Pop & Rock News

Includes 4 previously unreleased tracks, 3 incredibly rare tracks that are currently all out of print. Package includes never before seen family photos.

Alex Chilton front man for the Boxtops and Big Star was always known to surprise his fans with different directions he took over the years. Songs From Robin Hood Lane finds Chilton tackling a variety of numbers from the great American songbook.

These songs are the first Alex ever heard as a kid in the 1950s growing up in a Memphis suburban streat called Robin Hood Lane. Recorded in 1990.

Many of the songs he learned from his father Sidney Chilton, a jazz trumpeter and pianist when Alex was a kid growing up in the Memphis suburbs in the 1950s. It features some of his most expressive singing from his time as a solo artist. This set includes previously un-released recordings and others that are quite rare. All have been out of print for some time. This is a great lazy Sunday afternoon record to listen to and curl up with someone you love.

New label MIC launches with some previously unreleased and unheard material from UK DIY jazz funk maverick, Mike Collins, better known as the brains behind the spacey Loft classic, Sun Palace - 'Rude Movements'. MIC presents a small archive of Collins' material (recorded around the time of 'Rude Movements') and reveals the more experimental side of Collins' production. Five tracks that explore early, proto-house music, electro, and fascinating drum machine observation. Essential issue!

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

This American-Japanese Duo was born some months ago releasing their first 7" Vinyl togheter creating a really groovy & powerful Modern Funk singles.
Now dropping their first LP with the special collaboration of great artists as Dr. Evo playing the Synth Bass & Bass Guitar for "Feel Da Funk", the Awesome Voice of Moniquea in "Good Time" and the unmistakable Talkbox Sound and the Voice of Fingazz for "Cruise Control" and his Guitars on "I Keep It Funky".
The Sound of the album is smooth and powerful at the same time, but always Funk in all his shades, you can recognize the real sound and influence of West Coast Music typical of LA and at the same time, the spicy Japanese Funk touch coming from Osaka.
The mix in between the 2 different cultures creates a new amazing way to enjoy the Modern Funk.

Bridging distinct but closely connected music scenes can open new possibilities. On 'No More Normal', Swindle confidently grasps the different sides to the UK music scene. Boasting roots in the boundary-pushing world of Grime & Dubstep, this album marks the next step in the London-raised producer's expanded vision for his music. It fuses different disciplines together in new and electrifying ways. He connects a group of peers sharing creative common ground, one that centres around the fertile space between UK Jazz, Grime and Hip Hop. The results span from lush, strings-laden soul to voicebox-heavy p-funk - often in the course of one song. 'It's a class photo of 2018,' he says. 'I need everyone in this picture.' It incorporates an all-star cast of MC's in Kojey Radical, Ghetts, D Double E and P Money, to instrumentalists Yussef Dayes, Nubya Garcia, Riot Jazz, and singers such as Etta Bond, Eva Lazarus, Daley and Kiko Bun.

The album was built over a three year period. The opening track ''What We Do' became the track that set the scene for each studio session, a way of Swindle explaining what he was setting out to achieve. Featuring an (on paper) unusual combination of R&B singer Daley, Grime legends P Money & D Double E, and an opening speech from Bristol-based spoken word artist, Rider Shafique - 'It describes the narrative of the record overall and helped set the agenda for what followed - I made a lot of tracks that were really good that at the end of the day didn't fit this project'. The resulting work has a pervading sense of triumph against the odds, and a celebration of togetherness at this moment of fragmentation that manages to feel both optimistic and nostalgic. A record that could have only been made in today's multicultural Britain. 'No More Normal is the idea of us doing our thing, our way, with no rules or limitations. It is jazz influenced as much as it is grime influenced. It's London influenced as much as it is LA influenced. I can work with D Double E and Nubya Garcia, these records are my imagination brought to life in musical form'.

