Pop & Rock News

Khalab has summoned a futuristic afro-centric soundscape by
weaving a poly-phonic tapestry of future bass, jazz and field recordings. The LP's title track tells hard truths from the mind of spoken word artist Tenesha The Wordsmith. Along with her words the LP's title has been augmented with a date marking the arrival of an emancipated future. 'Black Noise 2084' casts aside the worn and surface level cliché of black music being soul music. Khalab guides us to the beginning of a journey, the journey of rhythms and he takes us within earshot of the voices and spirits that carried them. Soul gained over aeons of terror and forced transportation, soul driving survival against systematic ppression, wholesale against a people.Khalab looks to the noise, the messages, the spirits, and evokes the light of 'Black Noise 2084' out of darkness. From dystopian roots, the beat marabout Khalab has led his assembly of messengers to invoke this myth of cathartic liberation. 'Black Noise 2084' features the voices of musical voyagers seeking new pathways: Shabaka Hutchings, Moses Boyd, Tamar "The Collocutor" Osborn, the master Gabin Dabire, Tenesha The Words-mith, Tommaso Cappellato, Prince Buju and Clap! Clap! Within the tapestry of Khalab's 'Black Noise 2084' the myth moves through its cycle of life, initiations and ceremonies with a cast of unnamed messengers. Khalab was invited to work with field recordings from the archives of the Royal Museum for Central Africa of Bruxelles. The museum's recordings made for a post-colonial World, hold ethnographic and historical insights into the cultures of the region over the last 500 years. The Museum is far from the horrors that Belgian King, Leopold II unleashed during his colonial reign, however it is a dark legacy that is far from absolved.. 'Black Noise 2084' opens a portal where displaced rhythms, chants, screams and dreams collide with quaking bass, a vortex of shattering synths, jazz rains and emotion all amalgamate. Empires for millennia thrived across the African continent and Empires are being willed to rise. As Khalab draws the LP to a close he brings light with 'Dawn' ft Moses Boyd. A dawn firmly squared-up by its past, hard truths of a barbaric history embarking on the beginning of reconciliation. Drum beats usher in the arrival home for a new glory. 2084 a time when rhythms have shed the cargo of their haunted odyssey. The myth of 'Black Noise 2084' is a new dawn where the ghosts of Leopold and all his kind are finally excised. Atonement in hearing the truths carried across the ages, carried in noise, Black Noise.

Tenderlonious led jazz outfit Ruby Rushton drop their second album of 2017. Following on from the success of 'Trudi's Songbook: Volume One' the band are back with their highly anticipated 'Volume Two'. Comprised of a further six cuts the listener is treated to another journey through modern day jazz!

Stand out tracks include "Tisbury Truckin", which is a stunning opener! Starting with an atmospheric soundscape it unexpectedly drops into a neck-snapping hip-hop groove with a punchy melodic line before effortlessly sliding into an up-tempo, afro-beat inspired rhythm with strong solos from trumpet and keys in tow. "Song For Christopher" is a heartfelt ballad, which begins with a touching flute solo and continues to take the listener on a journey through the emotions, ending in a crescendo of optimism - a fitting tribute to the late Christopher Rushton.

"Charlotte Emma Victoria" is another strong track and includes some tasteful sousaphone and trombone parts to add extra oomph to its bounce, accompanied by a soaring saxophone solo by band leader Edward Cawthorne (aka Tenderlonious). The album ends with a classic Herbie Hancock jazz-fusion standard, "Butterfly", which the band handle with finesse. A fitting cover that I have no doubt would impress its original writers.

'Trudi's Songbook: Volume Two' is a fantastic album, which further solidifies Ruby Rushton's place on the modern jazz scene. This is a must have album that would hold its own in any jazz enthusiasts record collection - make sure you check it out!

As the '60s progressed, cultural and political revolutions occurred both in the US and in Europe. Jazz was both a victim and a saviour, with radical developments in the music occurring in both continents.

Electronic duo Spring Heel Jack return with a collaboration with the legendary American trumpeter and Pulitzer Prize nominee Wadada Leo Smith.Wadada was born in the Mississippi Delta and became immersed in the music of the great blues masters as a young musician. He then moved to Chicago and became an early member of the AACM alongside the likes of Muhal Richard Abrams, Anthony Braxton, Malachi Favors and Roscoe Mitchell. Recorded last year in London, this LP sees Smith's authoritative trumpet joined by Steve Noble's drums and Pat Thomas' piano, to make a stunning piece of aural theatre in six acts.

Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started more than 5 years ago.

Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label / studio / group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released 2 albums together, Où es-tu maintenant and Le Polaroid, hailed by many tastemakers and meeting notable success in Japan.

