Pop & Rock News

On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.

by Rob Ferrier /AMG

Fat Albert Rotunda is the venture into jazz-funk by keyboardist Herbie Hancock. The record is centered around the music Hancock wrote the Fat Albert cartoon show. It's one of the records which appeared in the period between his landmark album Maiden Voyage of 1965 and his 1973 classic Head Hunters. Fat Albert Rotunda is a unique item in Herbie Hancock's long and diverse catalog, with funky tracks like 'Fat Mama' and modern jazz-oriented tunes like 'Tell Me A Bedtime Story'. The sextet which is backing Hancock consists of some of the most prominent musicians of that time, like Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on the bass.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Mwandishi is one of Herbie Hancock's first departures from his traditional jazz sounds. The album which was recorded in a single session on New Year's Eve is a much more spacier effort compared to his earlier works, created by Hancock's us of electronic effects devices. His sextet is the most progressive ensemble he played with and he took the next step in the future of jazz. The music on Mwandishi is beautifully atmospheric and the long tracks leave plenty of space for improvisations by the group. A fantastic recording with sonic layers of earth, existence and expression.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Saxophonist, composer and bandleader Nubya Garcia is back with the eagerly awaited next chapter to her musical unfolding, When We Are. Enabled with the support of the prestigious Steve Reid Foundation's InNOVAtion award, and with Eglo records co-founder Sam Shepherd (Floating Points) as her mentor, this self-released EP features two newly recorded compositions from the much-lauded artist. The record also comes with B-side remixes from two generations of London's finest producers, K-15 and Maxwell Owin. Following on from her scorching sophomore release, Nubya's 5ive (jazz:refreshed), When We Are sees the trailblazing player take typically self assured steps into new territory with electronic experimentation. 'I've been inspired a lot by the producers around me at the moment, people like Ben Hayes, Tom Misch, Joe Armon- Jones, Jake Long and Maxwell Owin', said Garcia. 'There's an electronic vibe in there that I wanted to explore more, and this release feels like a positive evolution from the last EP.' Much like the celebrated Brownswood release, We Out Here, where Garcia features on five of the nine tracks, When We Are offers a snapshot of the artist she is today and the organic musical languages she continues to form with her long term collaborators Femi Koleoso, Joe Armon-Jones and Daniel Casimir. The title track opens with the easy cascading of Armon-Jones on keys, Garcia's signature erudite tone dancing against the drummer Koleoso's boxy, afro-tinged hip hop runs; all three riding on Casimir's beautifully subtle, abetting bass. Crisp and clean, the track's sweet inflections are carried into spacious territory by light touch pedal effects. Source comprises of shape-shifting, Tetris-like grooves. It's a characteristically sophisticated sound from the band, where each player is able to shine around the trademark fusion of gospel, soul, broken beat, Afro-Caribbean and Latin styles that Garcia has deftly crafted into her own. Alongside her releases, Garcia's reputation as a DJ is burgeoning, bolstered by her hit radio residencies on platforms including Balamii and NTS, and a growing number of live sets across Europe. The record partly draws on the energy of the club-nights that shaped her formative years. The grime and garage nights in north London, dub nights across the river in south London, and of course, the infamous Steez performance jams that have served as a rite of passage for much of the scene.

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

- 180 GRAM AUDIOPHILE VINYL
- DEBUT ALBUM FEATURING THE MILES DAVIS COVER AND HIT 'SO WHAT', 'AFTER HOURS' AND MORE SONGS
- LIMITED FIRST PRESSING OF 1.000 INDIVIDUALLY NUMBERED COPIES ON GOLD VINYL

As an influential artist in the acid jazz movement of the '90s, Ronny Jordan released his debut album The Antidote. 'After Hours' is without a doubt the signature track on the album, and one of the most brilliant songs of his oeuvre. The well structured album focuses on different parts of the jazz movement, including a fantastic crossover cover of the Miles Davis classic 'So What'. A fine combination of Hip-Hop drum loops and jazz is what Jordan presented to the public. You get caught up in the groove of the guitar rhythms and that fact is what makes this record so wonderful, all these fine expressions.

