Pop & Rock News

The great Bassist and band leader Charles Mingus cut some of his most exciting and rewarding recordings in 1960. Taped during the apex of Mingus' creativity, shortly after masterstroke Mingus Ah Um, just before his brilliant Oh Yeah, and in the same year as the classic Blues & Roots, this incredible session showcase such stars as Eric Dolphy, Roy Eldridge, and Tommy Flanagan. Mingus' arrangements are, as always, top notch with an unparalleled understanding of space and melody, and the playing is without doubt up to his standards. Mingus is one of the greatest jazz minds of the 20th Century and these sessions are another fine example of his genius.

Credit for this album is partially due to Miles Davis, who had somewhat recently purchased Coltrane his first soprano saxophone, previously it had been little used in jazz. This 1961 album also seems to fully mark Coltrane's transformation into modal jazz, another Davis influence, and his modal take on the the classic standard, "My Favorite Things", from The Sound Of Music soundtrack, remains one of the more iconic jazz songs in history. Rounded out by 3 more standards, performed in modal interpretations that completely redefined the meaning of a "standards" album, My Favorite Things, is one of the many transcendent jazz albums the legendary John Coltrane is responsible for.

Another classic from BritFunk pioneers, Atmosfear. This time it's the turn of the mighty 'Motivation' - pure dance floor, feel good vibes, produced by the amazing duo of Andy Sojka and Jerry Pike. Cut loud at 45rpm.

As per the original release it comes backed with the track 'Extract' a percussive lead jazz-funk workout with some tight bass work by Lester J. Batchelor, which was a regularly favourite at DJ Harvey's legendary Moist club night.

Released on both Elite and MCA in 1980.

Gifted Culture reveals the last EP of the trilogy featuring three improvised jam sessions of the collective. This time the ghetto beat maker Christopher Rau joins the crew in Berlin Mitte. Christopher, Autre and Two Thou start diving into slow, detached dreamy atmospheres eventually exploding into frenetic floor killer breaks. The music recorded in the session represent the perpetual dialog between the artists, resulting in an eclectic and variegate piece of music.

Japanese Jazz/breakbeat, Folkloric Mega-rarity As Hallowed The Likes Of Dj Shadow, Cut Chemist, Egon And Co. Uniquely Combines Traditional Japanese Instrumentation With Western Jazz Influences.
Minoru Muraoka Plays 'shakuhachi' - A Traditional Bamboo Japanese Flute - Joined By His Band Members Accompanying Him On The 'koto' (strings) And 'tsutsumi' (drum) Amongst Others, To Create Their 'shakuhachi Jazz' Sound.
Includes Cover Versions (take Five!) Of Very Well-known Jazz & Pop Classics, Coupled With Two Original Songs.

22a present this two-track 7' single from this Tenderlonious-led jazz quartet. Strictly limited to 500 copies worldwide, this is going to fly out!

Ruby Rushton kicked down the door for the UK jazz renaissance back in 2015, and continue to lead the way in 2019 with this new genre-defying recording. The music is rooted in the spiritual concepts of jazz heroes such as John

Coltrane and usef Lateef, whilst adopting influences from hip hop, Afrobeat and the UK underground culture.'Eleven Grapes' is a song that was first conceived back in 2013. Its catchy

time signature and playful melody fit together perfectly. The intricate interplay between Tenderlonious's flute and Aidan Shepherd's keys transport you back to the heyday of Bennie Maupin and Herbie Hancock.

'One Mo' Dram 'is a tune reworked from an early Tenderlonious studio production. The groove is deeply rooted in traditional West African rhythm. Tim Carnegie's tough drum break builds and wraps itself around a slick trumpet

solo from Nick Walters, before rolling back into the intricate melody that binds the track together.

Monorails and Satellites - Works For Solo Piano Vol, 1,2 & 3

"I have always thought orchestra. I play that way, even when playing the piano." - Sun Ra Considering the monumental depth of Sun Ra's recorded oeuvre, there are surprisingly few solo piano albums.

Monorails and Satellites Volumes 1 and 2 were the first commercial LPs of the artist's solo keyboard excursions. Recorded in 1966 and released on his Saturn imprint in 1968, Volume 1 featured seven idiosyncratic originals and one standard ("Easy Street") delivered in Sunny's singular manner. Volume 2 was released the following year, and contains five compositions, all originals. A third volume was prepped but shelved, and this deluxe edition marks it's premiere release.