Following Le Premier Disco Sans Toi, an acclaimed single released earlier this year and unveiling two new compositions with Disco flavors, Andre Solomko and Favorite Recordings also proudly present Le Deltaplane. Fully composed and arranged by Andre Solomko, the 6 tracks of the album are deeply infused with his longtime passion for Jazz-Funk and Movie-Soundtracks, this time also injecting more influences from WestCoast and Modern-Soul music.

Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki.

Andre Solomko, an artist who spreads love like in the good old days!

* 180 gram audiophile vinyl

Herbie Hancock Is One Of The Most Prolific Jazz Pianists Of The 20th Century. A Child Prodigy, He Played With The Greats Such As Donald Byrd And Miles Davis. As He Was A Bit Of A Geek, He Enjoyed Gadgets & Buttons And He Was One Of The First To Embrace And Master The Electric Piano, But He Always Stayed True To The Acoustic Sound. In Fact, He Always Bounced Back And Forth Between His Electronic And Acoustic Sound, Touching Upon Almost Every Development In R&b, Funk And Jazz While Retaining An Original And Distinctive Voice.

Head Hunters(1973) Was Thefirst Offering Ofherbie's New Backing Band,the Head Hunters. In His Own Words: "i Began To Feel That I Had Been Spending So Much Time Exploring The Upper Atmosphere Of Music And The More Ethereal Kind Of Far-out Spacey Stuff. Now There Was This Need To Take Some More Of The Earth And To Feel A Little More Tethered, A Connection To The Earth....i Was Beginning To Feel That We (the Sextet) Were Playing This Heavy Kind Of Music, And I Was Tired Of Everything Being Heavy. I Wanted To Play Something Lighter."

This Is One Of Herbie's Funkiest Records Andone Of The Best Selling Albums In Jazz, Due To The Fact It Appealed To A Broad Audience - Think Hip Hop, Funk, Soul & Jazz Funk Fans. With Head Hunters, Hancockclaims Astake In Jazzwith Hisinfectuous Synthesizers And Clavinetmelodies On Top Of A Supertight Groove, Augmented By Subtile Horn Soloing.classic Songs Such As "chameleon" And "watermelon Man" Are Living Proof Of His Genius And Ability To Craft A Coherent Jazz Fusion Album.special Mention For Drummer Harvey Mason, Bassist Paul Jackson Andreedist Bernie Maupin (who Also Contributed To Miles Davis' Bitches Brew (movlp020).

The youthful jazz iconoclasts of SCHNTZL are undoubtedly among that much-talked-about 'new wave of Belgian Jazz'. Since releasing their untitled debut in the fall of 2016, the band has played an impressive number of concerts, adorned the stage of Gent Jazz Festival and hosted the popular Badbadnotgood in Amsterdam's Paradiso.

Over The Last 20 Years, Ozay Moore (fka Othello) Has Proven Himself To Be An Exceptional Storyteller Time And Time Again. Whether As A Member Of The Classic Hip Hop Trio, ightheaded, Or As A Solo Artist, Moore's Alto Flow Has Always Moved Crowds. Aided By Some Of The Most Soulful Production And A Deep Knowledge Of Hip Hop Culture, Moore's Music Is Highly
Relatable Because He Blends Personal Experience With Larger Themes That Cross Cultural Lines. Moore Has Been Making Records For Quite Some Time So It Would Be Understandable If He Didn't Have More To Say. Thankfully, Ozay Moore Is Back And Better Than Ever With In The Wake Of O.
Throughout His Life Moore Has Seen A Lot, Done A Lot, And
Wake Is A Reflection Of His Journey In And Outside Of Being An Mc. Moore Is No Longer A Young, Ambitious Rapper From Seattle Focused Solely On Writing Rhymes And Traveling The World. Instead, He's A Family Man In Lansing, Mi Having To Strike A Balance Between His Artistic Goals And What's Best For
His Wife And Two Kids. How Do You Strike That Balance This Is One Of The Central Questions Driving The Record.
As The Album Unfolds, Moore Grapples With The Decision To Drop The Othello Moniker, His Faith, Racial Politics In The U.s. And The Impact Of Hip Hop On His Life. The Word wake' Can Mean Many Things, And In The Wake Of O
Takes Into Account Every Single One. With An Exceptional Set Of Producers Including Stro Elliot, Tall Black Guy, Ess Be, Freddie Joachim And Ohmega Watts, Wake Is A Seamless Blend Of Boom Bap Crunch And Soulful Grooves. With Guest Appearances By Braille, Sareem Poems, Jahshua Smith, James Gardin And Propaganda The Wordplay Is As On Point As It Is Thought Provoking.
Ultimately, In The Wake Of O
Is A Reminder Of Why Hip Hop Is Such A Powerful Mode Of Communication. It Also Speaks To Ozay Moore's Deep
Love And Respect For Hip Hop Culture. As Wake Plays From Start To Finish, Moore Beautifully Speaks On His Personal Journey While Also Making Space For Listeners To Reflect On Their Own Lives. There Is Something For Everyone On This Record.
Written By Gus Navarro

A Beautiful Album. A Jazz Album.

