Pop & Rock News

Jazz Village is incredibly proud to present the vinyl and digital
download album formats of Ian Shaw's new album 'Shine Sister
Shine', his second for the label following the huge success of 'The Theory Of Joy' (2016 - for which Ian has been nominated for Male Jazz Vocalist Of The Year in the prestigious US Downbeat 82nd Annual Readers' Poll).
It is rare enough to find a master of the vocal art and a fine pianist
to boot, which Ian is internationally recognised as, let alone a man
with these talents and powerful political and ethical beliefs and the strength of character to put these into practice. Some might say that art and politics don't mix; well Ian Shaw is the man to prove you wrong. 'Shine Sister Shine' exemplifies these qualities: a great band recording great music with a powerful political message - music, in fact, for our time.
'Shine Sister Shine', singer Ian Shaw's brand new studio album, is a celebration of the actions and art of extraordinary women. Moved by recent world events - the election of a cartoon president whose life is more suited to the high-end romps of a glossy pin-up mag hero - and the subsequent rallying of millions of women, Shaw has penned new songs reflecting two years' working alongside refugees ('Keep Walking' is a hymn to the resilience of an Eritrean mother, whose life
was shredded by civil war and a world that looks the other way.
'Carry On World' stars Shaw's sisters - all five million of them).
Shaw is known as one of the jazz world's supreme interpreters of the popular song form - here showcasing dazzling new arrangements of works by Peggy Lee, Phoebe Snow, Joni Mitchell, Carly Simon, as well as friends and collaborators closer to home - Sarah Jane Morris,the genre-defying Gwyneth Herbert, Judith Owen, Julie Matthews - and a stunning co-write with UK pop legend, Tanita Tikaram, on the title track.
The acclaimed contemporary novelist Stella Duffy says of Shaw's new album: 'This is an album crammed with sharp pain, deeply felt, then countered with soaring, resonant hope. Empire States Of Mind for all.
We see what hurts, we cry the tears, and because we know there is also life, also light, we dig deep and find the strength to make a change. Where to start Start anywhere, start here. Start now.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

John Gordon, a trombone master, brings us another gem from that most renowned of 70's record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you're in for an extra treat.

After a first untitled EP came out earlier this year on the occasion of Record Store Day, saxophonist Mattias De Craene (Nordmann) and his drummers Simon Segers (De Beren Gieren/Absynthe Minded) and Lennert Jacobs (The Germans/Hong Kong Dong) also known as MDCIII will launch their blazing debut album Dreamhatcher on 28 September 28th.

Mattias Decraenes sensationally strident sax parts elevate the hypnotising grooves of rhythmic duo aSimon Segers and Lennart Jacobs to an ecstatic level. The almost alarming sound that stems from this combination leaves every listener in the kind of cinematic daze that would enthuse even directors like David Lynch and Quentin Tarantino.

But is it jazz Who cares! As prodigies of the new wave of Belgian jazz, Mattias and his two soulmates effortlessly marry the virtuosity and free spirit of jazz to influences from the other end of the musical spectrum: from tribal rhythms and roots to far out electronics. It makes it hard to categorise their music unless the category extraordinary counts of course!

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.

Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.

Vibes From the Tribe is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds from the Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.

"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.

Gary Chandler (born in 1938) started playing professionally in 1960 in the thriving Columbus Ohio club scene with Hank Marr, Don Patterson and Benny Maupin. He worked in the Motown Revue from 1965-67 and led his own group for over a year. Over the following years Chandler joined joined the bands of Lou Donaldson & Charles Earland where he remained until the recording of his debut album.

Producer Bob Porter, who decided it was time for the skilled trumpeter to make a record in his own right, provided him with an all-star line up of musicians to collaborate on the album. 'Outlook' features Idris Muhammad on drums (which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming), on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and on guitar we have Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin's 'Respect'). Last but least, we have the percussion duties which are handled by Buddy Caldwell (THE session musician for respected labels such as Prestige and who also collaborated on albums by Ceasar Frazier & Melvin Sparks)... speaking of Ceasar Frazier, he's also featured on 'Outlook' with his trademark organ sound.

'Outlook' is one long STEAMROLLER groove & one of the true lost soul-jazz-funk classics. Crate diggers and DJs have coveted 'Baby Let Me Take You (In My Arms)' for years, but in truth, damn near every second of the album demands consideration as a sample. All of this is carefully overseen by engineer Rudy Van Gelder & producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and many others).

