Pop & Rock News

Reissue of the sought after birth act of the Afro- / Jazz-Parisian scene that fascinated so many musicians and music fans throughout the 70s and 80s. Comes in a heavyweight tip-on sleeve.

Marsh Dondurma had been kickin' it in around the world for a good 13 years now and they are HOT. Starting from a street show between the spice stands of the Jerusalem market, the band has grown to have its own luscious, unmistakable sound. In a sizzling pan, Marsh Dondurma stirs together middle eastern melodies with New Orleans trombones, Yemenite beats with Balkan riffs, Klezmer wails with booty-shaking funk.

"When they lock on to a groove, the outcome is irresistible" All about jazz

OPEN NEW VINYL EP

Capturing the essence of this 16 member brass bands' unique sound, OPEN is Marsh Dondurma's first international vinyl. Built on rich grooves and rooted deeply in musical traditions, each track on this new EP has a story to tell, seamlessly changing grooves and moods, starting off in one place and safely taking you to a surprising, satisfying destination.

And where else could you hear a brass band and a Qanun play together

(2017 REPRESS/REMASTERED) One of the more delicate recordings of Sun Ra's 28-strong Arkestra, 'Sleeping Beauty' drifts in on a cloud of cosmic dust, sounding unlike anything before or after. With drummer Luqman Ali keeping the narcotic funk, but with dreamy solos from other key Arkestra players like John Gilmore, Michael Ray, and Marshall Allen, no Sun Ra collection is complete without this LP. Inspired space-age lullaby music. Tip!

N8noface Was The Vocalist For Underground Synth-punk Legends Crimekillz. He Is The Younger Brother Of Tucson-bred Modern Boogie Rocket Man Zackey Force Funk, Both Now Residing In Long Beach, Ca.in 2017, Hit+run Released N8's Visceral Debut Album Stories Of Those, As Well As Demos And Demons Vol. 1, A Ten-track Collection Of Home Demos Recorded Between 2015-2016. On Dia De Los Muertos 2017, Noface Also Unleashed The First Single From His Forthcoming New Album True Story, The Haunting Double A-side Lathe Cut idgaf / Say Goodbye.'
True Story, The 14-track Lp Due This August, Reads Like A Collection Of Compelling Mini-narratives, Brief Yet Honest Tales Of Personal Struggles, Anti-establishment Rants, Dead End Loves, And Real-life Tragedies. N8's Minimal Wave Sound Is Not About Nostalgic Lo-fi Nor Home-recorder Formulas, But His Own Instinctive Style That Defies Categorization And Comparisons. The Result Is A Distinct Sound Of Rapid-fire Hardcore Punk Moshing With Awkward Pop Music. Standout Tracks On The Dense 18-minute Album Include not Like You', bad Day', men Who Dress Well' And glasgow Smile'.

The debut album The Cool Voice of Rita Reys by the Dutch jazz singer Rita Reys. She recorded the album with the famous backup band Art Blakey & the Jazz Messengers. Her cool voice is set down against a background which reflects her personality. You can feel her experience in the pop music by listening closely to her voice. Her sense of phrasing is wonderful and the jazz sounds are filled with musicianship

'Europe's first lady of jazz' as she was once called in the

1960s was one of the most famous jazz singers from her time. During her career she recorded hundreds of jazz songs and collaborated with some of the best known jazz artists of her generation.

Aus drei verschiedenen Sessions von 1945-47 stammend, präsentiert 'Dexter Rides Again' 1A Bebop,
den Gordon für das Label Savoy produziert hat. Das Album beginnt mit 'Dexter's Riff', einer brodelnden Bebop Nummer mit einem denkwürdigen Hauptmotiv, unisono von Leo Parker und Dexter Gordon dargeboten. 'Settin' the Pace Parts 1 & 2' ist das längste Stück auf dem Album, das den beiden Saxophonisten viel Raum zur Entfaltung bietet. 'So Easy' ist ein langsamer bluesiger Track, der die 1947er Session beendet. Auf der gesamten LP wird er von einem Top-Kollektiv angetrieben, das den großartigen, selten gehörten Trompeter Leonard Hawkins sowie Baritonsaxophonist Leo Parker, die Pianisten Tadd Dameron und Bud Powell sowie die Schlagzeuger Max Roach und Art Blakey einschließt. 180 GRAMM VINYL

