freedom, unrestrained by any genres or artistic restrictions, resulting in what is definitely, in my opinion, TKDE's best release." (Jason Kohnen / TKDE / TMFDC / Mansur)

"Here Be Dragons is an intelligent and nuanced record, full of swells and sighs, utterly epic yet incalculably subtle, existing somewhere between keen, intuitive live improvisation and the best-laid plans of mad scientists. Experimental music is rarely this consistently captivating." (Pop Matters)

2020 Reissue of "Anthropomorphic" - the third work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2011. One session - almost 60 minutes.

PART I. "Anthropomorphic" means ascribing a human form to a non-human entity. In this case, this non-human entity is music. Being born is human. "Anthropomorphic" is born from the amniotic fluid of Eelco Bosman's guitar layers. Comforting, quiet. The innermost peace is the peace of the womb. Breathing is human. Hilary Jeffery's trombone starts to breathe. The first deep breath of many breaths. Infrequent breathing, irritated breathing, return to equilibrium. Endless organic cycles.

THE MOUNT FUJI DOOMJAZZ CORPORATION is a live improv jazz/drone/doom sideproject consisting of the THE KILIMANJARO DARKJAZZ ENSEMBLE members Gideon Kiers, Jason Köhnen, Charlotte Cegarra, Hilary Jeffery, Eelco Bosman, Nina Hitz, and Sarah Anderson and various interchanging guest musicians including Ron Goris. Following DOOMJAZZ FUTURE CORPSES! and SUCCUBUS, "Anthropomorphic" constitutes the third released session of TMFDC.

PART II. Growing is human. Nina Hitz' cello is growing on the mother soil of Jason Köhnen's guitar and Gideon Kiers' electronics. Strong body, solid body. Opening his eyes and capturing the light. Innocent receiving turns into the determined lookout of Sarah Anderson's violin. Clouded awareness, conflict, clear awareness. The dissonant revolt of the mind against the body.

Since the members of TMFDC live scattered among Rotterdam, Paris, Berlin, and London, they rarely tour. This in turn makes each of their single shows a special event, and if they do play a show, they don't mind longer trips. Consequently, it is not a surprise that "Anthropomorphic" has been performed and recorded in three parts in Utrecht / The Netherlands, Wroclaw / Poland, and Moscow / Russia.

PART III. Evolving is human. Hilary Jeffery's trombone returns from his trip. Jason Köhnen's bass, Eelco Bosman's guitar, and Ron Goris' drums lay the groundwork. Gideon Kiers' electronics reinforce the atmosphere tinted by Charlotte Cegarra's sparse vocals. Sarah Anderson's violin dares a rare melody. Free will is human. The instruments exchange their roles and dominate their players. Space. Dimension. Form. Function. The anthromorphism, the true and deep nature of improvisation, is complete.

Despite being recorded in three segments, "Anthropomorphic" is a coherent single entity and is based on a plan, like all the TMFDC improv sessions. Following this plan, TMFDC have created another mesmerizing, exalted, disturbing, and atmospheric piece of art. Always activating different talents of its many members, no album of TMFDC or their studio counterpart THE KILIMANJARO DARKJAZZ ENSEMBLE resembles the other, and "Anthropomorphic" makes no exception.

Now this might be exotic for ears used to Western pop and rock music but probably not for too long if these ears have a
fondness for deep and haunting melodies. Formed in 1971 as the first ever Mongolian rock band at the behest of the ministry of
culture, that wanted to establish Mongolia’s very own BEATLES, it took about ten years to get an album out, which is their sole
record up to today and fetches prices up to 500 € and more for a copy in great condition. Here we finally have a reissue on the
newly formed EVERLAND PSYCH label, a sub division of EVERLAND MUSIC. I must add, the first ever full reissue. And another gap
for collectors of exotic yet accessible popular music will be closed. Musically we have to expect female and male fronted pop
and rock with a late 60s feeling. All music is handmade by musicians who know their craft. From the thick and complex
arrangements emerge quite a few melodies so sweet and soaked in joy, that you cannot sit back and listen. You gotta jump up
and dance to these moving tunes. Some tracks also have a deeply melancholic atmosphere with this distinctive Asian feeling to
the vocal harmonies. The production is earthy, the album really sounds like a 1960s recording which happened in a kind of live
set up in the studio and this is probably what really happened back in 81, when these songs were laid down to the reels. This
stuff has been at least a bit retro fashioned when it originally saw the light of day, but then there were many other bands from
allover the world, that adopted musical forms of expression which had been popular in Western pop music already some time
ago. Psyche and 60s garage aficionadoes will love the Farfisa organ sounds and occasional fuzzed out lead guitars. The synthies
alone give it a more up to date expression, but all in all it does not feel like a 1980s record at all. While getting further and
further into the album, even some tracks with male lead vocals appear, while most songs here have a lady chanting. Fans of
Asian and oriental rock and pop of the 1970s will love this record for sure. From Korean garage rock to Persian beat to Anatolian
folk rock there are at least spiritual similarities to be found here. With each song you drift further away from your position in
Western hemispheres and before your inner eye vast veldt landscapes emerge and you begin to feel the free spirit of the
Mongolian world. This album definitely has is own special kind of beauty and brings utter joy to music fans who also love Erkin
Koray, 3 Hür El, Baris Manco, this typical Turkish 70s melodic rock, which is most similar to what SOYOL ERDENE create. Heart
warming, well crafted rock music from a place far away.