Hello, Summer
Is The Third Full Length Solo
Lp From The Talented Pat Van Dyke—a Recording Full Of Soulful, Upbeat And Superbly Well-thought-out Arrangements That Is Destined For Your Heavy Rotation Bin For Years And Years To Come. Van Dyke Has Upped The Ante On This Release, Playing All Instruments Himself (with The Exception Of The Horn Section And Featured Soloists)—in Addition To Writing, Performing,
Producing, Recording, And Mixing The Record (mastering Was Left To K-def). This Is A Completely Confident And Imaginative Artist Able To Put His Ideas On Wax Exactly As Intended. Hello, Summer Places Emphasis On The Word Album. Listeners Are Encouraged To Carve Out Time To Enjoy It With Zero istractions. There's Nuggets To Be Found In Each Listen—whether It's Picking Out Your Favorite Horn Arrangement, Appreciating A Flute Solo Or Simply Marveling At How Fluidly Everything Comes Together Over The Course Of The Album's 11 Tracks.
The Vibe Is Summer. Windows Are Open And An Ice Cold Beverage Is In Hand.´

BBE's new 7 vinyl imprint Alim Music presents its latest release, a limited edition pressing from two of the label's most prominent artists, will.i.am and Pete Rock.

First up on the 45 is a classic cut from Black Eyed Peas frontman will.i.am's 2001 debut solo album 'Lost Change'. Featuring vocals from R&B singer, songwriter and actress Terry Dexter, 'Lay Me Down' is a smooth and soulful slow jam, undoubtedly one of the album's highlights.

On the flip is 'Pete's Jazz', a boom bap classic taken from Pete Rock's 2001 album 'Petestrumentals', originally recorded in the early to mid 90's and containing all the smooth, laid-back swagger Pete's productions are known for.

About Alim Music:
Celebrating its 22nd year of barely breaking even, respected underground label BBE announces the birth of ALIM Music, a daughter label releasing 7' vinyl in strictly limited numbers. Digging deep in the BBE archive as well as issuing exclusive edits and original material, Alim Music offers up a series of choice cuts on that most magical of formats, the vinyl 45.

The world has barely recovered from the previous sting of the Scorpio Man, when he lands in another dose. "Cold Turkey Time" from Ernie Hawks' debut album gets a single treatment here arriving back to back with the 45 only track "Tracking Down". The latter should make the b-boys move even if heard in the relaxing steams of a Turkish bath, where its breezy melodies eventually point at.

"Cold Turkey Time" is a serious slab of jazzy funk that shares many of the exotica qualities of its partnering side. It might sound nice, while driving a fine European sports mobile down on a spiraling mountain road, preferably in a 60's dandy state of mind. The eerie wordless vocals at the end tie the package together so nicely that Dario Argento could have made a scene out of it.

The continental vibes emanating from this vinyl single are bound to appeal to rare groove fanatics and secret agents alike. Ernie Hawks and his merry bunch of professionals are on a mean streak here, so keep listening.

Ian Dury, Like Ray Davies And Paul Weller Was A Very English
Talent. The Colourful, Metropolis Inhabiting Characters Like
Billericay Dickie Or Plaistow Patricia He Sung About And The Ever So Cockney Music Hall Accent He Chose To Sing In Were A Big Part Of That. But Most Of All It Was The Detailed, Poetic Way He Catalogued English Life And The Melting Pot Of Musical Styles Used To Do So, From Punk To Funk To Jazz And Rock 'n' Roll, Which Left The Listener In No Doubt That Dury's Work Could Only Come From One Place: The Very Heart Of England.
Released On Yellow Coloured Heavyweight Vinyl, This Is All Killer And No Filler. With Dury's Most Loved Songs, Including 4 Uk Top 40 Singles And The Number 1 Smash, Hit Me With Your Rhythm Stick.