As with all Cosmic Myth releases these volumes are superbly mastered, and are available as a deluxe 2xCD or 3xLP tri-gatefold cover with copious liners notes by renown American jazz pianist Vijay Iyer, and additional overviews by jazz historian Ben Young and producer Irwin Chusid.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

- 180 GRAM AUDIOPHILE VINYL
- CLASSIC AND HARD TO FIND BRAZILIAN RARE GROOVE ALBUM
- FEATURING THE BREAKBEAT/SAMBA CLASSIC 'BOBEIRA'
- LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSPARENT RED VINYL

Sweet and breezy, light and jazzy, with plenty of warm touches - and one of the only albums ever releases by Edson Fredrico. Edson Frederico E A Transa features Frederico working with arrangements by Luiz Eca and Durval Ferreira, done with light percussion touches, plenty of keyboards, and some of the warm fusion phrasing of the mid 70s Brazilian scene. Vocals on most tracks are done in an ensemble chorus style, which makes for a nice finish to go with the warm feel of the cuts - and tracks include 'Ginga Gire Gire', 'Sacode Carola', 'Tema De Heloisa', 'Sambane', 'Garota De Copacabana and the breakbeat classic 'Bobeira'.

Edson Frederico E A Transa is available as a limited edition of 1000 individually numbered copies on transparent red vinyl.

The German Jazz quintet Fazer releases the 12' White Sedan with two remixes by Glenn Astro & Hodini (Apollo, Ninja Tune, Tartelet, Money $ex etc.) and Werkha (Tru Thoughts).
The band appeared on the map in March with their self-released debut album MARA. The dynamic range of their drum-centered sound combined with extensive improvisation resonated with international listeners and DJs alike, appearing in sets by Mafalda or Louise Chen and on the waves of radio stations like NTS, Le Mellotron or Worldwide FM.

The original track builds on the so called - Guaguanco', a traditional latin rhythm that is closely tied to dance. Stretching over 7 minutes, the song opens with an introduction of the groove by the two drummers. The main theme then sets the mood that is maintained through searing trumpet kicks and two solos of remarkable restraint that is too often missing in the contemporary jazz world. After a reprise of the theme, the tune ends on a mellow note echoing its more frantic parts in a more soberly manner.
Romantic yet never tacky, White Sedan can be a special turn in an eclectic DJ-set as well as the soundtrack to a sundown getaway scene in a heist movie.

Glenn Astro & Hodini completely melted down the original stems, molding them into a glimmering warm-up gem with the usual virtuosic musicality they're both known for. While for their latest LP - Turqouise Turtle' on Apollo Records they pooled together individual tracks, this remix is their first proper collaborative effort so far.

Werkha's take incorporates the original rhythm but adds a breath of fresh air with deep jazzy keys and ecstatic Prophet synth stabs. While it starts smoothly, inhaling the vibe of the original, the remix evolves into a peak-time banger that could tear the roof off of any party at the right moment. The distorted percussive elements give the track a breaky attitude and expose the gritty northern roots of the Manchester-based producer.

If Fat Albert Rotunda sounds like the most fun Herbie Hancock had in his early years as a band leader, it should. He composed the music for the pilot of the children's television show Fat Albert, redirecting the post-bop jazz he honed in a five-year stint with the Miles Davis Quintet towards the R&B and funk styles with which he was becoming enamored. The result was a playful, joyous album in which Hancock clearly had a great time.

The same goes for the rest of his Sextet, which by the time of recording in late 1969 was both razor sharp and confidently loose from rehearsing and touring. Flying high with three horn players - Joe Henderson on sax and flute, Garnett Brown on trombone and Johnny Coles on trumpet and flugelhorn - alongside Hancock's soaring Fender Rhodes electric piano, the group could swing freely on a track like the rousing "Fat Mama" and emote precisely on the subtle "Tell Me A Bedtime Story."

Their versatility won over Warner Bros. who signed Hancock after hearing these infectious compositions and watched Fat Albert Rotunda climb the Billboard Jazz Charts. In subsequent years, Hancock would expand and experiment with the Sextet's sound, creating two more albums for Warner Bros. Regardless of where he went next, Fat Albert Rotunda is still, 50 years later, about as fun as music gets.

After releasing their Warner Bros. debut, the Herbie Hancock Sextet underwent a major transformation in the early '70s. Over the course of a year, every member was replaced (except Herbie Hancock himself and bassist Buster Williams) and each adopted Swahili names. (Williams even led the group in occasional sessions of Buddhist chanting.) Hancock chose the moniker Mwandishi (meaning "composer"), and the Sextet became unofficially known as the Mwandishi Band.

The lineup's first album - simply titled Mwandishi - reflects Hancock's new aesthetic and spiritual directions. Stretching out from the R&B / jazz fusion of Fat Albert Rotunda, the pianist would draw inspiration from his time with Miles Davis (whose classic Bitches Brew came out in 1970) as well as through the creative relationship he had formed with producer David Rubinson (known for his work with Moby Grape and Santana).

"Ostinato (Suite for Angela)," dedicated to political activist Angela Davis, is an extended jam with stunning rhythmic complexity - enhanced by studio effects, such as Echoplex delay. On the ballad "You'll Know When You Get There," Hancock's tight arrangements are saturated in reverb, which gives an ever-shifting dimensionality. Side-long closer "Wandering Spirit Song," written by trombonist Julian Priester (aka Pepo Mtoto), goes even further out: alternating between dynamic soloing and group improvisation, the Sextet fully manifests the radical potential of their collective identity / energy.