Gary Chandler's first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition (500 copies) featuring the original artwork and liner notes.

Recorded live at Carnegie Hall in early 1963 - in an intimate setting with her trio of guitar/bass/piano and of course with Nina herself at the piano - this live album is a beautiful piece of early, raw, and emotional material from one of the most unique voices of 20th century jazz and pop. Covering tracks from Leadbelly and Pete Seeger, to Johnny Mathis, old English traditional ballads, and Israeli folk tunes, Nina Simone always drew inspiration from the farthest possible reaches. As one of the finest interpreters of songs ever, this live recording is further proof of the genius of the one and only Nina Simone. Reissued on 180 gram LP.

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

Tonefloat veröffentlichen zeitgleich mit der CD-Ausgabe (DY 029) am 07.09.18 das erste Studioalbum seit 37 Jahren der legendären Soft Machine.
Das Studioalbum - Hidden Details' ist das erste Soft Machine Album (mit Ausnahme von Soft Machine Legacy) seit 37 Jahren. Mit John Etheridge, Roy Babbington und John Marshall sind noch
drei von vier Mitgliedern aus der damaligen Besetzung der 1970er Jahre dabei, die seinerzeit mehr als gefeiert wurden. Die legendäre Jazzrock Band wird vervollständigt durch den außergewöhnlichen Saxophon Star Theo Travis (Robert Fripp/David Gilmour/Gong).
Die Musik rangiert zwischen psychedelischen Sounds, Jazzrock bis hin zu freien Improvisationen, Pop sowie hypnotischer Klänge. Die Band spielt Material aus der Ära (Kompositionen von Hugh Hopper, Mike Ratledge und Karl Jenkins) sowie viele zeitgemäße Stücke. - Hidden Details' erscheint genau 50 Jahre nach ihrem Debütalbum - The Soft Machine' von 1968, welches im späteren Jon Hiseman's Studio in Surrey aufgenommen wurde.

Sacha Distel ist ein französischer Sänger und Gitarrist, der Hits mit Coverversionen des Oscar
prämierten 'Raindrops Keep Falling on My Head', 'Scoubidou' und 'The Good Life' hatte. Er
gelangte zu Ruhm im Jahr 1958 mit dem Song 'Brigitte', einer Homage an Brigitte Bardot. Distel
wurde zu einem professionellen Jazzgitarristen. Während seiner Karriere arbeitete er neben Dizzy
Gillespie und Tony Bennett und tratt in der berühmten Ed Sullivan Show Ende der 50s auf, nachdem
er sich als ein französicher Crooner etabliert hatte. Sacha Distel wurde 1997 als Chevalier (Ritter)
der Légion d'honneur geadelt.

Debut album from the blues rock trio, fronted by
Pascal Danaë and complemented by drummer
Baptiste Brondy and sousaphone player Rafgee.
Traversing myriad sounds and influences they meld
their own route via their cultural, historical and
emotional roots - the missing link between French,
Caribbean and US musical culture - that arrives
amidst Ali Farka, Creole and The Black Keys to
create their own exhilarating brand of bluesy
garage rock.
Inspired by and from where they take their name -
the influential figure of Louis Delgres, who was
instrumental in the fight against colonial slavery,
looms large on the album - title track, 'Mo Jodi' (I'll
Die Today) is a tribute to his fight.