Ronny Jordan came to prominence after being featured on Guru's Jazzmatazz. In the urban jazz movement he recorded a couple of chart hitting records.

The Antidote is available as a limited first pressing of 1.000 individually numbered copies on gold vinyl.

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

Twelve years ago, Sardinian trumpeter Paolo
Fresu, French accordionist Richard Galliano and
Swedish pianist Jan Lundgren - all from the upper
echelons of European jazz - formed their trio. Each
has his roots in the musical tradition of his home
country and each has used it to develop his own
musical language.
'Mare Nostrum III' completes a trilogy of albums.
Right from the beginning of their decade-long
collaboration, the group has had the idea of
recording an album in each of their home
countries. They made the first in Italy in 2007 and
it took these busy musicians until 2016 to go to
France and record the second. Their third
destination was Sweden and the Nilento Studio in
Gothenburg. 'Once again,' says Rene Hess, the
Swiss producer of the album, 'it was a pure
pleasure to see the sheer ease with which Paolo,
Richard and Jan can create such great music.'
With 'Mare Nostrum III', Paolo Fresu, Richard
Galliano and Jan Lundgren have once again
created a wonderful ballad album. Through their
music they rise way above the old discussion about
whatever jazz might be nowadays. What they have
achieved instead is to bring the sound of Europe to
life.
CD in 6 page digipack. 2LP on heavyweight, half
speed cut 45RPM vinyl with digital download code.

RRR have once more tapped in to their combined creative vaults producing another sophisticated slice of smouldering modern soul and subtle funky grooves. A potent and vastly enticing hybrid laced with killer hooks - enthused in the tradition of Norman Whitfield, with a twist of psychedelia.
(Emrys Baired - Blues & Soul)

Gareth Tasker plays and Barrie Sharpe produces. Their sound is individual - based upon the funk of the early 70s: however, with a totally modern production. The clean unique Sharpe production places every part of the puzzle into the correct space: 'every note is audible'. Accompanied by the outstanding abstract gospel vocals of Danelle Harvey - the understated, haunting jazzy horn of Kenny Wellington (Beggar & Co / Light Of The World) & the soulful smatterings of AprilFoolChild's flutewomanship. Fritz Catlin (23 Skidoo) adds the final edge with his Studer 169...
'I was a product of the times and the product became the producer. I designed the clothes, ran the club, played the records, was in the band and made the music, which created the scene that changed youth culture worldwide. I just kept falling up hill.' (Barrie Sharpe)...The clothes - Duffer of St. George (created 1984) - from the street, 4 young men shook up the fashion industry globally...
The Clubs - Black Market (Wag) 84/85 and The Cat In The Hat 85/86 - he with his friend Lascelle Lascelles played their favourite 70s funk records to a brand new audience. The style they played became known as 'Rare Groove' - the change in club culture...The band - Diana Brown & The Brothers - that consisted of The Brand New Heavies, The Young Disciples and Diana Brown & Barrie K Sharpe - became the defining sound of the Acid Jazz Movement...

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

One of Brazil's most prolific artists, Eumir Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone. After moving from Rio de Janeiro to New York in the late 60's, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind & Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim and Bjork, to name a just a few.

But before that, a young Deodato had already cemented his status in Brazil as one of the country's top musical minds. In the mid-sixties, when he wasn't working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedráticos.

A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato's own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion.

An elusive long player in the cannon of killer, groovy Brazilian music, with vinyl copies near impossible to find for less than three digits, Ataque finally gets the official Far Out reissue treatment: re-mastered and pressed to 180g vinyl. Now available for the first time outside of South America.