In summer 2019 Everland Music will release a mindblowing boxset with Osamu Kitajima's first 5 highly acclaimed and superrare
albums All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin’s band “The Launchers” with his brother, before graduating from university. Osamu’s cousin, Yūzō Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved
to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee
Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the
name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche
effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on
merged Western Progressive and Electronic music with Japanese Folk sounds.
Shinchugoku (1972)
This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR
OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow,
yet intense approach.
Benzaiten (1976)
This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk
elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind.
Osamu (1977)
His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements
flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far.
Masterless Samurai (1980)
Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still
combines with these totally exotical sounding Japanese Folk elements.
Dragon King (1981)
The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We
experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s
time.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture.

The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly.

At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo".

Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack.

"Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism.

"ASFALTO SELVAGEM" LP is one of the rarest soundtracks ever made in Brazil, arranged by João Negrão. Truly a hard to find item!

Asfalto Selvagem is a 1964 Brazilian film directed by J.B. Tanko, a drama based on the first part of the novel "Asfalto Selvagem: Engraçadinha, Seus Pecados e Seus Amores", by writer Nélson Rodrigues.

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

Grammy award winner & multi grammy nominated Luisito Quintero grew up with the Latin American and African tradition of percussion. His father is just as much a percussionist as his uncle Carlos Nene Quintero and his cousin Roberto Quintero . He became a member of the Orquesta Simfonica de Venezuela , but soon appeared with ensembles such as Grupo Guaco and El Trabuco Venezolano and toured with Oscar D'León .

He then moved to New York, where he initially worked with Latin jazz musicians such as Willie Colón , Eddie Palmieri , Tito Puente and Celia Cruz . He then turned to the fusion of jazz, funk, salsa and African music and performed with George Benson , Herbie Hancock , Ravi Coltrane and Toshiko Akiyoshi , but also with pop musicians such as Gloria Estefan and Marc Anthony.

His First album “Percussion Maddness” was produced by Louie Vega & LQ and was released on BBE Records. Now 8 years later, re-released on Vega Records with 4 new tracks also produced by Louie Vega will be released on a double pack vinyl in two parts, one a double pack 12” and the second a double pack 7” vinyl. Enjoy the Brazilian, Jazz, African, House, & Afro-cubano sounds of Grand Percussionist Luisito Quintero on this very special vinyl release.

When Mildlife’s debut album, ‘Phase’, was released in 2018 it didn’t so much explode on to the scene as ooze. Their mellifluous mix of jazz, krautrock and, perhaps more pertinently, demon grooves, was the word of mouth sensation of that year among open-minded DJs and
diggers searching for the perfect beat.

By the end of 2018 they’d been nominees for Best Album at the Worldwide FM Awards (Worldwide’s Gilles Peterson was a notable champion) and won Best Electronic Act at The Age Music Victoria Awards back home in Melbourne. Their progress post-‘Phase’ was cemented with a UK deal with Jeff Barrett’s Heavenly, who released ‘How Long Does It Take?’.

With ‘Automatic’, the band have made a step-change from their debut. It’s more disciplined, directional and more danceable. As on ‘Phase’, they are unafraid to let a track luxuriate in length without ever succumbing to selfindulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio songwriting.