Originally recorded and privately pressed in 1973 on Jazz-Men records, featuring Leon Ndugu Chancler (Drums), James MTUME (Congas) and Larry Nash (Piano), Bobby Rodriguez leads this
stellar line up to perform the seminal 16 minute Latin variation of Freddie Hubbard's 'Little Sunflower'.
This extremely rare and sought after record is re-released for the first time on 180g Virgin Vinyl and presented in heavy weight 'tip-on' sleeves. Pressed and produced in the UK, using the mastering genius of Frank Merritt (Carvery Studios) and cut on the original Neumann Lathe used by Motown Records. Covered in heavy weight 'tip-on' sleeves and presented in screen printed paper counter bags with foil seals. Strictly limited to 1,000 hand numbered pieces, this special collector's edition will be available
through the Jazz Detective Records website and from select records stores worldwide for a limited time

John Coltrane's 1965 magnum opus A Love Supreme is one of the most revered and influential recordings in the history of jazz, widely regarded as the iconic saxophonist's masterpiece. It might seem audacious at the very least to undertake a new recording of such a foundational album, but twin brothers Jared and Jonathan Mattson are nothing if not sonic risk-takers. With their new release Mattson 2Play A Love Supreme, the duo reimagines Coltrane's avant-garde epic through a 21st-century lens, creating a new interpretation that remains faithful to the questing spirit of the original while pushing the music into bold new territory which itself is fully in keeping with the composer's forward-looking vision. The album Translates the Coltrane Quartet's acoustic jazz
explorations into a modern language swathed in a haze of analog
synths, ecstatic guitars, transcendent grooves and enveloping
atmospherics.

The duo undertook an intensive study of the original composition, Coltrane's notes, and every available recording by the Coltrane
Quartet as well as later versions by the likes of John McLaughlin,
Branford Marsalis and Alice Coltrane. They used that vocabulary
to create their own take, which they honed through invaluable live performances before audiences largely unfamiliar with the original.
It was so incredible to see the way that a rock fans connected with the music, Jonathan recalls.There was yelling and crying, people getting really stoked and devouring every note we were playing. Seeing people's minds getting blown by Coltrane's music, was an inspiration for us. Those visceral reactions attest to the ontinuing impact of Coltrane's bold vision. This album channels that vision with both reverence and inventiveness, creating a vibrant and electrifying new interpretation that will resonate with new generations of open-minded listeners.

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



One of the most righteous albums ever issued by the always-righteous Tribe Records label of Detroit - a really collective effort, one that features ensemble vocals and spiritual jazz - all pulled together by pianist Harold McKinney! The album showcases a group named Voices Of The Creative Profile - formed by McKinney to accompany his Creative Profile instrumental group - and the overall style is a great blend of spiritual soul jazz that gives equal time to the voices and instruments in the set. Gwen McKinney heads up the vocal ensemble, and other players on the set include Wendell Harrison on flute, Marcus Belgrave on trumpet, Billy Turner on percussion, and Ed Pickins on bass. Also features some cool moog from Darryl Dybka (Dusty Groove, Inc.)





Harold McKinney was one of Detroit's jazz legends as both an artist and as a cultural figure. His Voices and Rhythms of the Creative Profile was issued on the city's cooperative independent Tribe label -- which also boasted outings from Marcus Belgrave, Doug Hammond, Mixed Bag, Wendell Harrison, and Phil Ranelin -- in 1974. McKinney's approach to jazz in the 1970s may have been funky and electric, but it was also idiosyncratic and vocal. Harold and Gwen McKinney handle the lead vocals, while a backing chorus of seven helps out on other pieces. This is an adventurous set, and along with his deep, funky electric piano grooves is a killer alternately swinging and soulful horn section fueled by Harrison and Belgrave, drummer Ron Jackson, percussionists Charles Miles and Billy Turner, as well as bassist Ed Pickins and Daryl Dybka on Moog! The highlights of the set are the stunning "Out of These Blues" with McKinney's Rhodes underscoring beautiful head and solo work by the horns, the stomping bop meets science fiction of "Corner Stone," and fine covers of Eddie Harris' "Freedom Jazz Dance" and Herbie Hancock's "Dolphin Dance" (with a set of lyrics by McKinney). Voices and Rhythms of the Creative Profile walks many tightropes: between hard bop and soul-jazz, between vanguard jazz and fusion, and between swinging blues and raw adventure. It's true that the vocals can be a bit excessive at times, especially on the opener, "Ode to Africa," but they are more than compensated for by the phenomenal playing of the ensemble. Ultimately, this is a solid recording that embodies the entire spirit of the Detroit jazz scene at the time. Thom Jurek/AMG