Re-mastering By: Ray Staff At Air Mastering, Lyndhurst Hall, London

Recorded In 1963, The Sheriff Features The Modern Jazz Quartet In Fine Swinging Form. The Program Is Not As Sharply Focused As On Some Of The Earlier Atlantic Releases, But It Is Compelling Nonetheless. There Are Four Originals By Pianist John Lewis, Including The Fleeting, Bluesy Title Cut, And The Moody, Spacious "in A Crowd" -- Originally Composed For The 1961 Film A Milanese Story. Its Stepped-up Time Signature And Series Of Phrases Played By Milt Jackson Grounds The Tune In Blues, But Lewis' Solo Feels More Like A Solo Trumpet Breezing Through The Center. The Set Includes Heitor Villa-lobos' "bachianas Brasileiras," A Classical Piece The Quartet First Performed With Guitarist Laurindo Almeida. Bassist Percy Heath Is Stellar Here, Playing Both Arco And Pizzicato And Alternately Moving The Work Forward With Deftness And Precision. Lewis And Jackson Engage In Gorgeous Counterpoint Throughout. It's Knotty, But Exotic And Beautiful. Another Latin-based Work Here Is Luiz Bonfa's Brilliant "carnival," Which Closes The Set. Jackson's Melodic Interplay With Connie Kay's Brushwork Is Subtle And Rich, Moving Through A Series Of Verses Before Jackson Takes It To The Blues In His Solo. Lewis Keeps The Pulse As Heath Underscores The Backbeat. Thom Jurek/amg

In naming her among the greatest singers of all time, Rolling Stone magazine described of blues/jazz singer Nina Simone: "her honey-coated, slightly adenoidal cry was one of the most affecting voices of the civil rights movement." A ground-breaking and innovative performer, Simone's songs are among the most influential of the 20th century, inspiring a wide-reaching range of artists, from Madonna to David Bowie to Alicia Keys to Kanye West to Maynard James Keenan of Tool, to name just a small sampling. Throughout her career, Simone wrote, recorded, and composed innumerable albums and singles, many of which would become standards, including her versions of "My Baby Just Cares For Me", and "Wild Is The Wind." More than just her recordings and performances, Nina Simone paved new ground for African-American women for frequently breaking away from the musical industry to inject social commentary into her music. (One of her most famed songs, the civil rights anthem "Mississippi Goddam" courted wide controversy in the South.) It was certainly this social awareness that led Simone to release the live album Emergency Ward in 1972. Considered to be her statement on the Vietnam War, (At the time still escalating) the album was a medley of gospel-jazz with high-running emotions reflecting the events of the time. Featuring orchestrations by Weldon Irvine, choral arrangements from the Bethany Baptist Church Junior Choir Of South Jamaica, and Simone's own velvet croon across somber and introspective material, including several George Harrison covers.

This Is The Third Album By Osamu Kitajima, One Of Japan's Most Prolific Artists From The Ethno Rock, World Music And Progressive Department. You Can Certainly Not Divide All The Mentioned Stylistic Aspects From Each Other For They Were All Incorporated In A Homogenious Sound And Complex Arrangements. It Is The Same With His Other Albums Like - benzaiten And Or His Fourth - masterless Samurai , Traditional Japanese Music Meets Western Jazzrock And Progressive Sounds To Form A New Style Unheard By Most People In Western Countries At The Time. Osamu Kitajima Easily Plays With Elements Of Reggae And Funk, Fusion Jazz And Colorful Pop While Staying True To His Japanese Roots With Bits And Pieces Of Traditional Melodies And The Use Of Old Asiatic Instruments. The Japanese Influence Makes This Music Uniqe And Still It Gets As Close To Western Rock And Pop Sounds As It Could. An Adventurous Journey Through The World From East Asia To West Africa And To The Steaming Metropolises Of The Uk And Usa Is Your Reward When You Put This Perfectly Produced Album Onto Your Turntable. The Former Pink Floyd Comparison Coming With - benzaiten Is Not Totally Out Of Place With This Selftitled 1977 Album Here But There Is Much More Latitude In The Allover Style. Osamu Kitajima Gathers A Few Well Talented Musicians Around Him On This Record Despite Playing And Arranging Most Of The Instrumental Passages Himself. He, The Multi Instrumentalist Who Discovered Progressive Rock Music In The Early 70s During A Stay In London Where He Released A First Album Under The Monicker - justin Heathcliff Before Moving To California Around The Mid 70s. And This Group Of Musicians Creates Something Special That Sticks Out Of The Mass Of Similar Art Pop And Fusion Bands In The Late 70s. Osamu Kitajima Is Something Like The Japanese Answer To Mike Oldfield, And Others Equal In Vision And Output!

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!

Matasuna Records is delighted to reissue this Peruvian masterpiece by Otto de Rojas - one of the best Piano players from Peru. In 1976 he and his band Los Ultra 76 released this superb single mixing Latin with Funk, Jazz and Disco. Both tracks getting remastered to provide the best possible sound - even better than on the original 45! A 7inch not to be missed.