Mwandishi remains a bold and expansive statement, even after nearly 50 years.

Crossings was the second release by the Herbie Hancock Sextet lineup known as the Mwandishi Band, following 1971's Mwandishi which stretched Hancock's already-adventurous writing and expanded the music through post-production. This approach would play an even larger role on Crossings, the pianist's final album for Warner Bros.

For two of Crossings' three pieces ("Quasar" and "Water Torture"), Hancock took basic instrumental tracks to Patrick Gleeson's Different Fur Studios, hoping to learn how to play the Moog synthesizer. Instead, Hancock let Gleeson contribute layers of sound to both pieces. On "Quasar," a ballad in 7/4 time, Gleeson extends the horn playing of Bennie Maupin, Julian Priester and Eddie Henderson through electronic accents, while on "Water Torture," he provides a ghostly counter melody on the Mellotron, a keyboard that utilizes samples from string instruments.

These studio enhancements give Crossings an otherworldly dimension, making the album feel bigger and more fantastical, yet the Sextet's playing - recorded without much in way of edits or overdubs - keeps everything grounded. Indeed, Gleason's additions are often so natural that it is hard to pick out what's acoustic and what's synthesized.

While the Mwandishi Band's tenure was unfortunately short-lived, the advances Herbie Hancock made with them still sound exciting today and would propel him into further inventive territory with future jazz-funk project The Headhunters.

A selection of demos, remixes, bonus tracks and practice sessions (including revealing recordings of the very first band rehearsal) from Corduroy. Some thought lost, some over-looked but all very rare.

Second vinyl release from the Berlin based Jazz-O-Tech Records.
* Jazz-O-Tech is proud to announce the second chapter of its limited edition vinyl release "White Gardenia": a format that combines deep tech electronic grooves with the mystic, intense and intricate atmospheres of jazz music.
* The A side of the compilation starts with "Eshe" a track by the dutch producer Duke Zilla, a perfect opener for the vinyl with its funky, dreamy, and tribadelic vibes, followed by "Modal Miles" by the Italian trumpet player Cesare Dell'Anna (remixed by DN3), a cool deep tech track full of smoky jazz quotes of the almighty Miles Davis himself. "Dick Dunker" by the Berlin Based duo Flat Maze closes the first half, and it's a great example of what we call Techno-Jazz the perfect mix between cutting hedge techno sounds and experimental jazz piano.
* The B side is meditative and musically very dense, with the talented duo of newcomers Key Clef on synths and Riccardo Nebbiosi on sax presenting 'Angel Walk to the Sea' a beautiful trip into a poetic and progressive territory, which smoothly leads to the intricate and experimental fluid jazz grooves of "Story telling" by the Italian electronic jazz band Gamapawa, which closes the compilation.
* Jazz-O-Tech is a record label based in Berlin and Milan which has the ambition of creating a new music movement that merges Techno with Jazz, tradition with modernity, improvisation and experimentation, and takes the listeners on an emotional, futuristic and intense musical journey.

'I love Horace Tapscott! I love his music, his philosophies, and everything he did for the community that I grew up in' KAMASI WASHINGTON

Soul Jazz Records are proud to release the first in a series of albums by the legendary Los Angeles radical jazz artist, Horace Tapscott and The Pan-Afrikan Peoples Arkestra. Horace Tapscott is the key figure in the Los Angeles political and underground jazz scene of the late 20th century - his stridently independent and radical music, as far-reaching, cosmic and spiritual in scope as it was rooted in the Watts community of Los Angeles where he lived.

This superb rare, deep and spiritual jazz opus album was recorded at the Immanuel United Church of Christ, Los Angeles, in 1979, and has been unavailable on vinyl for over 40 years. 'I had a vision of the inside of this church, and I went there, and it was just like I had dreamed it.' This location remained the residence of the musical collective for most of the 1970s.

The music of Horace Tapscott and The Pan-Afrikan Peoples Arkestra is part Sun Ra Arkestra, part John Coltrane, part Art Ensemble of Chicago. This ground-breaking and monumental album (released here for the first time ever on expanded triple vinyl and double CD) explores the multi-faceted deep and spiritual jazz of Tapscott - Afro-centric rhythms, hypnotic bass lines, Tapscott's stabbing modal piano playing and stunning flute and horn arrangements. 'The Pan-Afrikan Peoples Arkestra - Live at I.U.C.C.' is a true high point in the cannon of great independent underground jazz music recorded during this era.

Tapscott's Pan-Afrikan Peoples Arkestra was set up as a musicians' collective in Los Angeles in the early 1960s, part of the Underground Musicians Association (UGMA), later Union of God's Musicians and Artists Ascension (UGMAA), an umbrella organisation for musicians, poets, dancers and painters in the neighbourhood. Out of this group came many leading players including Black Arthur (Arthur Blythe), Azar Lawrence, Dwight Trible, Phil Ranelin (originally from Tribe), writer Stanley Crouch, David Murray, Adele Sebastian, Jesse Sharps and hundreds more.