Ein Trip durch die tropische Dance-Szene in vier Akten, limitiert auf 1000 Exemplare. Sein fünfjähriges Jubiläum feiert das Label Cree Records mit einer exklusiven 12''. Diese enthält vier von
befreundeten DJs editierte Songs aus dem Backkatalog. Bei dem Quartett handelt es sich um DJ Nomad, Keshav Singh, Al Kent und Waxist. Der Berliner DJ Nomad suchte sich Barbara Hernandez' "All Nite Tonight" aus. Keshav Singh ist Teil des trinidadisch-britischen Produktionsduos Jus Now; er verwandelte Mansa Musas "Beat The Drum" in eine housige Soca-Nummer. Die beiden anderen Stücke werden auf der demnächst erscheinenden Kompilation "Gotta Nice Buzz. The Funky Sound Of Semp Studios Trinidad, W.I." zu finden sein: Zum einen der Remix des französischen DJs und Plattensammlers Waxist von Zodiacs "I Believe". Zum anderen ein von Al Kent besorgter Edit des trinidadischen Disco-Klassikers "Music Makes The
World Go 'round" der Hamilton Brothers aus dem Jahr 1978.

Standard black double vinyl format of the album. Marketing activity to Xmas.

Afshin (Djoon, Paris) and Kiss My Black Jazz follow up the stunning debut for GAMM with two more incredibly well executed edits/reworks !

First up a joyous late 70's Brazilian lost classic, perfectly realigned for 21st century floors
On the flip, Reggae certainly got Funk as we bounce along with a killer soulful kingston jam... Both will surely do the business on a variety of floors.

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

The second line-up of the multinational jazz-rock fusion band Mahavishnu Orchestra recorded Apocalypse in 1974 together with the London Symphony Orchestra. George Martin was responsible for producing this brand new sound from the band. Jazz fusion and progressive rock blended together in this energetic mix of harmonies and epical orchestrations. John McLaughlin lyrical and fiery guitar sound takes an important role in the musical direction of the album.

Mahavishnu Orchestra have been cited many times as a big influence on everyone from King Crimson and Frank Zappa to The Mars Volta. Frontman and guitarist John McLaughlin has always been the main figure in the band, both during their first (1971-1976) and second line-up (1984-1987).

Das Ensemble "Time Grove" bietet auf seinem Debütalbum "More Than One Thing" feinsten Instrumental Jazz. Die insgesamt neun-köpfige Gruppe aus Tel Aviv hat sich unter der Leitung des renommierten Pianisten Nitai Hershkovits formiert und bietet reich instrumentiert zukunftsweisenden Sound.

Die Bandbreite des vielfältigen Albums reicht von den etwas gruseligen Horn- und Klavierlinien des mysteriösen Openers
"TG Theme" über die leichteren, idyllischeren Klängen von "Second Attention" bis hin zur perfekten Harmonie und Erhabenheit des letzten, ruhigen Stückes "Latrun". "More Than One Thing" bietet vielfältige Emotionen und ein wirklich einzigartiges Instrumentalset mit einem Twist.

Amazing Private Spiritual Jazz-funk/fusion Lp, Now Hard To Find. Finally Available Again, Fully Licensed And Remastered, With Original Artwork. This Album Is Magnificent In Its Entirety, No Fillers. Some Of The Best Fusion On Record!

Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own. Ezra

Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that's unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced.

Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as 'pioneering the new-wave of U.K. jazz'. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be 'as entertaining as it is educational' (Trench).

In a year that saw them sell out legendary London venue Ronnie Scott's not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher . After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson's esteemed Worldwide Awards Jan 2018

Jimi Tenor delivers another 7" on Philophon. This time he teamed up with the two glorious gospel queens Florence Adooni and Lizzy Amaliyenga from Bolgatanga/Northern Ghana. This release is a first insight into the next album by Jimi on Philophon, which will be released later the year.