Following the success of their 2015 album Astronautilus, jazz-rock mavericks Get The Blessing return with their spellbinding new Album 'Bristopia'. Blending their mutant jazz sensibilities with spacey electronics and post rock atmospheres, 'Bristopia' ventures into new, unexplored territories.From the jagged, interweaving brass patterns of opening track 'If It Can It Will', through the brooding atmosphere of 'Bristopia' and absorbing, haunting melodies of 'Not With Standing', the Bristolian quintet channel subterranean depths and soar from dizzying heights, leading the listener through a complex labyrinth of tangled melodies and sliding soundscapes of dark, immersive production.Having been conceived, born and raised in Bristol, the band now pay tribute to their hometown with an album that careers around the city's one-way system (not always in the correct direction of travel), darting into some of its hidden alleyways and lesser-known night-time hot-spots, and occasionally just stopping to take in the dizzying vistas of sprawling buildings and distant hilltops.'Sometimes you have to go away to see where you're from' - with this in mind, they headed up into the the picturesque setting of Vale Studio, Worcestershire- taking their old friend Tim Allen to engineer and to select from the studio's excellent vintage mic collection., 'We recorded as we have for the last two albums, dividing the time between prodding and poking at things we'd prepared in advance, and summoning up the spirits of invention from complete unpreparedness, unleashing little soundtracks for imaginary films. After three days we returned to base camp to pick over the spoils, at which point the process became more like sculpting: Jim wielding the chisel and the rest of us jogging his elbows until we're left with some beautifully strange shapes.'.Enlisting the help of regular / irregular collaborator Adrian Utley, whose guitar-sprayed some strikingly unexpected colours across some of the objects, they then persuaded pedal-steel guitarist Margerethe Bjorklund to add some skilfully applied brushstrokes to the piece. Just as they were examining these new creations on their sonic plinths, and wondering what exactly they were, the Bristol Jazz and Blues Festival invited GTB (and their long-running visual collaborator John Minton) to scour the Bristol Archive and create 'Bristopolis', an abstract, poetic film homage to Bristol. 'We realised that some of the new music is the soundtrack for a real film after all, even stranger than the one in our heads. We get to play these new tunes live at a one-off happening for the festival, with John's visual creation filling an enormous screen behind us. All begins to make (non)sense.'With this powerful return, Get The Blessing send their sonic transmission deep into the furthest corners of the universe, setting the pace for the current UK Jazz revival, demonstrating that the early pioneers of the scene still have something important to say.Formed back in 1999 by bassist Jim Barr and drummer Clive Deamer (rhythm section of seminal act Portishead) alongside Jake McMurchie (on sax and electronics) and Pete Judge (trumpet and electronics) the Bristol-based four-piece boast a truly international fan-base, having forged a unique signature sound that defies easy classification. Despite several short breaks for other projects over the years - most recently in 2016 when drummer Clive Deamer was on tour with Radiohead, they have never lost sight of thumping tunes, monstrously infectious beats, or joyous collective spontaneity. After eighteen years, their ability to produce such creative and intelligent music - balanced with wit and passion - is testament to the free spirit that they embody.

Crazy Beautyfull Cheezy Vibes ! A Pure Pleasure ! Needed !!!

In 1955, Miles Davis played a beautifully received set at the Newport Jazz Festival and was offered a contract with Columbia Records if he could get a steady group together. In order to record for Columbia, Davis would first have to settle an obligation to Prestige and so he put together the now legendary quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. It was under these conditions, in a desire to churn out as many records as possible to change labels, that Davis recorded some of the most celebrated music of his entire career. This group, in the span of several months released a half-dozen LPs including this one and the great Cookin', Workin', etc. titles. This title, originally recorded in 1955 features a great Ellington piece, the brilliant Miles original 'The Theme', and several other great tunes, but most importantly it is the introduction to a group that features two towering giants of jazz together on some of the fieriest playing of either's career. Brilliant.

Limited edition of 300 copies.

With this second release, Hawaii Bonsaï Records proves once again that they are your number one destination for all your Latin Bass needs ! Few labels have the insight necessary to gather all those producers and deliver a comprehensive and exciting picture of what tropical and latin bass is today as it grows in the hands of South-American, European or US producers. Think some blends shouldn't exist Listen to this incredible mixture of dub, cumbia, trap, traditional Andean music, beats, latin pop, folk, Zouk, and think again as this compilation sets yet another landmark in this expanding musical family.

Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics.

Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for 6 years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way.

The trio's highly anticipated sophomore album 'Give Space', released 14th September on Sdban Ultra, was recorded at 7 different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, ambient sounds, all collected within the search for the unpredictable, were given space within this dialogue as the essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music - sometimes fixed, sometimes completely free - takes on an ever-changing journey into their multi-faceted world.