'No More Normal' follows a spate of projects where Swindle's taken on the role of producer for other artists. That's included Kojey Radical, for his single 'Water'; Joel Culpepper, whose 'Woman' live session for Colors has clocked up 4M Youtube streams and counting, D Double E with three tracks on his debut album 'Jackum' and Mahalia's EP 'Seasons'. It follows years of graft spent staking roots in the underground, from early output on Butterz, to the Trilogy of Funk triple EP released last year. The debut singles "Reach The Stars" & "Coming Home" saw support from all the heavy hitters - Target, Jamz Supernova, Annie Mac, Julie Adenuga, and Gilles Peterson.

An appreciation of jazz and funk has coursed through Swindle's music since the very start. 'No More Normal' continues that love affair. Growing up in south London, he built his first studio in his bedroom when he was 14. Excluded from school for having 'way too much energy' his early steps into music were aided by his blues guitarist father, who gave him lessons on the guitar and whose record collection - made up of soul and jazz touchstones - provided vital inspiration for his debut LP "Long Live The Jazz", released on Mala's Deep Medi label in 2013. The follow up in 2015, 'Peace, Love & Music', was created in studio sessions all over the world, and, accompanied by an explosive live show, was further testament to the ambition and scope of this singular artist.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Sensationell! Zufällig aufgefundener Konzertmitschnitt des Charles Mingus Quintett vom Februar 1973.
Diese Box beruht auf einem echten Sensationsfund, den Amir Abdullah im Zuge der Strata Wiederveröffentlichungen machte. Sie enthält fünf Tonträger mit Stücken, die Charles Mingus während einer einwöchigen Residenz in Chicago im Februar des Jahres 1973 mit seinem Quintett bei einem einmaligen
Auftritt performte. Der Gig fand bei Kenny und Barbara Cox, und damit dem Strata-Headquarter, in 46 Seldon statt. Eintritt im Vorverkauf 5 Dollar, an der Abendkasse 6 Dollar. Weil das Geschehen von dem Schlagzeuger, Produzenten und Rundfunkredakteur Robert "Bud" Spangler bei dem lokalen Jazzsender WDET FM gesendet und aufgezeichnet wurde, blieb das Konzert der Nachwelt erhalten. Die Bänder
verstaubten auf dem Dachboden von Hermine Brooks, der Witwe des innovativen Detroiter Drummers Roy Brooks. Dort entdeckte sie Amir Abdullah ganz zufällig. Sie präsentieren Mingus' letzte große Formation mit dem seinerzeit neu hinzugestoßenen Pianisten Don Pullen. Der 1979 verstorbene Kontrabassist, Komponist und Bandleader litt unter amyotropher Lateralsklerose und konnte in seinen letzten Lebensjahren nicht mehr
musizieren.

Jazz pianist Chick Corea's wonderful jazz record Tones for Joan's Bones is his first record as a leader of a hard bop group. Besides his piano melodies, tenor player Joe Farrell and trumpeter Woody Shaw adding an extra dimension to the different compositions. 'Straight Up and Down' is the most ambitious track, the most on the edge, but a lot of other songs also showing the true skills of the different band members. The distinct Latin tinge of Corea's music can be found all over the record. Anybody with an interest in this vital and exciting jazz period will find this session indispensable. Chick Corea had played piano for such jazz greats as Miles Davis before he started working as a leader of his own groups.

A Live Duo born in 2015 with the intention of proposing original Funky, Lounge, Jazz and Chill music. Between trumpet arrangements and solid grooves create a warm and versatile sound enriched by electronic contaminations, with a seventy aftertaste. Innovative sound design with a setup that stimulates the eyes and ears.

To Celebrate 10 Years Of This Great Album Infracom! Is Delighted To Announce A Limited Pressing (500 Copies) Of Mop Mop´s Second Long Player - For The First Time On Vinyl !
Back In 2008 Infracom! Could Only Release A Cd Version And A 12" Ep. For This Vinyl Release The Original Studio Masters Have Been Transferred To "reel Tape" And Received A Special Vinyl Mastering For A Great Analog Sound. The Original Artwork Has Been Transferred To The Vinyl Version With Printed Inner
Sleeves. Mop Mop Is The Brainchild Of Andrea Benini, Musician, Producer, Dj Who Has Been Active For More Than Ten Years Exploring A Large Variety Of Musical Genres, From Club To Jazz Music. Several Musicians Joined Mop Mop During The
Album Recording Like Latin Piano Player And Composer Alex Trebo, 'virtuoso' Vibes Player Pasquale Mirra, Down Beat Critics Poll Winner Gianluca Petrella, Veteran Jazz Singer Alan Farrington And London Singer Robina Veda. Mop Mop's Music Shakes Jazz And Eclectic Club Sound With An Italian
Taste That Joins International Tendencies.