At the start of the 1960s Tapscott was part of a radical underground jazz scene on the west coast that included Don Cherry, Ornette Coleman and Eric Dolphy. But while these other artists sought international success and the magnetic pull of New York City, Tapscott chose to remain in Los Angeles music and stayed firmly rooted in the Watts community, organising the long-standing Pan-Afrikan Peoples Arkestra and the Union of God's Musicians and Artists Ascension.

This musical and artistic collective was part of the larger Black Arts Movement that spread across the USA during this time - in similar fashion to African-American community arts collectives such as The Association for the Advancement of Creative Musicians (and Art Ensemble of Chicago) in Chicago, the Tribe collective of musicians in Detroit, Amiri Baraka's Spirit House in New Jersey, and The Black Artists Group in St Louis.

After Tapscott's debut album for Impulse Records in 1969, Tapscott and the Pan-Afrikan Peoples Arkestra recorded two albums with Elaine Brown, the only woman to lead the Black Panther party. 'Seize the Time - The Black Panther Party' also featured the artwork of Emory Douglas, graphic designer and Minister for Culture for the Black Panthers. Tapscott was closely aligned to the Los Angeles chapter of the Black Panthers, at one point working out of the same two-story building in South LA - while upstairs they planned revolution, stockpiled weapons and hosted revolutionaries such as H Rap Brown, Angela Davis and Stokely Carmichael, downstairs Tapscott ran the Arkestra, a number of which were also Black Panther members. Through this association and after the UGMAA building was raided in the Watts Riots, Tapscott was watched by both the FBI and the CIA and effectively black-listed from further recording sessions.

Despite this, throughout the 1970s Tapscott continued to create music as a community experience, performing and running workshops mainly at local parks and recreation events and in churches around the Watts area of Los Angeles. The group performed for free, sometimes requesting an entry fee of a food donation which was distributed to poor families in the area.

Tapscott's music remained undocumented throughout the 1970s. It was not until 1978 when a new record company, Nimbus West, was especially set up by Tom Albach, specifically to record the music of Tapscott, The Pan-Afrikan Peoples Arkestra as well as a number of solo projects by group members.

The music, ethos and influence of Horace Tapscott among Los Angeles artists is profound, McCoy Tyner commenting that in the 1970s there was no music coming out of LA that wasn't linked to Horace Tapscott and The Pan-Afrikan Arkestra. In the 1990s a new generation of artists took inspiration from Tapscott; The West Coast Get Down collective, including Kamasi Washington and Thundercat, was involved in similar processes of cross-pollinisation across the arts in South Los Angeles working with Kendrick Lamar, Pan-Afrikan Arkestra vocalist Dwight Trible, Flying Lotus and his Brainfeeder label and others.

'Our music is contributive, rather than competitive' HORACE TAPSCOTT

Originally released independently in 1979, this ground-breaking album is extremely hard to find and is issued here in glorious expanded form (triple vinyl and double CD) with a bonus track and with all its original striking artwork. This release will be followed next month by Horace Tapscott conducting The Pan-Afrikan Peoples Arkestra release The Call (1978), also re-released on Soul Jazz Records.

Molten Penguin is young project bringing together top instrumentalists from Ghent's experimental jazz/fusion/crossover-scene who profess their love for electronic music: Pieter Claus (Sinister Sister) on vibra, Dries Geusens (Nordmann) on bass, Jan Ghesquière (Sinister Sister) on guitar and Jonathan Callens (Imagine Raymond, Wasdaman) on drums.

Inspired by jazz, hiphop, drum&bass, Hudson Mohawke's boiler room sessions, the abstract electronic worlds of Aphex Twin and Amon Tobin, and anything even remotely oblique or askew, Molten Penguin is one of the select few bands who succeed in performing electronic music live in a ballsy way. Fired up by Pieter Claus' alien-sounding compositions and with the proper injection of high-tension improvisation, they give music a solid ass-kicking.

Highly danceable tracks 'Just Off' and 'Mad Spider' are just the perfect soundtrack for a club night, while musical highlights 'Yester Mo' and 'Spooky' really show off the band's composition, playing and sound bending skills.

Local Talk is proud to present the second 10" release featuring music by Kyoto Jazz Sextet.

Mission is another track taken from their second album 'Unity' released on Blue Note in 2017.
This time the remix torch is passed from Ron Trent to Jaxx Madicine. The Milanese trio remix has a feel of confidence and charge which allows it an accessibility and artistic integrity that shines through immediately, it takes you to another place.

Body Heat von Quincy Jones wurde erstmalig im Mai des Jahres 1974 veröffentlicht.

The Quintessence ist ein Album von Quincy Jones und seinem Orchester. Es erschein erstmals 1962
und war sein einziges Album für Impulse! Ein Kritiker kannte es "den Sound der Moderne; dies ist der
Höhepunkt der progressiven Big Band-Musik."

Stateside celebrates the music of Brazil, just in time for the games, with this double A-sider 7' single.