Matthew Halsall first met the La-based, spiritual jazz vocal legend, Dwight Trible(Kamasi Washington, Pharoah Sanders and Horace Tapscott) at the Joy of Jazz Festival in South Africa back in 2015, when a chance encounter backstage led to Trible sitting in with The Gondwana Orchestra for an impromptu reading of the classic Pharoah Sanders and Leon Thomas anthem 'The Creator Has A Master Plan'. In 2017 they released the deep, soulful Inspirationsalbum together (GOND017) but inspired by their first meeting Matt arranged some classic Pharoah tunes for Dwight to revisit. This then is The Gondwana Orchestra featuring Dwight Trible, Colors: a 4 track vinyl and digital only EP featuring brilliant new versions of Colors,The Creator Has a Master Plan, Love is Everywhereand You've Got to Have Freedomand featuring the Gondwana Orchestra with pianist Taz Modi, bassist Gavin Barras, drummer Jon Scott, harpist Rachel Gladwin and Matt himself on trumpet.

Packed in a distinctive bright orange Gondwana Records sleeve this is the second in a collectors series of spiritual jazz limited-edition EPs set for release in 2018 as part of Gondwana Records' 10th anniversary.

'The Revelations' arrives back on record store shelves in this remastered
version - a must-have for all Library Music lovers and record collectors.

Originally released in 1972, Lord Of Lords was Alice Coltrane's final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances - shining a vital light on the devotional path that she would follow for the rest of her career.

On the first two pieces, "Andromeda's Suffering" and "Sri Rama Ohnedaruth" (titled after the spiritual name for her late husband), Alice's dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer "Going Home." Coltrane's musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.

This first-time vinyl reissue has been carefully remastered from the original master tapes.

A Reissue Of The Rare Jazz, Funk & Fusion Library Lp "four Corners" By Second Direction. A Project Of The Saxophonist And Flutist Fritz Münzer, Produced In 1976 At Tonstudio Bauer In Ludwigsburg. The New Release Includes Six Additional Recordings From The Band's Second Unreleased Album From 1978, Entitled "steps Ahead", Recently Pulled From The Archives Of Producer And "joy Unlimited" Founder Klaus R. Nagel. A Long Play-cd And 2lp-set, Including The Great Jazz Funk Tracks "steamer", Steps Ahead", "keep Going" Plus The Brazilian Tinged Jazz Dancers´"four Corners" And "flying Carpet Ride". All Music Transferred And Carefully Restored From The Original Master Tapes.

West Germany In The 70's Of The Last Century. Composer And Arranger Fritz Münzer (1934-2007) Is One Of The Country's Best Jazz Saxophonists And Flutists. After A Career In The 50's And 60's As A Hip Musician On The German Hard Bop And Westcoast Scene, The Man From Mannheim First Refuses To Establish His Own Band, But Then Forms "second Direction". With This Formation He Records "four Corners", A So Called Library Lp For The Small Publishing Label "trend Records". The Album Was Produced In 1976 By "joy Unlimited" Founder And Guitarist Klaus R. Nagel With Top Notch Musicians At Tonstudio Bauer In Ludwigsburg. Münzer Is Now Active Behind The Scenes, Writing Music And Is Heard On Countless Recordings For Different Music Publishers.

Amongst Connoisseurs "four Corners" Is Considered One Of The Really Outstanding Jazz Funk Fusion Albums From Germany. Münzer Is Joined By Gerhard Spirka On Electric Bass, Val Hargreaves On Drums, Karl-heinz Merkel On Fender Rhodes And Occasionally Jörg Gebhardt On Congas. However, The Finished Lp Did Not Appear In Shops. It Was Exclusively Available To Broadcasters And Foreign Sub-publishers By Nagel's Publisher "badenia-vineta", For Use On Radio And Television. Therefore, Background Information And Visual Material Regarding Second Direction Is Missing. There Is No Band Story, Band Photos Or Anything, With The Exception Of An Unusual Artistic Designed Front Cover By Karl Hans Merkel. His Artwork Shows Four Stylized Profile Views Of The Musicians.

For A Long Time, The Album Remained A Secret. Then, In The Mid-90s, It Is Suddenly Discovered In Alternative German Music Clubs And Discotheques. During The "acid Jazz" Revival In The United Kingdom, The Dancers At Mojo, Unique And Atomic Café Not Only Move To Electronic Music, But Also To Jazz And Funk Again. Now The "rare Grooves" Of Second Direction Are On The Playlists. Dj Rainer Trüby Curates His Internationally Successful "glücklich" Compilations With European, Brazilian & Fusion Jazz Of The 70's And 80's. In 1996 On The Second Volume, He Presents Second Direction's "flying Carpet Ride". And So Begins The Hunt For The Extremely Rare Lp. "high Class Fusion And Brazilian Beats Made In Germany" On A Level With Bands Such As Weather Report Or Azimuth! The Track Is Frequently Played At Trüby's "rootdown" Parties And You Just Had To Have It! In Addition To The High Musical Quality, It Is Above All The Rarity And Obscurity Of The Record That Makes It Interesting For Djs And Collectors Alike Around The World Today.

