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We can think of fewer things more Spanish than the works of Alfonso Carlos Santisteban.

He was an anarchic genius, he was scorned on, or worst, ignored. Talent and necessity as well as geniality and the most prosaic worldliness collided in his persona.

If we can blame Santisteban for anything it would be for the way he lived and breathed music. A tireless Spanish music workaholic, he made no differences between copla, rumba, pop or soul and didn't mind if it was for Bambino, La Polaca, Mara Lasso, Calibre 38, Ellas or Mila. A sincere devotee of jazz and immediately seduced by bossa and by cinematographic music, his full works, full of inevitable flaunts as well as moments of geniality, can be critiqued for negligence and an unfinished sense of accomplishment but at the same time his panoramic view and daring musical vision, sometimes just as reckless as accurate, was evident and has made his work endurable several decades later.

Spanish Moog, an album Adarce Records has the pleasure to present, is one of those strange and almost invisible musical milestones that our man portrayed in Italy.

Just as he wrote in his autobiography, in 1973 and thanks to the help of José Antonio de La Loma, he met two of the capos of the most important film music publishing empire in Italy, Giuseppe Campi and Giuseppe Giachi. They were about to open a C.A.M. (Creazione Artistiche Musicale) delegation in Madrid so they could start building their business in the most exciting times for Spanish film industry. The company started by signing two Spanish composers: our man, and Waldo de Los Ríos.

Deception and frustration would come soon. Apart from a large number of small (or more like embarrassing) film scores, Santisteban published five library albums - catalogues of fragments and music pieces offered on a menu and sold afterwards to both co-producers as well as film producers - up until 1975 for C.A.M.: Ambiente e Folklore, Rinascimenti, Night Club, Situazione per Orchestra and this one, Spanish Moog.

Five of the songs included (Jugando al toro, Nuestro Ayer, Gitanos, Torremolinos Soul and Todo ha sido un sueño) were originally recorded by Santisteban and Rafael Ferro for the album Flamenco Pop (Sintonía, 1969), and three more (Zorongo, Nuestro ayer and Tierra mojada) were originally meant for Sabor a fresa' (Belter, 1971) by La Nueva Banda de Santisteban.

Beyond the supposed editorial filibusterism what is left is a wonderful festival of grooves and beats, an omnipresent Moog, Wah Wah and 'cañi' soul blend in Torremolinos soul'.
Dreamy melancholy, fuzz and southern tocuh in Tierra mojada', impeccable arabesque beats in the steadfast Zorongo', funk and folklore sown tight in Noche en Marbella' and pure space Blaxploitation in Tute de Reyes'...

As like other pioneers and talented adventurers in our country, Alfonso Carlos Santisteban would collide inevitably with a time already lost in the annals of history. We cannot think of a better way to resume his works and his person than the sentence he used to open his autobiography:

...I speak with the authority given to me by failure...'

A new colossal star rises in the twilight of funky soul jazz as Ernie Hawks releases his debut album "Scorpio Man" on Timmion Records. The impressive trombonist/flutist, is known to hold no punches, when performing live in the ranks of The Soul Investigators. Here he delivers a fierce selection of S.O.U.L. and Cymande flavored instrumentals that also bring to mind some of the finest sample-fodder library music.

The album's name, "Scorpio Man" might come from the stinging and slightly intimidating style Hawks handles the trombone slide, known to pierce the hearts and souls of the ladies in the front row during his live performances. On this album, Ernie rides to battle equipped only with the flute, but this does not mean we will be exposed to some smooth jazz snooze fest. Rather Ernie handles his instrument with muscular rawness at times and moody ambiance at others, sliding with ease into any groove that the extended Soul Investigators band lays down.

"Scorpio Man" is no one trick pony, and the listener will be shifted around from the exhilarating psych funk of "Scorpio Walk" all the way to the airy moods of "Street of Tears". Take a chance with the Scorpio Man, his sting will give you a funky high much better than what they sell in the streets.

'Fifteen' celebrates the work of Ben Lamdin, the musical maverick behind the Nostalgia 77 guise, with an eclectic compilation of tracks spanning fifteen years of jazz, hip hop, blues, funk, downtempo, soul and psychedelia.
Handpicked by Nostalgia 77 and Tru Thoughts, this retrospective showcases the best recordings and remixes from the respected producer, composer, songwriter and guitarist, spanning a range of projects. Featured on this fantastic anniversary release, are classics like Prince Fatty's "Medicine Chest Dub" and the second to none take of "Seven Nation Army" featuring the phenomenal vocals from the ever-soulful Alice Russell. Also included on the retrospective, the beautiful tripped out hip hop take on "Sleepwalker" from fellow Brightonian producer Ambassadeurs, and a track from Lamdin's country soul project with acclaimed songwriter Jeb Loy Nichols.

- 180 GRAM AUDIOPHILE VINYL
- FEATURING SUN GODDESS', JUNGLE STRUT', LIVING FOR THE CITY' AND MORE

Ramsey Lewis is an American jazz pianist, keyboardist and composer born 1935, Chicago. He has recorded over 80 albums and played with artists like Max Roach, jazz-singer Nancy Wilson and performs with his own trio.

The album Sun Goddess was a soul jazz-funk album, recorded in 1974 and was produced by Maurice White, Teo Macero (who had produced albums by Miles Davis) and Ramsey Lewis himself. The opening track Sun Goddess' was composed, by Earth, Wind & Fire member Maurice White and featured Philip Bailey on vocals. Living For The City' was composed by Stevie Wonder, arranged by Ramsey Lewis and Jungle Strut' is a jazz track melting funk and R&B.