One of Brazil's most prolific artists, Eumir Deodato has participated in the creation of over 450 albums, racked up 16 platinum records, won a Grammy (and received two more nominations), and sold over 250 million records in the USA alone. Over the course of his career, he has written for, arranged music by and played with artists including Frank Sinatra, Tom Jobim, Kool & The Gang, Earth, Wind & Fire, Marcos Valle, Aretha Franklin and Bjork, among others.

At the height of Deodato's productivity in the early 70s, Os Catedraticos 73 was recorded between Rio de Janeiro and New York, featuring a Brazilian rhythm section comprising Azymuth drummer Ivan 'Mamão' Conti, percussion master Orlandivo, and Sergio Barroso on bass, while the horn section features some of the big apple's top players from the CTI in-house brass.

A firm favourite with rare-groove enthusiasts and fans of Latin jazz alike, Deodato melds the musical sensibility of post-bossa nova Brazilian jazz with North American soul & funk, and the explosive Latin influences of '70s New York. Os Catedraticos 73 certainly swings harder than some of Deodato's earlier releases and opening track 'Arranha Ceu' (Skyscrapers) is a euphoric dance floor classic, which has been lighting up clubs for years.

With the blessing of Deodato himself, this official Far Out reissue has been remastered and pressed to 180g vinyl, with replica original artwork from the OG Equipe release.

With one of the hippest jazz albums of recent years under their belt, Jukka Eskola Soul Trio is back with a fresh new single. It's truly a double-sider of the highest order, as both of the tracks deliver a completely distinct flavor.

"Tiny B" on the A side is a neat bossa jazz number, and as usual in top of the genre, the lightness serves only as a facade. The composition starts to evolve before the listener gets too comfortable, transitioning into a beautiful cinematic section, which is followed by tight solos by Eskola on trumpet and Mikko Helevä on organ. The trio rises beyond its numbers, as the maestro Teppo Mäkynen overdubs his drumming with added percussion and vibes.

Hiding on the B side is a furious jazz dance burner, which sees the trio rise to energy levels that surpass even Five Corners Quintet in their tightest form. "Stick of a Branch" is highly syncopated business that takes its cues from a sound refined by 1970's independent afrocentric jazz groups. It's a style, which is inherently modernist, without a slightest interest in mass appeal, and firmly rooted in the blues.

If you need some no nonsense organic jazz on your turntable, it's hard to go wrong with this single.

This is the companion to Disco 3000, made on the same classic Italian quartet tour with John Gilmore, Michael Ray (trumpet) and the minimal but perfect Luqman Ali (drums). Ra himself plays piano and electronic keyboards, including the mysterious Crumar Mainman, which Ra describes as 'like a piano, organ, clavichord, cello, violin and brass instruments' and which also, importantly, has a facility for pre-programmed bass-lines and electronic percussion, which Ra uses constantly and to great effect in this small ensemble setting and seldom, if ever, elsewhere. The best of this collection (most of CD1) is luminous: very electronic, often rhythmical and melodic, always economical and making every sound count. These tracks are like no other jazz ensemble and, although recognisable as Ra - who else could think of, and then get away with, this - unlike any other Ra ensemble either. Ra makes the machines do amazing, visionary things while the band exercises restraint, remaining always in focus. In between, there are piano, saxophone, trumpet and drum vignettes, fresh and perfectly judged; this real was a fine band. This places the original vinyl release (and related releases, Sound Mirror and Disco 300) back into the context of the concerts, from which they were drawn. An important addition to the Sun Ra canon, since it is a rare document of an unusual Ra project that produced three classic late '70s LPs. Beautifully packaged and well annotated.

'Buntús Rince' translates from Irish as 'basic rhythms', and this new compilation explores how Irish musicians were influenced by strands of different genres of music from around the world, merging them to create their own unique sounds. The compilation features some of the most innovative and talented figures in the history of Irish music and includes rare Irish jazz, fusion and folk outliers from the 1970s and early 1980s from musicians relatively unknown outside of Ireland.

Often regarded as a musical backwater, the 1970s finally saw Ireland begin to make its mark on international music. The nature of this feat is all the more commendable, considering how isolated and conservative the country still was in the middle of the last century. The emergence of acts like Skid Row, Thin Lizzy and Van Morrison instilled in budding young Irish musicians the belief to dream big.

Unlike many other European countries, Ireland had not benefited from the cultural impact of immigration. Pioneering Irish musicians did not have access to the type of vibrant music scenes ubiquitous to most European cities at that time. With no talented players or even in some cases recordings of the music, they had to cultivate and invent their own small scenes.