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

Genius work from the Detroit underground of the 70s - one of the greatest records ever on the now-famous Tribe Records label, and a masterpiece of soul, jazz, and righteous spirit! The session's headed by tenor player Wendell Harrison - and it's got an all-star Motor City lineup that includes Marcus Belgrave on trumpet, Phil Ranelin on trombone, Jeamel Lee on vocals, Charles Eubanks on electric piano, and Charles Moore on flugel horn. The tracks have a spacious spiritual approach that recalls some of the later Archie Shepp on Impulse - a blend of soul jazz with slight touches of electric instrumentation, some vocals, and a very progressive spirit overall - stepping proud in the new freedoms of the 70s, yet still swinging and very groovy.

Classic singles like Billy Fury's 'Halfway To Paradise', Dusty Springfield's 'I Only Want To Be With You' and The Walker Brothers' 'Make It Easy On Yourself' would not have been hits without Ivor Raymonde. As their arranger, and in the case of 'I Only Want To Be With You' songwriter too, he shaped the final recordings. He decided on the orchestration and backing
vocals, chose the instruments and determined what was heard on the radio - and what record buyers bought.
'Paradise: The Sound Of Ivor Raymonde' is a long-overdue celebration of Ivor Raymonde, collecting his work as an arranger, musical director, producer, singer and songwriter. The story of a British musical great is told for the first time.
Billy Fury, Dusty Springfield and The Walker Brothers are heard. So is the only vocal performance for which Ivor Raymonde received a credit on a record label. He worked with the pre-fame David Bowie and Tom Jones. He spotted the potential of Los Bravos, steering them into the charts with 'Black Is Black'. Near-misses and obscurities made with Brit-girls Cindy Cole and
Helen Shapiro, the soulful Sonny Childe and confrontational protopsychedelic London band The Flies are as fantastic as the hits. With these and more, 'Paradise: The Sound Of Ivor Raymonde' distils the essence of the magic of Ivor Raymonde.
'Paradise: The Sound Of Ivor Raymonde' is released by Bella Union, the label run by Ivor's son, former Cocteau Twins member Simon Raymonde.
Compiled by Simon and Kieron Tyler, it is a very personal tribute to a sadly missed father. Born in 1926, Ivor Raymonde passed away in 1990. The previously untold story is revealed through a moving reminiscence written by Simon and in-depth liner notes and a track-by-track commentary by Kieron. Ivor Raymonde played on the ocean liner The Queen Mary in 1949. In the Fifties, British television viewers saw him in legendary comedian Tony Hancock's 'Hancock's Half Hour' but music was always going
to be most important - the hits with Billy Fury and Dusty Springfield in 1961 and 1963 meant he was in demand. The 26 selections balance the wellknown with collectable rarities and tracks drawn from - until now - barely heard-of singles. Each is a gem and each shows the magic of an Ivor Raymonde recording.
'Paradise: The Sound Of Ivor Raymonde' is issued on CD and 180g heavyweight double vinyl album with digital download code. The vinyl version is sequenced slightly differently for listening flow. Every track was originally issued as a single issued in mono for the pop market until 1968 / 1969. Keeping the integrity of the compilation in mind, all but four tracks appear in mono as they did originally. The masters used are those of the original singles.