D B2 | Jazzdancer

Favorite Recordings proudly presents Jongler, first LP by Pat Kalla produced by Bruno 'Patchworks' Hovart. PAT KALLA is a musician, singer and storyteller. Patrice of his birth name, in tribute to the great Lumumba! Lover of words, French language, and music of course. Born in Lyon, from a Cameroonian father, musician and political activist, and a French and literary mother, he explores from his childhood the Soul, the Slam, the Funk ... and the art of telling stories, life being a great one... After years of touring alongside many bands (Conte & Soul, Legend of Eboa King, Mento Cloub, Voilaaa Sound System), several acclaimed titles on the two albums by Voilaaa, and recently a first
acclaimed EP revealing some hot singles such as 'Lady Angola' or 'Ancien Combattant', he comes back with this project to put a bit of primordial lightness in a rainy world: A tribute to the
African culture in honor of a father with "Sawa" origins, the tribe from the people of Makossa. Jojo Ngallé, Moni Bilé, Pain, Manu Dibango, Franco, Rochereau, Kabaselé, Fela, François Nkotti &
The Black Style, all these legends' vinyls have turned on the family turntable and the collection has whetted the child's appetite. Through this new trip, he revisits styles that are sometimes little known to Western audiences, such as High-Life, Makossa, Angolan Music, Afrobeat, Afro-Disco and others.
We could talk about 'Franc CFA', we could talk about Jacques Foccart, but we will rather dance, because "the dancer seems naive, but his feet must be connected with earth to understand history..." Backed by the "Super Mojo Disco", a hyperactive band from Lyon with deep groove and positive energy, Pat Kalla offers us an anti-crisis project, where swaying and feel-good humor is mandatory! An album soon in the crates, beware « c'est médicament » (it's medicine)!!

Helge Schneider Braucht Keine Große Einführung: Helge Ist Jazzmusiker Und Versteht Es Wie Kaum Ein(e)andere(r), Diesen - way Of Making Music Heimlich In Seine Auftritte Einzuführen. Helge Hat Viel Zu Tun Und Kaum Privatleben. Wenn Er Mal Zeit Hat, Sind Seine Hobbies Holzhacken. Er Fliegt Nicht Und Hat Vor Sieben Jahren Aufgehört Mit Dem Rauchen. Sein Klavierspiel Ist Ein Produkt Seiner Mittlerweile Fast Fünfzigjahrelang Dauernden Täglichen Übe-stunden. Er Geht Demnächst Zum Zahnarzt. Der Zahnarzt Hat Interesse An Ihn. Termine, Termine, Termine, Das Hat Helge Schneider Nicht So Gerne, Aber Er Muss Ja.

1993 Erschien Sein Unvergleichliches Erfolgsalbum - es Gibt Reis, Baby - Inklusive Hits Wie - katzeklo Und - telefonmann . 25 Jahre Später Gibt Es Nun Endlich Die Chance Diese Titel Auf Vinyl Zu Hören. Doppelvinyl! So Richtig Im Klappcover! Zum Anhören! Für Fans Und Faninnen! Wenn Das Mal Nicht Schön Ist.

Recorded live at The Village Vanguard in New York on June 25, 1961, this was the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. Scott LaFaro was one of the supreme jazz bassists, a virtuoso player whose playing changed the very conception of his instrument. This album unfortunately also represents one of LaFaro's last performances, recorded just days before his tragic death at the age of 25 by automobile accident. Interestingly the album also contains tracks that Evans had recorded prior to working with LaFaro, so that this recording provides a very accurate index of the bassist's great contribution to the trio.