A jazz scene had begun to blossom in Dublin in the late 1950s. Self-taught players like Noel Kelehan and Louis Stewart emerged as the Irish standard-bearers. Their level of musicianship saw them play with some of the world's most renowned artists. The 1960s would see the emergence of the 'beat' scene in Ireland, with groups like Granny's Intentions, Taste and Eire Apparent finally challenging the hegemony of Irish Showbands. Change was in the air.
The late 1960s also saw many Irish emigrants returning home, bringing with them inspiration from the new styles and sounds of London and further afield. The arrival in the late 1960s of pirate radio stations like Radio Caroline, new music magazines and the availability of music on vinyl meant that different genres were now becoming more accessible. The musical landscape of the country began to transform and evolve, influencing a new generation of musicians in the process.
The 1970s saw advancements in studio technology. 8-track studios began appearing in Dublin, offering more opportunities for groups to record singles and albums. Synthesizers and other instruments were also becoming easier to acquire as the younger generation turned to electric jazz and fusion music.
While the level of musicianship was high, the levels of opportunities in Ireland were still very limited. Many groups and solo musicians had to emigrate to try and succeed.
Thankfully for those who remained, this new emerging scene didn't go totally unnoticed and local labels began to take a chance on more obscure Irish groups. Labels like Mulligan and also producers like John D'Ardis and Terri Hooley championed and documented music from the Irish underground of the 1970s.

Their valuable work is a common thread which connects many of the tracks on this compilation. From the soaring flute playing of Brian Dunning, to the swinging piano of Noel Kelehan and the sonic force of Jolyon Jackson's synthesizers; 'Buntús Rince' lifts the lid on a vastly underappreciated period of Irish music history.
One for the collectors.

French independent label Le Chant du Monde
celebrate the memory of some of the most popular
artists in history.
Cinema buffs around the world have in mind the
singular voice of this essential figure of French
cinema. 'Children of Paradise', 'Hotel du Nord', 'The
Evening Visitors' are among many movies that
have been successful thanks to its magnetic
presence. Léonie Marie Julie Bathiat (15 May 1898
- 23 July 1992), known professionally as Arletty,
was also a very expressive singer who left us,
unfortunately, too few recordings.
This release compiles fourteen of her best songs
alongside Arletty reciting texts extracting from
'Mort à Crédit', a famous French novel by Louis
Ferdinand Céline.

French independent label Le Chant du Monde
celebrate the memory of some of the most popular
artists in history.
28 unforgettable Charles Aznavour greatest hits.
Aznavour was one of France's most popular and
enduring singers. He sold 180 million records
during his lifetime and was dubbed France's Frank
Sinatra.

French independent label Le Chant du Monde
celebrate the memory of some of the most popular
artists in history.
French movie star Jean Gabin was at first a
famous singer during the Roaring Twenties and
Thirties.
This release presents his rare and most famous
songs (side A & B) alongside Jean Gabin telling a
story written by French poet and composer Léo
Ferré and giving life to famous movie dialogs
written by Michel Audiard.
A very rare and precious testimony of one of the
best French actors ever.

1. Quand on s'promène au bord de l'eau (Julien Duvivier/Maurice Yvain) 1936
2. Qu'est-ce que tu dis d'ça (Louis Poterat/Maurice Yvain) 1936
3. Avec ma p'tite gueule (Maurice Gleize/Georges Van Parys) 1934
4. Viens Fifine (Emile Audiffred, Henri Varna & Geo Koger/Vincent Scotto) 1934
5. La Môme caoutchouc (Serge Veber/Maurice Yvain) 1932
6. Chanson des mariniers (Serge Veber/Maurice Yvain) 1932
7. Quand on a ça (Yves Mirande/Marcel Lattès) 1930
8. C'est moi le mari (Bud Green/Harry Warren) 1930
9. Ingénument naïvement (Albert Willemetz, Charles Louis Pothier/Casimir Oberfeld) 1930
10. Je ne dis pas non (Arthur Rebner/Rudolf Lewysohn) 1930
11. Léo, Léa, Elie (Charles-Louis Pothier, Alfred Mollex/Gaston Gabaroche) 1930
12. C'est chouette d'être un monsieur (Albert Willemetz/Marcel Lattès) 1930
13. Vive les grosses dames (Charles-Louis Pothier/Casimir Oberfeld) 1930
14. La Chance me fuit (René Pujol/Walter Kollo, Nico Dostal) 1930
15. Chacun sa chance (René Pujol/Walter Kollo, Nico Dostal) 1930
16. Ma Miette (Jean Coulon/Vincent Scotto) 1959
17. L'Esprit de famille (Léo Ferré) 1951
18. Ah ! La rue (Léo Ferré) 1951
19. Air du cireur (Léo Ferré) 1951
20. Brusquement cette charmante enfant (Léo Ferré) 1951
21. La Tamise (Léo Ferré) 1951
22. Je suis parti sur un de ces bateaux (Léo Ferré) 1951
23. Ohé oh, hisse ! (Léo Ferré) 1951
24. Madre de Dios (Léo Ferré) 1951
25. Dans les flancs du Madre de Dios (Léo Ferré) 1951
26. Les Voyages ne forment rien du tout (Léo Ferré) 1951
27. Les Deniers me crevaient les poches (Léo Ferré) 1951
28. En amour (Léo Ferré) 1951
29. La Femme adultère (Léo Ferré) 1951
30. Garçon ! Donnez-moi un peu d'oubli (Léo Ferré) 1951
31. Ils me redonnèrent quelque goût (Léo Ferré) 1951
32. Pour soulever le toit (Léo Ferré) 1951
33. Petit Soldat (Léo Ferré) 1951
34. Au paradis des pauvres chiens (Léo Ferré) 1951
35. Je décidais de me fixer (Léo Ferré) 1951
36. Si j'avais eu le sens du repentir (Léo Ferré) 1951
37. Le Parvenu (Léo Ferré) 1951
38. Frères humains (François Villon) 1951
39. Vingt ans d'placard (Michel Audiard) 1961
40. Pas d'Borgia à l'office ! (Michel Audiard) 1961
41. Un instant d'optimisme (Michel Audiard) 1961
42. Noël à la télévision (Michel Audiard) 1960