Choca Las Caderas keeps its promises: with this tune the hips certainly won't stay still! The song builds its vibe with a funky guitar riff, a groovy bass line and Roja's virtuoso piano playing. The horn section and the vocals drive the tune to its climax: pure fire for the dance floor!

On the flipside there's another jewel: Al Ritmo del Bump Bump - a Peruvian cover version of "Soulful Strut" by the US Soul-Jazz band "Young-Holt Unlimited". Otto de Rojas and his Ultra 76's adapt the original in their own groove-oriented way of playing: faster rhythm, amazing wah-wah guitars, layers of electric piano over a funky bass and brass. Another heater for the floors!

One of the great influential figures of Latin Jazz percussion is that of Louis "Sabu" Martinez, who had been performing in groups and ensembles as early as the age of 11. Over the decades of his live, Martinez had worked with some of the greatest names in latin, jazz, and swing history, from Benny Goodman and Count Basie to Thelonius Monk and Charles Mingus to Tony Bennett and Harry Belafonte. Later after many years of session playing, he would lead his own band, which would go on to record several essential albums in latin jazz, including Palo Congo, which was listed in the book 1001 Albums You Must Listen To Before You Die, before later re-locating to Sweden in the late 1960s. During his time in Sweden, he continued to record, contributing heavily to the burgeoning jazz scene that was building there, as well as numerous visiting American musicians. It was there that he also recorded what would be his final album, Afro Temple, which is considered one of Martinez's greatest, and a masterpiece of the genre. Featuring some of his finest precision percussion, against a backdrop of Afro-Cuban instrumentation, and an air of indelible Latino pride.

Seán Mac Erlaine's richly-textured woodwind sound meets an expanded palette on Music for Empty Ears, the Irish musician's breathtaking new album. Having honed his distinctively-shaped soliloquies over his first two solo records, Mac Erlaine's work now bears the mark of collaborations with Norwegian luminaries Jan Bang and Eivind Aarset to reveal a fresh, variegated musical language. The album journeys through a splendour of musical shades: from the gently insistent minimal grooves and hushed invocations of tracks such as The Melting song, to slow pans across dark, saturated vistas on tracks such as Winter Flat Map, to a warm, celebratory treatment of the Irish traditional tune An Buachaill Caol Dubh, and to moments of visceral, splintered abstraction in Love the Way They Sing and The Alchemist III. Whether it's the elusive vocals of Galway singer Sadhbh Ní Dhálaigh or Mac Erlaine's sublime clarinet melodies that catch you, Music for Empty Ears is an album that reveals more and more with each listen. And, with a bespoke print by Dublin design studio Destinctive Repetition, the heavyweight vinyl of Music for Empty Ears is a beautiful and sumptious object to hold as much as to hear. Seán Mac Erlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognised as one of Ireland's most forward-thinking creative musicians. Mac Erlaine works in a variety of settings from free improvisation, contemporary jazz, folk music and experimental theatre, and is a member of the groups This is How We Fly and the Quiet Music Ensemble. One of the most interesting and adventurous musicians of his generation' - The Irish Times / Electronic musician/producer Jan Bang has worked with such luminaries as Jon Hassell, David Sylvian, Brian Eno, and Arve Henriksen. From his work as a pop producer in the 90s, his pioneering work in developing the concept of live remix has led to him being constantly in-demand as producer and performer today. (Jan Bang is) defying all misconceptions about the vast potential of electronic composition.' - All About Jazz / Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. As one of Norway's most in-demand guitarists, Eivind Aarset has worked with Jon Hassell, David Sylvian, Bill Laswell, Jan Garbarek and many more. Norwegian Eivind Aarset is in a class of his own proving that lyricism and raw noise aren't contradictory.' - The Guardian

In Early September 1969, Tim Buckley Played Four Sets Over Two Days At La Club The Troubadour, Along With A Rehearsal Set, All Of Which Were Recorded. These Shows Featured Buckley At His Improvisational Best, Each Performance Of Every Song Being Different From Other Performances Of The Same Song.
On These Recordings, Buckley Was Accompanied By His Guitarist Lee Underwood And Congas Player Carter C.c.Collins, Along With John Balkin On Bass And Frank Zappa/captain Beefheart Drummer Art Tripp.
These Recordings Have Been Issued Across Three Cd Releases In 1994 And 2017, But This 6 Lp Box Set Is The First Time That They Have Been Gathered Together In One Release. Features Extensive And Explanatory Annotation By Compiler Pat Thomas, Along With Photos And Ephemera.