Lloyd Miller, Jahrgang 1938, ist ein US-amerikanischer Musikethnologe, Arrangeur, Komponist und Multiinstrumentalist. Millers Karriere begann in den 1950ern mit Dixieland. Aufenthalte im Nahen und Mittleren Osten weckten sein Interesse an orientalischer und speziell persischer Musik. Das machte aus Miller einen Pionier des Oriental-Jazz. Während der Siebziger hatte er als Kurosh Ali Khan sogar eine eigene Fernsehshow im Iran. Die Sendung lief sieben Jahre und brachte dem Musiker eine große Popularität ein Neben diversen erkussionsinstrumenten spielt Miller Bass, Flöten, Kamantsche, Klarinette, Oud, Piano, Santur, Sehtar, Tabla und Zarb. 2010 veröffentlichte Miller mit der britischen, vom Afrofuturismus angehauchten Spiritual-Jazz-Band The Heliocentrics ein gemeinsames Album, das Strut nun in einer limitierten Auflage von 1000 Exemplaren als Doppel-LP neu auflegt. Hier beweist das Londoner Musikerkollektiv, das im Jahr zuvor (2009) mit Mulatu Astatke, dem großen Ethio-Jazz-Veteran aus Äthiopien, ein viel beachtetes Werk in Umlauf gebracht hatte, einmal mehr seine musikalische und instrumentale Vielseitigkeit

A1. Dinah Shore - It Had To Be You
A2. Sarah Vaughan - Summertime
A3. Billie Holiday - God Bless The Child
A4. Helen Merrill - The End Of A Love Affair
A5. Betty Carter - I Could Write A Book
A6. Julie London - Cry Me A River
A7. Chris Connor - Lullaby Of Birdland
B1. Peggy Lee - Black Coffee
B2. Lena Horne - Stormy Weather
B3. Anita O 'Day - Sing, Sing, Sing
B4. Shirley Bassey - I've Got You Under My Skin
B5. Dinah Washington - What A Difference A Day Makes
B6. Abbey Lincoln - Softly As In A Morning Sunrise
B7. Nancy Wilson - I Wish You Love
C1. Rosemary Clooney - Sway (Quien Sera)
C2. Della Reese - Whatever Lola Wants
C3. Ella Fitzgerald - My Funny Valentine
C4. Etta James - At Last
C5. Doris Day - Keep Smilin', Keep Laughin', Be Happy
C6. Nina Simone - My Baby Just Cares For Me
C7. Aretha Franklin - Try A Little Tenderness
D1. Carmen Mcrae & The Dave Brubeck Quartet - Take Five
D2. Dionne Warwick - Don't Make Me Over
D3. Shirley Horn - And I Love Him
D4. Melody Gardot - Baby I'M A Fool
D5. Cassandra Wilson - Fragile

The Mabon Dawud Republic, Hungary's first all-star progressive Afrobeat ensemble started as the Fela Kuti tribute band for the very first Felabration event in Budapest, organised by the band itself and joined by Fela's original Egypt 80 band member, keyboard player and singer Dele Sosimi.

Given the member's love for Afrobeat, the jamming soon evolved into a project of their own songs. Their republic is a place filled with the soul-warming vibes of a 15 piece orchestra, a place for dancers, a place to escape from the outside world and enjoy the magic that is unfolding on stage.
The Mabon Dawud feeling is delivered to you by professional musicians who are also members of other well known Hungarian underground acts, such as: The Qualitons, SoulClap Budapest, Sena Live Band, etc.
Budabeats Records is proud to release their first ever record on 7" vinyl single with two heavy Afrobeat cuts.

Franco Micalizzi CHI SEI(Four Flies Records - FLIES 17)

LP 180gr. Limited Edition 500 copies

liner notes byALFONSO CARRILLO (Rendezvous, LA)

lettering & artwork restoration byLUCA BARCELLONA

Considered one of the finest and most successful works composed by Franco Micalizzi. A 500 limited-edition LP which includes two tracks never before released on vinyl, a reworked painted lettering title designed by Luca Barcellona, and extensive liner notes by Los Angeles'RendezvousDJ/film event founder, and Four Flies collaborator, Alfonso Carrillo: "A film score that was quite unheard of in horror - a funk and disco-tinged soundtrack, with a sound reminiscent of a blaxploitation film. Director Ovidio Assonitis'Chi sei(1974, American title:Beyond the Door) offered horror fans both a familiar sto- ryline and a stylistically unusual score. Recorded in the States, and using American session musicians, Micalizzi created one of horror's most unique soundtracks. He utili- zes soulful lead vocals (sung by Warren Wilson) along with sax and synthesizer, both of which are featured prominently on the score. Along with superb percussion work, this soundtrack features virtuosic musicianship by top session players and easily stands up to the test of time. This was an early foray into the world of soulful funk and an early in- dication of future-funk to come from the maestro". Alfonso Carrillo (Rendezvous, LA)