Numbered first pressing limited to 500 copies.

Repress!

Recorded live at The Village Vanguard in New York on June 25, 1961, this was the fourth album by the Bill Evans Trio, composed of pianist Bill Evans, bassist Scott LaFaro, and drummer Paul Motian. Scott LaFaro was one of the supreme jazz bassists, a virtuoso player whose playing changed the very conception of his instrument. This album unfortunately also represents one of LaFaro's last performances, recorded just days before his tragic death at the age of 25 by automobile accident. Interestingly the album also contains tracks that Evans had recorded prior to working with LaFaro, so that this recording provides a very accurate index of the bassist's great contribution to the trio.

Numbered first pressing limited to 500 copies.

"Fuego" was recorded in 1959 and released by Blue Note in 1960 featuring trumpeter Donald Byrd at the head of an allstar quintet with Jackie McLean - alto sax, Duke Pearson - piano, Doug Watkins - bass, and Lex Humphries - drums. A fine classic Blue Note album with the magnificent Byrd-McLean horn section driving the combo through different sound territories from a Hard Bop to Soul Jazz to Post Bop.

Compilation Mit Verschollenen Aufnahmen Von - jazz Community , Einer Der Wichtigsten Europäischen Post Bop Und Modal Jazz-formationen Aus Zürich. Sextett Um Die Ausnahme-bläsergruppe Hans Kennel (tp, Flh), Paul Haag (tb) Und Heiner Althaus (ts) - Alle Ehemals Bei - magog - Mit Eigenem Repertoire Und Unterschiedlichen Rhythmusgruppen. Die Besten Tracks Ihrer Raren Lps - jazz Community Und - il Topo Auf Einem Album, Produziert 1979 Im Tonstudio Von Bruno Spoerri Und 1983 Live Im Club In Rubigen/ Bern. Liebevoll Klanglich Restauriert Und Neu Gemastert In 2018, Erhältlich Auf Vinyl-lp Und Als 6-page-digipack Cd/ Digital Mit Vier Zusätzlichen Tracks.

All the deep fervor of Gospel is contained in Sister Rosetta Tharpe's voice. A unique blend of devotional spirit and secular dance music. Among inspirational songs, uptempo rhythms, ballads, and with the vocal support of the Tabernacle Choir, this disc represents a fine introduction to Tharpe's soulful take on Gospel, Blues, and even Jazz.

Recorded in 1956, a year after Charlie Parker's passing, 'Rollins plays for Byrd" was the young Sonny's tribute to the Be Bop genius. For the occasion Rollins leads a fine quintet featuring Kenny Dorham - trumpet, Wade Legge - piano, George Morrow - bass, and the great Max Roach on drums representing here the closest connection with Parker.

Pressed To Vinyl For The First Time Ever, Te'amir [pronounced Taahmer]' S Merges His Recent Two Eps Into One Body Of Work. The A-side Holds The La-beatmaker's Debut Ep 'abyssinia Ep'. Highlighting Five Tracks Of Beat Driven, Rootsy And Soulful Explorations, This Ep Is Inspired By Te'amir's Ethiopian Heritage And Features The Psychedelic Vocals Of Dustin Warren, Strings From Miguel Atwood- Ferguson, Harp Lines From Virtuoso Rebekah Raff, Randal Fisher On Saxophone And More Of L.a.'s Finest Creatives. Te'amir Explores And Celebrates His Connection To Ethiopia And Its People, He Explains: 'my Father Is From Ethiopia. He Would Play Me Recordings Of Traditional Music And Hits From The Golden Era When I Was A Kid. I Rediscovered Some Of His Old Tapes And Records And Began Dissecting Them. They Were My Connection To Ethiopia'.

The B-side Of The Lp Is Made Up From The Second Ep 'abyssinia Rise Ep'. This Is An Epic Soundscape Brimming With Innovative Shifts And Colourful Textures. Featuring Four Stand Out Tracks, The Release Takes The Listener On An Impactful Metaphysical Journey That Weaves Through The Winding Rivers And Busy Fields Of The Old Abyssinian Empire Before Closing With An Ascending Sense Of Peace. 'the Project Was A Way For Me To Connect To Ethiopia. I've Never Been There So I Use The Music To Take Me There.'