The Smooth Jazz Configuration Of Young-holt Unlimited Was Based Around Two Key Figures: Drummer Isaac "redd" Holt, And Bassist Eldee Young, Both Of Whom Were The Former Rhythm Section Of Jazz Pianist Ramsey Lewis. As Young-holt Unlimited, The Duo Released A Slew Of Instrumental Soul-jazz Which Frequently Invoked The Spirit And Vibes Of The Jazz Crusaders, Lou Donaldson, And Dr. Lonnie Smith. Their 1968 Record Soulful Strut Was The Ultimate Peak Of Their Artistic Output, Which Rendered A Billboard Hit Out Of The Title Track, Which Consisted Of The Instrumental Track To The Failed Single "am I The Same Girl" By Barbara Acklin. (stories Go That Holt & Young Never Actually Played On The Track However.) The Hit Single Would Also Be Bolstered By Breezy Covers Of Tracks By Carl Davis, Bobby Russell, And Eugene Record, Among Others. Though Soulful Strut Was A Smash Success, The Duo Never Managed To Produce A Worthy Follow-up, Leading Young-holt Unlimited To Disband Back To Smaller Acts In Chicago, And Eventually Return To Ramsay Lewis' Trio.

Mercury Music Prize album of the year 2014

Deluxe remastered gate-fold double-LP with three bonus tracks (black vinyl version).

Noted for their hypnotic melodies, visceral bass-lines and tidal rhythm, Manchester-based leftfield piano trio GoGo Penguin are pianist Chris Illingworth, bassist Nick Blacka and drummer Rob Turner. Their music has been described as acoustic-electronica but they draw equally on rock, jazz

and minimalism, game soundtracks and glitchy-electronica to create their unique music. They are now one of the most successful bands in contemporary music, topping the jazz charts globally and playingsold out shows around the world and have just announced their biggest tour yet including the Royal Albert Hall in London (Nov 12).

Originally released in March 2014, v2.0, was their breakthrough album and the first to feature the rebooted line-up with new bassist Nick Blacka, pianist Chris Illingworth and drummer Rob Turner. It was named a Mercury Prize album of the year 2014 alongside albums from Damon Albarn, Young Fathers and Jungle.

The extended version was first released on 2xLP for RSD 18 on clear vinyl. This version features the same extended tracklist on black vinyl.

Newly remastered for vinyl (by the original engineer)
2xLP deluxe gatefold edition.

v2.0 includes the hit singles, Hopopono, Garden Dog Barbecue and Kamaloka as well as the remarkable One Percent and live favourite To Drown in You. Included here for the first time is theincessant 'Break' featuring a killer groove that offers a notdto the one and only Squarepusher, 'Wash', a haunting slice of the band at their most ambient and the wonderful 'In Amber', the first track that the new line-up wrote completely together.

Can You Sleep (04:30) Idler Chronicles A Personal Struggle With Insomnia That Inspired The Album's Title, It Combines Bossa Nova, 70s Analog Synths And The Polymorphous Vibrations Of London's New Burgeoning Jazz Scene.

Jamie Isaac Is A Young Producer And Songwriter, Born In Croydon To Burmese And British Parents. He Signed To Marathon Artists In 2014 And Has Been Harnessing His Sound Ever Since, Operating In The Space Between Jazz, Soul,

R&b, Electronics And Hip Hop. Across A Handful Of Singles And Eps, As Well As A Mixtape, His Debut Album And Its Follow-up, He Has Evolved Into A Formidable Artist With A Transatlantic Following.

Wings And Doing Better Have Both Been Heavily Featured On Spotify, Apple And Deezer Playlists.

'Voyager' is the third full-length album from LA's Moonchild, whose candid style of soul and newschool jazz has propelled them onto a swirling, emotionally charged journey of the heart. Since 2014 they have dedicated their time and energy into honing dreamlike and ethereal compositions which explore the intricacies of relationships with emotional nuance.

Since cementing themselves into the vibrant LA soul scene, Moonchild have released two albums and collaborated or toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.Arie, Leela James, The Internet (Odd Future's Syd tha Kyd & Matt Martians) and more. Along the way, Moonchild have accumulated a host of iconic supporters from Robert Glasper and Laura Mvula to James Poyser, Jazzy Jeff, Jose James, 9th Wonder and Tyler, The Creator who have all shown love for the band.
Praise for Moonchild...

2x12" 180g

Thelonious Monk Was One Of The Most Innovative And Idiosyncratic Figures In Jazz History. A True Originator He Collaborated With Some Of The Finest Jazz Musicians Of All Time Including John Coltrane, Sonny Rollins And Miles

Davis. This Compilation Features Many Of Monk's Standards Including blue Monk', round Midnight' And straight No Chaser'. Almost From The Outset The Pianist Pursued A Singular Artistic Vision As Player

And Composer And Played A Key Part In The Birth Of The Music Which Emerged From New York City In The Mid-1940s, Which, With Its New Harmonic And Rhythmic Ideas, Ultimately Became Known As Bebop.