Recorded in 1959, The Sermon appeared as another proof that Jimmy Smith was the most inventive organist of the Bop generation. This was the product of a marathon jam session including highly energetic Hard Bop renditions of Charlie Parker tunes like "Confirmation" and "Au Privave" and a mind blowing line up featuring jazz masters of the time such as Lee Morgan (trumpet) Lou Donaldson (alto sax) Art Blakey (drums) Tina Brooks (tenor sax) Curtis Fuller (trombone) Kenny Burrell (guitar) and George Coleman (tenor sax).

Limited Edition of 300 copies.

Ken Mcintyre was a one of a kind multi-instrumentalist and music educator and Looking Ahead was his debut album as leader featuring the great Eric Dolphy! The album appears as one of those extremely intriguing and yet lesser known works in Jazz history. The whole group with pianist Walter Bishop, Jr., bassist Sam Jones, and the great drummer Art Taylor, swings hard and clear underneath the Mc Intyre-Dolphy unprecedented horn section. A very interesting date based on a variety of Mc Intyre originals and a personal rendition of a Gerswhin classic like 'They All Laughed'.

Limited Edition of 300 copies.

A very rare album by one of the master drummers in modern Jazz! Recorded by the legendary Rudy Van Gelder in 1963, Cymbalism is among the albums that Roy Haynes provided for Prestige's New Jazz series. This session finds the drummer leading an acoustic quartet with Frank Strozier (alto sax, flute) Ronnie Mathews (piano) and Larry Ridley (bass). An unpredictable Hard Bop-Post Bop transition album bearing different colors and moods. From Charlie Parker's primary influence through some sort of Coltranish expanded sound. Without forgetting to mention a both unexpected and welcomed funky soul-jazz number as ending track.

Limited Edition of 300 copies.

A fine session run by the great pianist and composer Tadd Dameron recorded in 1956 featuring the young lion John Coltrane who was fresh off playing with Miles Davis. A solid and frequently overlooked gem consisting of six strong and beautiful Dameron's compositions performed by a tight quartet completed by John Simmons on bass and Philly Joe Jones on drums. The Dameron bass-heavy piano style gives solid bottom and plenty of space for Coltrane's highly articulated phrasing. A special treat! Don't hesitate to pick it up.

Limited Edition of 300 copies.

2nd Album By Turkish Free Jazzers Konstrukt And The Japanese Avant-garde / Noise Icon Keiji Haino, This Time Recorded Live In Concert.

Celebrating Their 10th Anniversary These Days, Konstrukt Have Since Been Creating An Impressive Catalogue Including Collaborations / Performances With Significant Musicians Like Peter Brötzmann, Joe Mcphee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, Michael Zerang, Alfred Harth Or Alexander Hawkins That Gained Them An Ever Growing Audience And Media Attention (e.g. A Recent Wire Feature), And They Keep Exploring New Grounds. Like In 2016 When Konstrukt Invited Keiji Haino To Their Home Town Istanbul For A Recording Session That Resulted In A Quite Unique Album: "a Philosophy Warping, Little By Little That Way Lies A Quagmire" Offered - Besides All The Elements You May Well Expect From Such A Musical Meeting Like Konstrukt's "acerbic Razor-edged Sound" (mark Corroto, Allaboutjazz) And Haino's Unmistakable Voice / Guitar Explosions - Some Actual Surprises Like The Really Groovy Opening Track With A Funky Feel And A Kind Of 70's Fusion Style Album Closer. Two Days Later The Free Jazz Quartet And The Japanese Avant-garde Icon Continued Their Adventure With A Public Performance At Saloniksy, Pushing Things Further And Raising The Level Of Energy And Rawness. Carrying The Same Title ""a Philosophy Warping, Little By Little That Way Lies A Quagmire" Proves A Condign Sister Release To Their Previous Studio Effort. Or, As The Famous Asian Phrase Goes: "same Same But Different!"