French independent label Le Chant du Monde
celebrate the memory of some of the most popular
artists in history.
16 original songs sung by Johnny with 16 original
songs sung by Eddy. Compare the style of these
two French rock 'n' roll stars and understand why
they were the first and best.

'between 1995 And 2000 I Was Able To Play
Sixteen Concerts With Ornette. Before Each Concert
He Would Write Ten New Pieces That We Would Work
Out And Record During An Entire Week At His
Harmolodic Studio In Harlem, New York. Since He
Wanted Me To Contribute The Cards (sounds) For His
Melodies, I Was Directly Involved In The
Composition Process.
'once The Concert Was Over, The Songs Would
Never Be Played Again. I Am Now The Only One Who
Has All Of The Recordings And The Sheet Music For A
Total Of 170 Pieces. And After About Twenty Years, I
Have Put Together The Most Beautiful Of His
Melodies And Ballads And Recorded Them For Piano
Solo. With The Exception Of 'lonely Woman', None
Of The Pieces Has Ever Been Released By Ornette.' -
Joachim Kühn
Lp Pressed On 180g Vinyl With Digital Download
Code.

Released in February 1994, Mother Earth's 'People
Tree' is celebrating its 25th Anniversary with the
release of this 180g green vinyl reissue, mastered
from hi-res transfers of the first generation master
tapes. This is the first time the album has been
available on vinyl for 20 years.
Mother Earth were part of the second generation
of Acid Jazz groups and were fronted by Matt
Deighton who would later go on to have a critically
acclaimed solo career as well as playing with Paul
Weller and for a short time becoming a member of
Oasis.
'People Tree' was produced over a year by Acid
Jazz boss Eddie Piller and it showed a love of both
soul and the sort of bucolic rock music made
famous by the likes of Traffic in the late 60s. It
featured incredible songwriting that manifested
itself in band favourites 'Jesse' and 'Apple Green'.
Guests on the album include Paul Weller, DC Lee
and The Brand New Heavies' Simon Bartholomew.
The album was a huge success, charting in the UK
and going on to sell over 100,000 copies
worldwide. It is an album that all involved remain
incredibly proud of.

Jazz isn't dead. Well, actually, in this case, it is... but in the most thematically appropriate way for the 20th Anniversary edition of the Grim Fandango soundtrack. Composer Peter McConnell's trumpet-y and rambunctious big band lounge act can finally be listened to the way it was always intended - on vintage black vinyl. Real human orchestras were rarely used for videogame music back in the 90s, but in this Remastered Director's Cut, every note was re-recorded and performed by actual fleshy people. The results are foot-tapping and chill, turning your living room into a veritable smokey club (smoke not included).

'A Thousand Strands' is the debut long-player from The Dandelion Set, a new collaboration between Glyn 'Bigga' Bush (Lightning Head, Rockers Hi Fi) and PK Chown (James Beige, Mr Liquorice). The album travels back to their formative years in the mid 1970s, with sleevenotes, lyrics and vocals by cult writer Alan Moore (V For Vendetta, Watchmen) and passes through a cavalcade of musical landmarks en route to the present day.

The first 4 Dictaphone albums now available as a very limited boxset with a wonderful new timeless artwork.

Already formed in the late nineties in Berlin, Dictaphone was born by Brussels-bred multi-instrumentalist Oliver Doerell. In 2000 Oliver Doerell found a partner in Berlin's Roger Döring, who shares Doerell's love for the Brussels-based music of the eighties. In the following years the duo and several guest musicians (e.g. Stephan Wöhrmann (SWOD) , Malka Spigel (Minimal Compact) & more) released the critically highly acclaimed "m.= addiction" (2002), the "Nacht" EP (2004) and "Vertigo II" (2006) via the City Centres Offices label of Thaddeus Herrmann and Shlom Sviri (Boomkat, Modern Love). In 2009 the violin player Alex Stolze joined the band. During their two decades of existence Dictaphone played shows in more than 20 countries with festival appearances at Mutek, Transmediale, Unsound, Benicassim & more. Their latest release "Poems from a rooftop" from 2012 came as a very limited edition through the Berlin-based boutique label Sonic Pieces. In 2017 the band released the long awaited third album "APR 70" on denovali. The label now also offers a reissue of the trio's past repertoire.