Back In 1978. Fritz Münzer Wants To Deliver A Second Lp For Badenia-vineta With His Band Second Direction. Under The Working Title "steps Ahead", It Is Produced At Studio 2000 In Pforzheim, With A New Formation Of High Profile Musicians. This Time Münzer Plays With Toni Rabold On Trumpet, Pit Löw On Keyboards, Chuck Tscheschner On Electric Bass And Peter Lübke On Drums And Percussion. This Band Also Impresses With First Class, Danceable, Fusion Jazz. However, To The Surprise Of Everyone, The New Recordings Are Not Taken Into Account And The Tapes Soon Disappear In Nagel's Archives. A Second Vinyl Lp Is Not Manufactured And Münzer's Project, Second Direction, Becomes History After Only Two Years. With The Present Sonorama Reissue These Lost "steps Ahead" Sessions Are Released For The First Time In 2018, As Well As "four Corners" Produced By Klaus R. Nagel And Directly Transferred From The Master Tapes.

In The 1960's, Nagel Studies Early Music At The Mannheim University Of Music And The Schola Cantorum Basiliensis In Basel. He Then Works As A Freelance Composer, Arranger And Musician For Film, Radio And Television. Soon After, He Founded The Progressive And Internationally Successful Jazz Rock Group "joy Unlimited" With The Singer Joy Fleming. The Pairing Starts An Intensive Concert Career In Germany And Abroad. He Is Also Able To Bring Two Of His Complex Jazz Rock Ballets To The Stage. Nagel Is Still Active Today As A Bustling Music Publisher. During The 60's, Fritz Münzer Plays With Legends Such As Manfred Schoof, Joe Haider And Hartwig Bartz. In The 1980s He Becomes A Kind Of Father Figure To Young Jazz Musicians In The Rhine-neckar Area, Enjoying A Reputation For Playing The "blackest Sounds" On The Local Scene. From 1987, Münzer Teaches At The University Of Mannheim And Starts The So Called "college Jazz Ensemble".

For Decades, His Changing Formations Have Been Like A Regional School Of Jazz. Much In The Spirit Of Art Blakey's Jazz Messengers. Later On He Co-founded The Independent Label "jazz 'n' Arts" With Olaf Schönborn And Thomas Siffling. In Addition To "four Corners" Other Hidden Münzer Projects For Various Music Libraries Are Highly Recommended, Most Of Them In Collaboration With Jazz Pianist Wolfgang Lauth. In The 70's And 80's He Records Some Interesting Jazz And Funk Library Lps, Under Pseudonyms Such As "the House Band" Or "sound Factory Inc.". Under The Name "jazz Unit" A Vocal Jazz Album Was Released In 1982 With His Wife, Singer Peggy Drake. This Forms Part Of The Next Treasure Trove Of Fabulous Work By Mannheim's Jazzman Fritz Münzer ...

(ekkehart Fleischhammer/ Sonorama 2018)


Final Mastering In 2018: Roskow Kretschmann At Audiomoto Berlin, Original Design Of Frontcover: Karl Heinz Merkel,
Additional Illustrations By Sandra Leidecker, Reproduction And Artwork By Patrick Haase,
Reissue "four Corners & Steps Ahead" Produced By Ekkehart Fleischhammer For Sonorama Records.
Thanks To Klaus R. Nagel And The Great Musicians Of Second Direction.

The 2000black collective return to bring their very own brand of boogie,funk & jazz.
Production from Kaidi Tatham, Mr Mensah & dego evolves into the driving theme 'Sunday Avuncular'
the dance vibes of 'Bauxite,Gypsum & Limestone' and the steady pacing 'Mononymous Persons'.

Always forward thinking whilst tipping a hat to that past 2000black keeps on keeping on.