Hollywood Spritz is a soundtrack to a police television drama from the '70s that doesn't exist, including a Jazz Funk rework of the Charlie's Angels theme. Italian DJ, composer and producer Federica Grappasonni, aka Mistura Pura, looks to the 70's Golden Age of Hollywood TV and the accompanying music for inspiration.

Combining Jazz, Funk and Latin elements with Afro percussion, Mediterranean harmonies, minimal electronic effects, Hip Hop and Nu Jazz beats, Mistura Pura focuses her sound on the "action" element from these '70s soundtracks: scenes depicting danger or tension but also making sure to round it out with moments of love and fun. The presence of percussion in all the tracks with Afro, Latin American as well as Middle-Eastern and Hawaiian polyrhythms round out the album's edges giving it a languid feel. "Hollywood Spritz" with it's abundant Latin vibes would be a perfect accompaniment to a police drama set in LA, New York, Miami or any major metropolis with a vibrant Latino community. Another important aspect contributing to this musical work comes from Federica's extensive, decades-long experience as a DJ digging and spinning rare grooves from Be Bop, Funk, Soul and Bossa Nova. Her familiarity and connection with notable players in the scene gave her acces to record with a talented group of musicians such as pianist Jessica Lauren (Hollywood Spritz, LA Sound 1976, Nuevo Jungo) known for her work in the London Acid Jazz scene, Cuban multi-instrumentalist Lorenzo Patrix Duenas (Looking For The Angels, Intro - The Angels Connection, Charlie's Angels Theme), Italian Jazz pianist Alessandro Gwis (Angels On A Cruise, Jill Is Dancing In The Dark), Mediterranean flutist Carlo Nicita, the king of the Latin rhythms Hector Barez from Puerto Rico, the cool trumpet of Josh Evans (Nuevo Jungo), volcanic percussion work from Gennaro Scarpato (High Tide At Waimanalo beach), Nu Jazz drums from Lorenzo Tucci (Angels On A cruise, Jill Is Dancing In The Dark (with milonga drums)), with the combination of Lorenzo Feliciati (Angels On A cruise) and Marco Siniscalco (Hollywood Spritz) on Jazz bass, oud musician Jean Pierre Smadj (The Arab Connection), and young Italian pianist Alberto Napolioni (Sunset at Venice beach) rounding out the cast.
1 C'est de Rhythme
2 Jill Is Dancing In The Dark
3 Nuevo Jungo
4 La Sound 1976
5 Angels On A Cruise
6 High Tide On Waimanalo Beach
7 The Arab Connection
8 Jill Is Dancing In The Dark (Piano Solo)
9 Hollywood Spritz
10 Looking For The Angels
11 Sunset At Venice Beach
12 Intro - The Angels Connection
13 Charlies Angels Theme (Jazzfunk Re-Work)
14 Jill Is Dancing In the Dark (Milonga Drums)

Originally Hailing From Columbus, Ohio, Where He Was Born In July 1948, Bill Mason, The Son Of A Baptist Minister, Had First Learnt Music In Church. Starting Out On Piano He Switched To Organ In His Late Teens. Mason Had Come To Bob Porter's Attention When As Part Of The Bryant Group He Recorded At Prestige On Two Sessions In 1971. Bill Mason Proves Himself A Formidable Leader With His Solo Album, The Aptly Titled Jazz-funk Outing gettin' Off'. The Album's Physicality Is Astounding, Mason Is An Extraordinary Soulful Hammond Organist, Conjuring Spiraling, Spellbinding Grooves That Seem To Grow Deeper And More Relentless With Each Successive Track. He Also Proves His Talent As A Composer With Originals Like "mister Jay" And The Scorching Title Cut Standing Tall Alongside Covers Highlighted By Al Green's Immortal "let's Stay Together".
Gettin' Off Features Idris Muhammad On Drums, Which Means A Frenzy Of Funky Jb-influenced Over-the-top Soul-jazz Drumming. Featured On Bass Is The Legendary Gordon Edwards (known For His Work With James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, Etc.) And Saxophone Duties Are Handled By Hubert Laws (quincy Jones, Gil Scott Heron, Moondog).
All Of The Above 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). Bill Mason'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). This Album Also Comes With The Original 1972 Art By Prestige Records Photographer Al Johnson.