Dictaphone never make music for the sake of it, they always want to create something which was missing before. And they did.

Praise for Dictaphone:

"minimalistic and subliminal elegancy" (ARTE)

"Dictaphones gives warmth to the concept, your thoughts a body and atmosphere to the music" (Spex)

"This is the music to fall in love with over many evenings, each subsequent rotation capturing another moment of time to be recalled in the future. Highly recommended" (Headphone Commute)

"When played from a rooftop, this music may be as quiet as a poem, but it carries the power of a manifesto." (A Closer Listen)

A little something for your garden party this summer, DJ Fiskars compiles a mix of favourites in the realm of ambient, new age and contemporary jazz. Vibes highly botanical.

johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

This is the only solo record drummer Yoshimi Ueno released before passing.

The album features 'Sea Sound'—a hard bop number with soulful melodies and impressive saxo-phone playing by Yasuaki Shimizu, folky and melancholic 'Tsuchi Ningyo' composed by labelmate Eiji Nakayama, the romantic ballad 'My Spirit' by pianist Keisaku Takahashi, polyrhythmic jam 'Skip' written by Ueno himself, 'K.Blues'—a bluesy tune with a bit of a New Orleans jazz vibe—and 'Uzushio,' a duet between Nakayama's bass and Ueno's drums.

Tradition and experimentation are two familiar
territories that C'mon Tigre, a duo who find
their identity by working with musicians from
all over the world, can balance between very
well. As they did for their debut album (2014),
they have put together a multicolored collective
for their second record 'Racines', out on
February 15, 2019 for BDC/K7.
The title is a French word that means "roots",
referring to the musical roots in which C'mon
Tigre's feet, head and heart are immersed, and
from which their contaminated tracks sprout to
create unusual and original sound environments. In their new album the sounds of the
Mediterranean - the sea of their land -
intersect, intertwine and overlap with a
kaleidoscope of other sounds and a new
approach based - they explain - "on the type of
work we had done when we rearranged the first
album for live shows, by emphasizing the
synthetic part of our tracks". This time around
they did it from the very beginning: "The
composition of the pieces immediately included
the use of machines and synthesizers as a
basis for acoustic instruments. The goal was to
reprocess the terrain of Mediterranean
influences that was undoubtedly our starting
point".
Imagine a work in progress where bass and
guitars interact with woodwind, synths, percussions, vibraphones, dipping the listener into a
sensual and hypnotic musical journey. Sailing
from the Mediterranean basin and being guided
by the fascination for Africa and the Middle
East, C'mon Tigre give rise to a personal
language, made up of mixtures with jazz,
afrojazz, the rhythmics of hip hop, funk, 70s
disco. All without ever confining their songs to
one style, but pushing the exploration as much
as possible, into a dimension that every journey
worthy of this name should encompass. "With
the musicians we work with the exchange and
experimentation continue till the end, the
songs can take different directions at any time'.
The result is a mixed, cosmopolitan record,
which escapes from any label for the affirmation of a free attitude. The attitude that led
C'mon Tigre to seek a connection with dancefloor culture, even if considered only as an
evocation to revisit in an absolutely personal
way

Audrey Chen - Voice
Julien Desprez - Guitar
Lukas König - Drums, Synthesizers
Accelerated Frames Of Reference Is The Blistering Debut Album By Mopcut. Lukas König (koenigleopold / Kœnig / Kompost 3) On Synthesizers And Drums, Julien Desprez On Electric Guitar And Vocalist Audrey Chen On Analog Synthesizers. Three Artists Have Joined Forces To Create Songs Beyond Language And Gravity At The Interface Of Sound Architecture And Performance-ritual.
Minimal And Maximal Improvisation, Noise And Electronics Overlayed By Audrey Chen´s Ecstatic Vocal.

Komos Records are proud to present the first time reissue of a cult French private press rarity at the intersection of jazz, percussion and experimental sounds.

'Hypnotic percussion tracks and organic soundscapes drawing on African, Asian, Indian & South American traditions, recorded deep in the French countryside in 1984."

- Founded by long-time friends Gerard Kurdjian and Stéphane Olivier alongside compatriot Christian Berthier in 1983, Nakara Percussions was a trio from the south of France, fascinated with percussion instruments, rhythms and textures from across the world.

- Steeped in Jazz and ethnographic recordings, the trio designed and built their own instruments and played across the South of France throughout the 80s, recording a single album in the tiny village of Alliens in 1984.

- Self-produced and mainly sold at gigs, the record reflects the inquisitive, experimental approach of the group and has become a cult album among DJs and music lovers for its blend of complex rhythms and organic soundscapes, taking in everything from Brazilian batucada to Indian tabla rhythms by way of West African thumb pianos and the drums of the Maghreb.

- The track 'Balimba' has become a dancefloor classic, finding a home in the sets of openminded techno DJs as well as on the jazz dance and tropical scenes.