Vocalize My Luv is a charmingly presented lure for love. The secret of the song is that drummer Ekow Alabi Savage's upfront high-life beat is triggering a Jimi-operated Korg MS-20 bass synth. Man and machine are melting down into a light and sportive groove, which irresistibly invites you to do some frisky aerobic moves on the 3am dancefloor. Ki'igba is a classic Frafra gospel song by Alogte Oho, completed with some jubilating flute by master Jimi.

Collaborative album of absolute essentialness.... more info soooon...TIP!

In the brief, bright arc that is the career of John Coltrane, 1963 marks a point of
transition between past jazz masterpieces and future work which would transcend the
boundaries of the music itself. That year's recorded output shows movement in many
directions: a look back at the past, continued examination of a familiar repertoire,
exploration of more traditional formats and a look forward at compositions and
approaches that would further extend the reach of jazz.

- John Coltrane 1963: New Directions collects all of
John Coltrane's 1963 Impulse recordings in the
order in which they were recorded.
- 5-LP sets include artwork featuring original
collages.
- The box is meant to show the growth in
Coltrane's musical journey in 1963 that ultimately
resulted in 1964's 'Crescent' and, especially, 'A
Love Supreme'.
- Music comes from the original albums
'Both Directions at Once: The Lost Album', 'John
Coltrane and Johnny Hartman', 'Dear Old
Stockholm' (released after Coltrane's death),
'Newport '63' and 'Live at Birdland'.

Das Verve-Debüt von John Batiste - als CD und digital bereits am 28.9. erschienen - jetzt als elegante
Doppel-LP!
Man soll ja Bücher und Musikalben nicht nach dem Cover beurteilen, aber diese Doppel-LP ist schon
sehr, sehr chic. Draußen: ein edles Portrait des nicht nur begabten, sondern sehr attraktiven Künstlers,
innen Fotokunst und Collagen.
Batiste ist Bandleader in Stephen Colberts immens populärer US-TV-Late-Show. Auf seinem
Verve-Debüt taucht er tief ein in sein persönliches und kulturelles Erbe und webt aus
Eigenkompositionen und Jazzstandards einen intimen und emotionalen Piano/Stimme-Klangteppich,
der den Hörer von frühem New-Orleans-Jazz bis zur Musik der Gegenwart trägt.

The Philadelphia born singer Marian Anderson (1897 - 1993) is always remembered as the first African American interpreter to enter the elitist world of Opera and an important figure in the struggle for black artists in the context of the 1960's Civil Right Movement, Marian Anderson was one of the most celebrated singers of the twentieth century. Her voice has been defined as "Rich, vibrant contralto of intrinsic beauty". In "He's got the world in his hands" Marian Anderson with the only help from pianist Franz Rupp gets deep in the world of Spiritual. A long sequence of her favorite devotional songs interpreted with soul and grace. A true Masterpiece.

Recorded in the spring of 1952 at the Barrel Club in St. Louis, this is an inspired Bop session of Davis and tenor sax player Jimmy Forrest (then at the peak of his career). A rare chance to hear Davis and Forrest playing together and joined here by the rhythm section of Charles Fox (piano) Johnny Mixon (bass) and Oscar Oldham (drums). A fine selection of standards including Gillespie's hot number Night in Tunisia and a bunch of classics tunes such as Perdido, All the things you are and Oh Lady Be good.

Reissue of a 1991 demo cd released by Clarence Séti. Multi-genre digital synth compositions possibly intended for a soundtrack. Some romper-jazz, funk, freeform minimalism, and whatever else you want to call it.

Hague & White are Sheffield musicians Chris Hague (guitars, pianos and backing vocals) and Joel White (lead vocals, Hammond organ, Wurlitzer and Rhodes pianos - who also happens to be the cousin of the bard of Sheffield, Richard Hawley) who, between them, have worked with artists including Pulp, Moloko and Finlay Quaye. The band is completed by legendary drummer and percussionist, former Weller sticksman, Steve White. These three very talented musicians have created a self-assured, sophisticated and breathtaking debut album.