Te'amir's Practice Is Informed By His Classical Training And Afrodiasporic Rhythms, Along With The Contemporary Hip-hop And Soul Artists He Has Performed With Over The Last Ten Years. As Well As Playing With Aloe Blacc, Kendrick Lamar And Kamasi Washington, Te'amir Has Performed With Kadhja Bonet, Ethio Cali, Mark De Clive-lowe, Yg, Kamaiyah, Kelis, Sahr Ngaujah (fela! Musical Off- Broadway), Allen Stone, Shafiq Husayn, Quantic And Tewodros Tadesse. He Also Attended The Red Bull Music Academy In Barcelona.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Alan Hawkshaw (piano/Hammond) and Shadow's drummer Brian Bennett are responsible for some of the slickest, funkiest and most sought-after library records ever made in the UK, particularly ones recorded on the legendary KPM label. Their work has now become the go-to place for sampling in music today.
Artists such as Dilla, Nas, and the xx, right through to the billion selling Kanye & Drake have taken Hawkshaw's and Bennett's immaculate beat-driven soundscapes for their own usage.
Their new album, in full, iconic KPM cover is a return to the laidback jazz-funk that helped Alan and Brian demonstrate their library chops. The album is classic Hawkshaw/Bennett. It swings, it grooves, moves and thrills with a fair these two have perfected over years.
Standout tracks such as "Hole In One", "In The Clouds", "Interchange", "Oasis", "On The Nile" and "Corcovado" are no mere excursions in nostalgia, for they carrylots of deft studio work that many a producer would give their right arm for.
Hawkshaw's arrangements allow the drums, guitar, bass, strings, Hammond, fute and brass to swirl elegantly around the 12 original tracks; a masterclass in recording.
Cut by Pete Norman, housed in a beautifully designed Richard Robinson sleeve and pressed at 180g by Record Industry in Holland, this release has been aforded the care and attention it rightly deserves. Essential.

The full recording of the first meeting between Bill Orcutt (USA) and Okkyung Lee (South Korea). Individually these players have focused on an idiosyncratic approach to their chosen instruments and technique. Okkyung is one of the most singular voices to compromise the cello's 'classical' origin, whilst Orcutt has spent many years developing a unique abstraction of traditional guitar blues. Live at Cafe Oto is an uncompromising combination of these individual elements and an ecstatic improvised assault of mind and sense. 180 gram vinyl, in matte sleeve with artwork by Bill Orcutt, limited to 700 copies.

"To talk further of the music we play is difficult. It's criteria for success exist, but are elusive and indefinable beyond the intuitive level. We operate without rules (pre-composed material) or well-defined code of behaviour (fixed tempi, tonalities, serial structures etc.), and yet are able to distinguish success from failure." - From Evan Parker's original liner notes (1970)

Lmited to 500 copies printed on reverse board with printed inner sleeve.

One Of The Last Incus Records Releases, Written Up In The Penguin Guide To Jazz As 'an Essential Document Of Modern Music'. The First Ever Vinyl Re-issue Of Evan Parker's Legendary Recording The Snake Decides. Featuring 4 Solos Recorded In 1986 In St. Paul's Church, Oxford By The Late Michael Gerzon. The Snake Decides Is A Groundbreaking Example How Far The Language Of A Particular Instrument Can Be Taken.

From Brian Morton's Liner Notes:
'the Snake Decides Attracts A Certain Array Of Adjectives - Intense, Radical, Fearsome, Hypnotic, Virtuosic - And Occasionally Allows A More Ambitious Reviewer To Avoid Platitude By Talking More Specifically About 32nd Harmonics, Circular Breathing, Multiphonics And Gerson's Exact Choice And Placement Of Microphones. But This Misses A Point, Too. Listening To This Record, Either For The First Or The Fortieth Time, Is An Arousing Experience.'