In 1963, John Coltrane recorded a studio album that has Remained unknown and unheard until now. The album was recorded at Van Gelder Studios, the 'Abbey Road' of Jazz, with Coltrane's Classic Quartet and at the height of his career. The music on this album represents one of the most influential groups in music history performing in a musical style it had perfected and reaching in new, exploratory directions that would affect the trajectory of jazz from then on. In short, this is the holy grail of jazz.

Over the last several years, the Zappa Family Trust and UMC have lovingly been restoring Frank Zappa's iconic catalog together by reissuing his classic albums on CD and pressing long-out-of-print records back on vinyl. Next up in the ongoing vinyl initiative, coming on the heels of the reissue of his enigmatic Burnt Weeny Sandwich, is Zappa's 1970 stylistically diverse and subversive album, Chunga's Revenge, which will receive a 180-gram audiophile repressing on black vinyl on July 20. Supervised by the ZFT, the record, which has been unavailable on vinyl for more than three decades, will be press pressed at Pallas In Germany and feature reproductions of the original artwork. Chunga's Revenge, although released under Frank Zappa's own name, introduced a new Mothers lineup that included former Turtles members Howard Kaylan and Mark Volman, aka Flo and Eddie, as well as keyboardist George Duke, drummer Aynsley Dunbar and multi-instrumentalist Ian Underwood. The album is one of Zappa's most eclectic efforts, encompassing the improvisational title track, the raucous guitar jam "Transylvania Boogie," the bluesy "Road Ladies" and the jazzy "Twenty Small Cigars," along with more conventional rock numbers like "Tell Me You Love Me," "Would You Go All the Way" and "Sharleena."

DILLA Inspired Beat Diggers series 45
Dedicated to Late Great Jay Dilla.
Samples series.45s
Crate Diggers. Vinyl only 45


" VERY LIMITED Release " by Jimi Entley & Placebo

A brand new original soundtrack from Nicolas Godin (one half of the French iconic duo AIR) which he composed for the 2nd season of 'Au Service De La France' (in English 'A Very Secret Service'), a TV series produced by ARTE following the adventures of different spies during the 60s and which will be released on Netflix in July. Nicolas Godin: 'It was about paying homage to the soundtracks of TV series from the 60s, especially the ones narrating the adventures of spies like 'Mission: Impossible'. How could I refuse This was a good occasion and a great pleasure for me to dive back into a specific kind of soundtracks that is not really recorded anymore. This kind of music was often composed and recorded with jazz musicians who had also a strong knowledge of classical music. For this project, I reached out to French musicians with such background. They had, like me, the same love for legendary original soundtracks. After a time of preparation and free improvisations, the majority of the music was recorded in a single day. I hope you'll like the result, it's been composed and recorded from the bottom of my heart and from the enchanted world of childhood.'

Nucleus first attracted attention by winning first prize at the Montreux International Festival in 1970 for their improvised and integrated music which was an amalgam of jazz and rock. Elastic Rock was their most successful, actually climbing to N°. 46 in the Album Charts. Its cover was the first of many Roger Dean designed for the Vertigo label and it's content was well received by jazz critics. Ever restless Carr decided to opt for a change in direction after this and spilt up what was arguably the best Nucleus line-up of their time. Highly Recommended.













[L] Speaking For Myself, Personally, In My Own Opinion, I Think...

Nucleus first attracted attention by winning first prize at the Montreux International Festival in 1970 for their improvised and integrated music which was an amalgam of jazz and rock. They were originally formed in 1969 by trumpeter Ian Carr. He was joined by ex-Battered Ornaments guitarist Chris Spedding and Karl Jenkins and John Marshall (who both went on to Soft Machine) on the first three albums. Elastic Rock was their most successful, actually climbing to No 46 in the Album Charts. Their third album, Solar Plexus, was spacier than the two which preceded it and is particularly recommended. In 1972 Jenkins and Marshall both departed to join Soft Machine.

Nucleus are still considered to be one of Britain's top jazz-rock bands.