“This is very pleasing” - Justin Robertson
“Love them all!” - Prins Thomas
"Great sound” - Severino (Horse Meat Disco)
“Special!” - Rob da Bank
“Heavenly rock” - Don Letts (6 Music)
LP pressed on heavyweight vinyl with printed inners.

Super-loud vinyl!

original style !! superb LP !

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s & Beyond

This Is The Second Collection Of Music From Venezuela In The 1970s And Beyond To Be Released On Soul Jazz
Records. The Album Once Again Features Innovative Figures In The History Of Underground Venezuelan
Music, Mostly Unknown Outside Of Their Home Country - Their Music A Blending Of Progressive Rock, Jazz,
Experimental Electronics And Disco Created Mainly In The 1970s During A Time When The Country Was Both A
Cultural And Economic Powerhouse In Latin America.
While Much Of 1960s Venezuelan Rock Music Emulated British And Usa Styles, And Salsa Dominated The
Dancefloors Of Latin America, The 1970s Saw The Evolution Of A New Generation Of Creative Local Artists Such
As Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera Who
All Explored The Possibilities Of Mixing Together Rock With Elements Of Electronica, Funk, Jazz, Latin Rhythms
Simultaneously Exploring Their Links With Venezuelan Roots Music, Creating A New Sound Which Blended A
Multitude Of New And Old World Influences, Uniquely Venezuelan.
Most Of These Artists Featured On Venezuela 70 Remain Practically Unknown Outside Of Venezuela's
Borders And Yet Their Progressive Forward-thinking Music Is Some Of The Most Sophisticated In The World - A
Stunning 'melting Pot' Mix Of Sounds From The Cosmic And Psychedelic Rock Of Vytas Brenner To The
Moroder-esque Disco Experimentation Of Daniel Grau, And The Tropical Funk Of Un Dos Tres Y Fuera And
Beyond.
Aside From The Relatively Known Vytas Brenner And Daniel Grau, Most Of The Music On This Album Is
Incredibly Rare (even In Venezuela)! The Album Is Released As Heavy Double Gatefold Vinyl With Full Colour
Inners, Exclusive Text On Artwork, Cd With Slipcase And Large Booklet, And Digital Album.



Pensamiento

Tiempo De Siembra






(el Niño Anciano)



Moliendo Café





Way Home)

Una Por Una

Telepathic Afro-Caribbean improvisational trumpet-and-percussion duo Aquiles Navarro & Tcheser Holmes are longtime friends, collaborators, and tireless hustlers on the creative music scenes of New York City. Heritage of the Invisible II follows Navarro and Holmes's rise to prominence as members of free jazz collective Irreversible Entanglements. In March 2020 in The Nation writer Marcus J. Moore said "Irreversible Entanglements' fearless music takes to task the police, American politics, capitalism, and racism." The revolutionary ethos that drives Irreversible Entanglements is no less present in Navarro and Holmes's duo work, though their duo finds them much more wholeheartedly and jubilantly embracing their Latin and Afro-Caribbean foundations.

The blues roots grow surprisingly deep in the Finnish music scene. From this fertile ground rises singer Emilia Sisco, who debuts on Timmion with her phenomenal single "Don't Believe You Like That". With her strong background in fusing blues, r&b and jazz, Emilia apparently slips also nicely into the dark soulful grooves of Cold Diamond & Mink.

In "Don't Believe You Like That" Emilia sets herself into the role of a mistreated lover, who still tries to see a speck of hope in the doomed relationship. By dubbing herself, and accompanying the lyric with graceful harmonies, she succeeds in building a powerful beat ballad, that should appeal to the darker end of the dance floor.

There's a special lane in history for soul music this understated. It's cool and intimate at the same time, like there's something dangerous lurking under the surface. So roll up something nice, if that's your thing, and hop along for the ride.

The music has gotten thick, guys give me tunes and they’re full of chords” declared Miles Davis interviewed on The Jazz Review in 1958, and added: “I can’t play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do withthem.”
Miles proved his assertion to be true on Kind of Blue (Columbia, 1959), an album that remains one of the most iconic and influential jazz albums of all time.


• LIMITED EDITION CLASSIC LP
• HIGH-DEFINITION PREMIUM VINYL PRESSING
• 180 GRAM VINYL-AUDIOPHILE PRESSING
• INCLUDES 1 BONUS TRACK

THE BEST-SELLING JAZZ ALBUM EVER AND THE MOST IMPORTANT MODERN JAZZ LP!