By The Time Of His Passing In 1982 He'd Long Established A Classic Canon, Many Of Which Are Included Here And Are A Fitting Tribute To Monk In 2017, His Centennial Year.










H

Special remarks:
PENCIL INCLUDED - ONLY FOR THE FIRST 300 OF THIS EDITION (OUT OF 500):
Included in the release pack (first 300 copies only, once gone , it´s gone) you'll find the Apparel Wax Pencil as we thought that after you listened to the 3 tracks of the 3rd release, you might end up wanting to play tris!!

Relentless Apparel Wax never misses a beat and is back at it with APLWAX003, the 3rd chapter of the saga. The release is made up of 3 tracks, 3 distinct parts of the same engine, 3 proper dance floor bangers. The EP kicks off with a compelling broken-jazzy beat, with its groovy breakdown and reprises and its funky vocals it's that one track you'll need to shazam on the spot. The 2nd tune will have you right away when you'll hear those tribal rhythmics and hypnotic vocals that drive it till the end while the 3rd is the typical one you'd call a "peak time track"; that tune you drop when the ballroom has warmed up enough and is ready to finally step u

One of the best Jazz-Funk-Fusion albums from the 70s Euro scene, featuring such giants as Charly Antolini (famous for his MPS recordings) on drums, Max Greger jr. on electric piano, Moog, Hammond, Mellotron and Milan Pilar on electric bass. Top notch jamming & soulful funky-jazz sound with some kraut-prog touches, recorded at the legendary Studio 70 in Munich and originally released in 1975 on the Calig label.

Including the rare-groove classic Onkel Joe' and more.

Original artwork and master tape sound.

With her jazz-inspired songwriting and distinctive smoky voice, acclaimed Canadian singer Jill Barber creates the type of music that harks back to an earlier era. A native of Toronto, she initially began her career in Halifax, where she released her 2002 debut, A Note to Follow So. From the start, Barber's range included a mix of jazz, Americana, and folk-inspired pop, not unlike her older brother, roots pop songwriter Matthew Barber. She continued to develop this mix over the course of her next two releases, 2004's Oh Heart EP and 2006's For All Time. A couple of years later, she relocated back to Toronto, where she and producer Les Cooper began developing a new approach that relied heavily on the lush, orchestrated style of old jazz standards and torch songs.

Featuring the Miles Davis Sextet and the Thelonious Monk Quartet recorded in 1958 and 1963, respectively, this classic album features two of jazz music's most famous groups at the peak of their powers. This 1958 recording from Miles Davis is, in fact, one of the finest live documents of the classic Kind Of Blue era group featuring Coltrane and Adderley, along with the great Bill Evans on piano. Monk's group as usual featured tenor-man Charlie Rouse, with help from Pee Wee Russell on clarinet, and they really stretch out on two 10+ minute tracks. Another great American jazz classic from Cornbread on 180 gram LP.

33 Minutes Of Pure, Unadulterated, Psychedelic Krautrock Courtesy Of Pyramid: An Obscure Studio Project Produced By Toby Robinson Aka The Mad Twiddler. These Sessions Were Recorded Circa 1975-76 In Cologne For The Underground Pyramid Label, Which Was Operated By Toby And His Friend Robin Page (the Fluxus Artist). During That Time, Toby Worked As Engineer And Assistant At Various Studios In Cologne, Including The Famous Dieter Dierks Studios, Where Most Of The Albums From The Ohr/pilz/cosmic Courier Catalogue Were Registered. Having Access To The Studios During Dead Hours, Toby Recorded Lot Of Sessions Just For Fun Without Any Commercial Interest, Featuring Friends And Musicians Who Frequented The Studios And The Underground Art/music Scene Of Cologne. Some Of These Sessions Were Later Relesed As Hand-made Vinyl Micro Pressings On His Pyramid Label With Help From Artist Robin Page.

*master Tape Sound

*digital Download Card

*insert With Liner Notes By Alan Freeman (the Crack In The Cosmic Egg, Ultima Thule)

...from Trippy Phases With Echo Guitars And Mellotron Onto Headfirst Plunges Into Space-rock Overdrive Territory. In All, An Excellent Album Of Spacey Krautrock' - Alan Freeman

Riyl: Pink Floyd, Cosmic Jokers, Agitation Free, Ash Ra Tempel, Gila, Porcupine Tree, Amon Düül Ii...

The Nineteenth Whole'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 (500 copies) deluxe vinyl edition.

Presented here are five lengthy soul-jazz pieces (including material from 'Sly Stone', 'War' & 'The Jackson 5') with funky grooves and some of the best sparkling organ & guitar licks you'll ever hear. This album sets the stage for a constant shift in grooves, a collage of earthy Funk, Soul, Rock and Jazz Fusion straight outta 1972... an emotional ride packed with the main ingredients for a 'get down'.