Listening to the music of Al Doum & Faryds is always like staying in the pristine nature of an exotic desert island, in the sacred harmony of a New Organic Society; imaging all brothers and sisters singing and dancing in the unity of the brotherhood. This is the message of love and joy that seems to pervade the fourth album of the Milanese band.
.
Compared to previous works, the substantial characteristics of the sound remain a powerful rhythmic basis and the prestigious skill in the poly-rhythmic dynamics; everything is however moved towards accents of more markedly jazzy ancestry. Basically the Faryds absorb and re-elaborate with remarkable insights disparate elements and influences of certain Electric Jazz or Rock- Jazz-Blues of the '70 (Miles David, Dr.John, Graham Bond, Jeremy Steig) and Spiritual Jazz (Sun Ra, Pharoah Sanders, Don Cherry, Brother Ah), marrying them with the forceful instances of certain Afro-Free (Pyramids, Alkebu-Lan) and the more Freak-Jam plots typical of Space Rock. The sense of complete unity is also rooted in the balanced synergy and chorality of the instruments, which enjoy a perfect osmotic reciprocity and complementarity. A very important role is played by the entry of Fender Rhodes that chromatically emphasizes the parts as counterpoints and hypnotics ostinatos chased by the dense timbral mixtures of alto-sax and flute (Light Up) and roaring wah-wah guitars with flowing acid trajectories. The Holy Magic of the Faryds can lead to states of hypnotic trance in the inner abyss of infinite echoes (Drums Odyssey), open spaces of whirling freepsychedelia
with unbridled and hyper-vibrating dilatations (Satieva), give moments of intense ritual concentration with accurate inserts of choral-religious invocation (Unity Is Brotherhood and Weed And Love) or more solemn orchestral sections with precious brass arrangements (Solchi). A pure joy scented with warm oriental radiance is reached with a touching final Raga-Folk (the titletrack) for sitar, acoustic guitar, percussions and rattles, chant and clapping hands. It's the ideal evocation of music for the heart, mind and body in a journey of total pranic breath. Spirit Rejoin is the celebration of a new collective soul, a great cathartic ritual and an endless party with birds, plants and all the animals in the circle of devotion.

Der Sound Dieser Band Erinnert Jeden Im Ersten Moment An Etwas. Vor Allem An Etwas Anderes. Da Ist Druck In Jeder Note, In Jedem Schlag Und Von Den Fußen Bis Zu Den Haaren Bewegt Sich Etwas, Vibriert Etwas. Was Ist Das Was Ist Es Was Die Buhnen Von Norden Bis Suden Von West Nach Ost Zum Schwingen Bringt. Das Ist Noch Nicht Gehortes Und Bekanntes. Professionell Und Wild Geht Die Buhnenshow Ohne Alluren Und Vor Allem Gefuhlsecht Dahin. Man Will Mehr Davon, Weil Es Einen Aus Den Latschen Schießt. - fucking Quality- Und Dieser Bums! - geschmack, Aussehen Und Nahrwerte Dieses Hochwertigen Soundproduktes Unterliegen Den Naturgegebenen Schwankungen.

Botticelli Baby Machen Handgemachte Swingmusik Mit Punkattitüde. Die Sieben Charakterköpfe Entwickelten Einen Stil Fernab Des Mainstream Mit Einer Energie, Die Bis Jetzt Noch Jeden Gepackt Hat.

Von Vielen Einflüssen Gespeist Ergibt Sich Eine Melange Aus Dem Zigeunerjazz Django Reinhardts, Dem Hot Jazz Der Frühen 30er Jahre, Dem Bums Der Balkanmelodien Und Der Dramatik Des Blues.

Botticelli Baby Klingt Dennoch Nicht Nach Einer Neuauflage Alter Zeiten, Staubig Oder Nach Einer Öligen Jazzband.

Botticelli Baby Reißt Die Hütten Ab Nach Manier Des 21. Jahrhunderts. Sie Liefern Eine Rotzige Und Professionelle Show Oder Wie Es Londoner Mitstreiter Des Musikbusiness Einmal Treffend Formulierten it's Fucking Quality'.

Botticelli Baby Sind Fester Bestandteil Der Musik- Und Partyszene In Nordrhein- Westfalen Und Spielen Regelmäßig Konzerte In Berlin, Hamburg, Frankfurt Und Den Niederlanden.

Spiritual afro jazz funk with west indies and latin influences by Georges-Edouard Nouel, this jazz pianist from Martinique is better known for his collaboration with Noel McGhie, Steve Potts or Roland Brival but his only album is just a masterpiece, essential to any lovers of deep jazz records.. (Pls note: the audiosnippets are taken from different sources, soon updated!)