The Eleventh Hour was recorded at Sheffield's Tesla Studio, produced by Chris and David Glover (with co-production from Joel), and mastered at Abbey Road. It encompasses various styles and moods, touching on the band's love of soul, jazz, funk, psych and garage. With a sound hard to define, the eclecticism of Hague & White has been compared to anything from the sounds of Acid Jazz, to bands such as Elbow and The Last Shadow Puppets.

In the early 60's in France, Léo Ferré leaves the cabaret's stage where he used to perform for the music-hall scene where he keeps singing the Paris of lovers, night owls and misfits.

Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

This soul meets spiritual jazz album by vibes and marimba master Emile Normand is a super rare treat. Never released commercially until now, the LP features super covers of Yusef Lateef, Horace Silver and Jorge Ben.

Recorded in 1968 only for internal use on CBC radio stations this grail for jazz collectors is released for the first time ever 47 years on.

Standout tracks include 'Morning', 'Mas Que Nada' and 'Senor Blues'.

- 2x LP Compilations featuring iconic tracks from the legendary US label Holland-Dozier-Holland (HDH)

- The trio behind HDH helped define the Motown sound and split from the label in 1967

- 20 tracks guaranteed to fill a dancefloor with hits from;.

- Freda Payne's 'Band of Gold', Chairmen of the Board 'Give Me Just A little More Time', The Honey Cone, Parliament, Barrino Brothers and more

- Featuring tracks sampled by Fat Boy Slim, The Avalanches, 2Pac, DJ Shadow

Limited edition LP with riso printed insert + CD. Bram Weijters' Crazy Men is an adventurous take on Belgian jazz-rock and fusion from the seventies.The lineup of Crazy Men includes musicians who play in a wide array of contemporary jazz bands like BRZZVLL, Dans Dans, STUFF. and Internal Sun.

Belgian guitarist and composer Wouter Rosseel's love for Django Reinhardt, Sonny Rollins and swing jazz on one hand and reggae, rocksteady and ska on the other, has moved him to create Jamaican Jazz Orchestra. With ingenious compositions that enter fluidly, Wouter has succeeded in finding the sweet spot where jazz and Jamaica meet, once in a while sidestepping to afrobeat and nyahbinghi.

Several renown jazz musicians, most of them Ghent based joined the project and in 2013 Jamaican Jazz Orchestra was born. After a demo and an EP, Jamaican Jazz Orchestra released their first full album 'Encounters' in 2015 on Zephyrus Records.
Late november they're releasing an instrumental vinyl single with two new songs. (Ah Beh Bah / Big Belly Blues)

Early 2019 the band hits the studio to record their second full album. Recording on analog tape, allowing producer Tom Callens (Lady Linn, Little Dots, South of the Border) and mixing engineer Victor Rice to uncover that typical old school sound of reggae and jazz recordings between 60's and early 80's. The full album is expected in autumn 2019.

The Music Composed By Piero Umiliani For Baba Yaga / Devil Witch (1973, Corrado Farina) - The Film Inspired By The Ultra Pop Comic Books Of Guido Crepax, Valentina - Is One Of The Most Mysterious And Fascinating Works To Be Found In The Corpus Of The Maestro. Of This Maudit Work That Experts Considered Lost Only Two Tracks Survived, Those That We Present Here For The First Time In A Single 45 Rpm: Open Space, A Blazing Up-tempo Acid Jazz With Psychedelic Insets And Galloping Bass Tones That Was Used In The Title Credits And Then Released In That Same Year Inside The Masterpiece Entitled To-day's Sound; And Slogan, That Reworks The Film's Theme - Initially Played By A Languid Sax - In A Jazz-funk Key (published In 1975 In The Background Music Series Of The Library Bon Voyage).

The second installment of Argentinean record shop and label 'La Montaña Discos' includes one track of each of its founders.

Four club tracks straight from the heart of Rosario's city scene, each for a different and unique moment of a musical trip.

Ltd. to 300 copies, hand numbered.