It's Been Over Ten Years Since Producers Jarno Lappalainen And Sampo Härkönen Released Their Music Under The Moniker Present Sense. On This New Ep They Continue From Where They Were Back Then, Exploring New Expressions Through The World Of Spiritual Jazz.

They Made These First Two Compositions And Arrangements For The International Octet Featuring Some Of The Greatest Musicians In Their Fields. Everything Was Recorded In Two Days With Only A Few Takes And A Minor Pre-production.

The Result Is An Exiting Entity Of Distinctive Harmonies, From Minimal To Broken Rhythms And Top Notch Solos, Everything Tied Up Beautifully Together By Dean Bowman's Masterful Vocals, Spoken Word And Poetry.

This Ep Is First Of The Five In The Series

· First ever vinyl reissue
· Limited edition to 500 copies only
· Bonus tracks not on the original LP
· Remastered sound
· Insert with liner notes by Nick Rossi and photos
· Beautifully housed in three back-flapped 1960s UK style picture sleeve!

The Wynder K. Frog Story Evolves Around Mick Weaver. After He Switched From Piano To Organ He Joined A Band Named The Chapters That Would Soon Be Renamed Wynder K. Frog And Perform Material From James Brown's Flames, Booker T. And The Mgs Or Even Songs Learned Through Georgie Fame's Recordings And Graham Bond's Repertoire. Wynder K. Frog Moved To London And Became Regulars In The City's R&b Scene Playing At Swingin' London's Clubs Like The Tiles Or The Marquee. A Contract With Island Records Was Secured And -under The Wings Of Producers Like Chris Blackwell, Guy Stevens, Jimmy Miller Or Gus Dudgeon- Wynder K Frog, A Name That Would Eventually Be Used As A Pseudonym For Weaver More Than A Proper Band Name, Did Some Some Amazing Hammond Organ-ized Recordings And Issued In Three Lps And A Bunch Of Cool 45s.

At The End Of The 1960s, Weaver Would Quit The "band Scene" To Become One Of The Most In Demand Session Musicians And Throughout His Career He'd Be Heard Backing Names Such As Eric Burdon, Roger Chapman, Dave Gilmour, Keef Hartley, Alexis Korner, Ralph Mctell, Taj Mahal Or Otis Rush A.o, But His Lps As Wynder K Frog Are Classic Hammond Sound From The 1960s Uk And Will Appeal To Those Into Brian Auger, Graham Bond, The Artwoods, Zoot Money, Jimmy Mcgriff, Booker T. & The Mgs And The Likes.

Into The Fire

The Third Wynder K Frog Album Was Released Only In The Usa In 1970, Once Weaver Had Already Abandoned The Project And Started His Session Musician Career. Out Of The Frying Pan Was Doing Well In The States, Copies Still Selling Steadily Since It Had Appeared, And United Artists Thought It'd Be A Good Idea To Release It Under The Into The Fire Title In Order To Present It As Kind Of A Sequel To Frying Pan. The Material, Mostly Written By Weaver And His Side Men For The Sessions, Takes The Sound One Step Further Adding Heavier Sounds And Funkier Rhythms, Not Far From What Was Being Done In Usa Studios Like Muscle Shoals At That Time.

Funky DL steps into the arena with his highly demanded album 'Blackcurrent Jazz 3'. Seamlessly weaving his boom-bap style with jazz breaks throughout every track and topped with his smooth and often intense flow, his lyrical ability is top shelf and the beats are at an unequalled standard of excellence. The album showcases some of the finest Jazz Hip-Hop in the scene as it shifts through varied styles of Jazz and Jazz moods. With features from the Nujabes collaboratives Cise Starr and Substantial, the entire set oozes with golden droplets of musical magic moment after moment. The tone is set immediately as the album starts and continues an incomparable and superb standard of quality music right up until the final track.

Nat Birchall returns with a couple of sides of blissful cosmic & spiritual jazz.

JAZZ45 - Exciting new sounds from the world of independent & creative jazz artistes!