The Nineteenth Whole were an Indianapolis-based funky jazz outfit who were part of a very vibrant scene. Jazz guitar legend 'Grant Green' had originally hailed from there and he recruited the members of the 19th Whole as his rhythm section for live dates. (Green also discovered the other great Indianapolis jazz outfit Funk Inc. at about this time.) The attention that followed their work with Green allowed the Nineteenth Whole to sign with producer Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic) on Eastbound, a label he had set up with Detroit independent Westbound Records.

Fronted by Billy Wooten's distinctive vibes, joined by guitar legend Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin's 'Respect') and percussionist Buddy Caldwell (THE session musician for respected labels such as Prestige & Muse) makes Smilin' an organ funk groove classic at its best!

Recorded in 1972 by the legendary Rudy Van Gelder (known for recording Miles Davis in the early 1950's and the countless work he did for Blue Note, Prestige, Verve .. and many others) at the Indianapolis club that gave the band their Eastbound name: 'The Nineteenth Whole'. Production on the album was handled by Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic).

Whether Re-defining Experimental Fusion Sounds With The Hugley Acclaimed Yussef Kamaal, Or His Catalogue Of 12's For Imprints Such As Mcde, Eglo, And Rhythm Section As Henry Wu, South London's Kamaal Williams Has Been A Key Figure In His Thriving International Scene For The Past Few Years. The Return Is A Natural Evolution From The Yussef Kamaal Project, Mining The Influence Of Visionary Jazz But Blended With All Kinds Of Texture, Sounds And Signals From The Over-saturated London Streets.
At Times The Keyboard Work Evokes The Classic 70s Fusion Work Of Lonnie Liston Smith Or Roy Ayers, But Underpinned By Rhythms More Reminiscent Of Blunted Hip-hop And Arrangements Subliminally Laced With The Cut-ups Of Pirate Radio. Progressive, Funky, Cosmic, Exploratory And Effortlessly Musical, This Is The Sound Of A Musician Honing Their Craft Into Thrilling New Shapes.
In The Us The Like Of Kamasi Washington And Thundercat Have Made Great Strides In Opening A Whole New Dialogue Between Jazz And Hip-hop, Drawing In A Young, Highly Engaged New Audience In The Process. Kamaal Williams Mine A Similar Seam On The Other Side Of The Atlantic Alongside Other Exciting London Talents Such As Ezra Collective, Ruby Rushton And Shabaka Hutchings.
The Return Is Exactly That: A Return And Refinement To The Sound Yussef Kamaal Were Progenitors Of, And First Set The Scene For One Of The Most Exciting Musical Movements London Has Had In Years.
Notable Tracks For Old And New Listeners Are 'slow', 'situations', 'medina', 'london Shuffle' Which Features Mansur Brown (of Mansur's Message) And For Those Die Hard Yussef Kamaal Fans - They Should Hear The Interpolated Roots Of 'strings Of Light' In The Title Track 'the Return'. And That Signature Wu Funk Can Be Heard On Broken Theme, And High Roller.
The Return Will Be The Debut Album Released On Wu's New Label Black Focus Records.

Following the reissue of his cult album "Ti jan pou vélo", HS decided to continue their collaboration with Edmony Krater and record a new album! The first one in 30 years! Comes with Insert.

As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the gwoka music of Guadeloupe and to feed it with different influences, from jazz to reggae.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Guido Spannocchi, Vienna Born London Based Jazz Saxophonist. Folk Lullabies And Soothing Melodies In Unique Harmonic Structures With A Fresh Rhytmical Approach Together With This International Ensemble Consisting Of Japanese Bassplayer Mao Yamada As Well As The Brazilian Drummer Cyro Zuzi And Brazilian Bassplayer Matheus Nova. This Album Was Recorded At Total Refreshment Studios By Kristian Craig Robinson, Studio And Engineer Of Acts Such As Comet Is Coming, Sons Of Kemet And Many More On The Forefront Of The New London Jazz Scene.

Guido Spannocchi Played Over 150 Shows In 2017, More Than 60 In 2018 Already. Toured Extensively In Continental Europe With His First Release In 2017 And Brazil In Early 2018, New Release Will Be Toured In Europe (germany, Austria, Italy, And France) As Well As Uk From Mid May 2018.

Cover Art By Critically Acclaimed Photographer Holly Birtles

Played On Austrian National Radio Oe1, Worldwide Fm, Jazz In London Radio, Delite Radio, 199radio

Good Reviews In: The Wire, Loose Lips Blog, Public Pressure, Concerto, Die Presse, Der Falter