Remastered By Giuseppe Ielasi And Housed In A Reverse Board Sleeve With New Liner Notes, This Is The Ultimate Document Of One Of The Most Important Recordings In All Of Parker's Extensive And Exploratory Catalogue. Edition Of 500 Copies.

Reissue of Incus release from 1975.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Piano Viberations' 'small group jazz featuring piano and vibes with rhythm' makes for a gorgeous Francis Coppieters showcase, surely one of Belgium's best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we're re-issuing, this is easily our current favourite.
'The Open Highway' is the appropriately-named opener, and immediately demonstrates Coppieters' dexterous interplay between piano and vibes in assured, joyous fashion. The shufing bossa of 'Sales Notes' is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break
that is 'Funky Chimes' brilliantly demonstrates Coppieters' quiet majestic side with its slow-motion funk rhythm with beautifully refective notes throughout.
The upbeat and joyful 'Cross Talk' closes out side A. Vibes and piano are defnitely at the heart of the arrangement here. The quick cut movement of 'Piano In Transit' is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, 'To Shearing With Love' is a warm, slow, romantic piece in the style of George Shearing. It's
plaintive and sublime.
Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was frst released. Piano and vibes with rhythm indeed.
As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Without doubt, "BLUE TRAIN" is considered one of the most important and influential LPs not only of JOHN COLTRANE'S career, but the entire genre of jazz. Originally released in 1957, COLTRANE simultaneously reinvents himself as a multifaceted interpreter of hard bop and sensitive balladry

Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multiphonics, overtones, percussive sounds, and electronic feedback.

Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe OTO arranged at St. John, Hackney - 5 years ago. In 2016 they were invited to play two duo concerts - at The Empty Gallery in Hong Kong and at Cafe OTO in London.

This release documents their first UK meeting. Recorded live at Cafe OTO in July 2016. The results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers. Haino's blues drenched guitar entices skittering notes from Butcher's sax playing as numerous sonic clues unravel over the course of of this unique and compelling journey. Comes in a limited edition of 500 LPs

Recorded live at OTO in May 2015 and mastered by Giuseppe Ielasi, the LP comprises four typically genre-defying and sonically dexterous pieces from one of the UK's most extraordinary pianists.


"Sartorially shabby as Thomas may be, and on first impression even rather stolid, he has a somewhat imperious charisma that's immediately amplified when he starts to play. Unlike other pianists whose virtuosity seems to be racing ahead of their thought processes Thomas always seems supremely in command of his gift, and his playing, no matter how free and ready to tangle with abstraction, always carries a charge of authoritative exactitude." - The Jazzman

Is freedom worth more than mastery, construction and achievement In replying yes, the utopians of Camizole clear show which side they are on. For them, musical creation must be as spontaneous as possible. To achieve this, it is better to put egos to one side to concentrate on collective experimentation, to be tried and tested in front of a live audience. Playing the card of unlimited and unhindered improvisation is Camizole's crédo, having decided to get a taste of the urgent game-playing already established by the Nihilist Spasm Band and the Living Theatre research of Julian Beck and Judith Malina.

At the time, that is to say when punk was exploding, this concept, itself inherited from the May 68 events, made an impact on Chris Cutler of Henry Cow, but also Lindsay Cooper, who invited Camizole member Françoise Crublé to join the Feminist Improvising Group. Also, the Tapioca label run by Jean Georgakarakos (co-founder of BYG Records), considered producing an album, from a live recording made at the Théâtre de Chartres in November 1977. Unfortunately the label rapidly ceased all activities and the recording was left in a drawer, which was a real shame.

Today, after extracts and other live bits and pieces came out via Spalax at the end of the 1990s, an integral double-album is finally being released to do justice to the collective created by Jacky Dupéty, and which included, amongst others Dominique Grimaud(Vidéo-Aventures), Chris Chanet (Etron Fou Leloublan, Urban Sax), Xavier Jouvelet (notably heard alongside Lol Coxhill) and Bernard Filipetti (Art & Technique). Better late than never!