Original artwork & original music on each and every release, and limited to just 600 copies worldwide!

Rodrigo Amado: tenor saxophone
Joe McPhee: pocket trumpet, soprano saxophone
Kent Kessler: double bass
Chris Corsano: drums

Great dedicated music by 4 strong individual players, brought together by Portugues saxophonist Rodrigo Amado - intense communication with room for outbreaking solo-parts but always held together through a vision of playing together, exiting and interwoven with beautiful melodies!

Billy Cobham is one of the greatest jazz-fusion drummers from the last decades. Shortly after he left the band Mahavishnu Orchestra he released his debut solo album Spectrum. Influenced by the music of Miles Davis he combines elements from the jazz with rock and psychedelia. From the subtle parts to the more aggressive moments, it's an album in which Cobham shows his identity to the public. The music quartet recorded some lengthy pieces, out of which 'Stratus' is the absolute masterpiece. The funky grooves and effective guitar melodies blend together very well and the jazz comes alive in the outstanding drum play by Cobham. 'Quadrant 4' is another great track in which the music erupts and the synergy between the musicians can be felt.

"More Brazilian Byrd" - Charlie Byrd (g) & orchestra conducted by Tom Newsom
Immortal samba, and its rhythmic relatives, is on the one hand so undemanding that it manages to take off with the simplest of instruments, yet on the other hand it is so concentrated that it can conjure up all manner of fantastic sound colouring.

With regard to these sessions that were recorded in the Sixties, when bossa nova found its way to the USA, the record bosses gathered together a superb array of musicians. Influenced by a classical training on the guitar, Byrd's guitar playing weaves its way through the complicated but always lightweight arrangements. The "One Note Samba", with its intentional monotony, is performed nonchalantly yet does not lack verve; the "Weekend In Guaruja" is filled with sunshine and high spirits. The ensemble plays with great variance and well-measured phrases on the winds while cracking shots from the drum set mark the unwavering rhythm to which Byrd lets his guitar strings dance.

This blissfully harmonious interplay works equally as well in the small ensemble around the solo guitar ("Little Boat") as in the rich sequence of chords which ascend airily and delightfully aimlessly ("Pretty Butterfly"). And as a perfect ending we have once again a lush, full sound on the drums and trumpets ("Foi A Saudade"). It's well nigh impossible not to be carried away by this thrilling roller-coaster ride.



This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Some of the earliest works from a truly groundbreaking composer in the realms of electronic music, musique concrete, electo-acoustic, 20th century classical, and more. The Romanian-born, Greek-French composer Iannis Xenakis was instrumental in the introduction of mathematical models into composition and helped revolutionize electronic music in the middle 20th century. Collecting some of his earliest works in electronic and electro-acoustic music this is a crucial set for any fans of 20th century classical experimentation.

If ever a phonographic accomplishment could encapsulate the precise modus operandi of the Cacophonic label, then the Expériences Musicales sessions made by French born painter, sculptor, music maker, wine merchant and founder of the Art Brut movement Jean Dubuffet would be a prime candidate.
Originally released as an impossibly rare six record box set containing Dubuffet's first long anticipated forays into sound sculpture and spontaneous artistic noise, these intimate early 1960's recordings show a lesser- known side of this important artist's personality. From an original gallery promoted artefact (which can now command fees of up to 5000 Euros complete with its original art-prints intact) this highlighted version ofExpériences Musicales is now available again on authentic vinyl to the wider public.
Finally released to a wider audience and presented complete with Dubuffet's signature style artwork, this abridged vinyl edition includes specific selections curated by the artist himself, in conjunction with experimental music pioneer Ilhan Mimaroglu.

The legendary reeds-man Steve Lacy takes on the brilliant compositions of Thelonious Monk. Originally released in 1959, Reflections is a glorious quartet session with Lacy on soprano sax, accompanied by the great Mal Waldron on piano, as worthy a pianist to take on the tunes of Monk as one could imagine, along with Buell Neidlinger on bass, and the amazing Elvin Jones on the trap kit. Though it's only Lacy's second recording as a leader, his maturity and range are well on display here as he re-imagines 7 of Monk's beautiful tunes as his own.