Sun Goddess was Ramsey Lewis' biggest success of the decade reaching #1 on the Billboard Black Albums chart, #12 in the Pop chart and has been certified gold, it also featured most of the key players of Earth, Wind & Fire.

For over 20 years, your irrepressible host Rex and his legendary Fool's Paradise radio show on WFMU has held a grudge against the whole square world. Broadcasting from an undisclosed location in rural New Jersey in a fur-lined fall-out shelter located miles below the earth's crust, this weekly "excursion to nowhere" continues to proudly play nothing but greasy grooves from inane 45s, non-hit misfires, curveballs and oddballs from the Rock & Roll era. Yes sirree, those weird and warped ones about monsters, beatniks, chickens, apes, stewed moonbeams and mosquito knees...

And now, in the tradition of free love and nickel beer, Jazzman Records has teamed up with Rex to bring together a fabulous collection of his top spins! These are the songs that, by virtue of Rex's dogged persistence, have now achieved a kind of classic status that was surely never previously thought imaginable - The Fool's Paradise Favourites.

Gatefold LP includes 18 tracks with extra special chicken-themed twin spin bonus 45 single!

- First-ever 180-gram vinyl reissue

- Lacquers cut by Kevin Gray, Cohearent Audio

- Old-school style tip-on jacket

- Includes Jazz Dispensary "Authorized Dealer" window cling

A true is a masterpiece of genre-bending groove, Vibes of Truth covers all the bases: from silky-smooth R&B, to politically conscious jazz-funk grooves, Vibes of Truth has it all. Long sought-after by collectors for the three club friendly tunes within its grooves, Backed Up Against The Wall,' Concrete Jungle,' and I Need You Girl,' this lost classic from the Fantasy catalog represents the very best of the mid-70's jazz-funk crossover sound and fits perfectly in a collection next to the likes of the Blackbyrds' City Life or RAMP's Come Into Knowledge.

Capra Black remains one of the seminal recordings of jazz's black consciousness movement. A profoundly spiritual effort that channels both the intellectual complexity of the avant-garde as well as the emotional potency of gospel, its focus and assurance belie Billy Harper's inexperience as a leader. Backed by an all-star supporting unit including trombonist Julian Priester and drummer Billy Cobham, Harper's tenor summons the brute force and mystical resolve of John Coltrane but transcends its influences to communicate thoughts and feelings both idiosyncratic and universal. This is music of remarkable corporeal substance that somehow expresses the pure language of the soul.

- 180-gram vinyl pressed at Quality Record Pressings (QRP)

- Vinyl housed in a one-pocket old-school style tip-on gatefold jacket

- Includes Jazz Dispensary "Authorized Dealer" window cling

Harlem Bush Music - Uhuru remains extremely relevant. Though the album came at a time when Black Consciousness and Black Pride were coming to the forefront of American culture, current times are such that its message of struggle, love and hope transcends racial categories. That is both a great testament to the power of this music, as well as to the dawning fact in this country that we're all in this together," said All About Jazz. Joined by the inimitable Andy Bey on vocals, Juini Booth and Ron Carter on bass, Harold White on drums, and Nat Bettis on percussion, Bartz turns in a set of politically relevant, hard-grooving, funky, searching and essential soul-jazz. The centerpiece of the album is the righteously grooving, original seven-minute version of Celestial Blues' featuring the incredible vocals of John Coltrane's favorite vocalist, Andy Bey.

The Believer collects recordings from 1958 from tenor master John Coltrane. Featuring longtime collaborators Red Garland and Paul Chambers, as well as two of the finest trumpet players to ever grace a jazz record, Donald Byrd and Freddie Hubbard, the album begins with longtime Coltrane collaborator McCoy Tyner's title composition. Though it's a piecemeal album, Coltrane is in top form and his soloing on tenor at the time was unparalleled. Another great one from 'Trane.

KUF create emotion-laden dialogues across layers of time and dimensions of sound. Voices recorded in private are chopped up and brought out center-stage to sing with beats hammered out right here and now. Glowing synths push forward. Basslines rise to grab the melodic role of a track while a vowel is truncated and locked into a grid, driving the rhythm. Voices move within the frame of a sample, performed by hands pushing keys, guided by the ear, immersed in a trio session's deep flow... A vortex of quirky hands, responsive ears and glowing circuits. Since Thomas A. Edison first recorded the human voice in 1877, the recording arts have changed music forever. Musicians have explored the endless possibilities of bouncing their input onto layers of tape, off the walls of an echo chamber or the circuitry of electronic helpers - technology that modulates, spatializes, shifts, divides or multiplies the work of human hands and mouths. An era of sampling offered a cubistic analysis of the recorded past and DJs took dancers onto intricately fractured time travels. This is the historic foundation that KUF keep probing. Just like the sampler and the DJ before them, they found new ways to re-allocate where machine and man stand when making music together. Most importantly, they turn the resulting friction into sparkling bursts of energy. 'Universe' digs deeper into the android vocal chords. The album offers sweeping melodies, different beats and persistent bass. Immerse in the intimacy of the voices, probably recorded in trains, backstage areas and at late night private parties during Berlin Lichtenberg warehouse rehearsals. By striking the keys, KUF squeeze out and serve up all

Few Traces surveys a near decade of Mark Renner's scarcely released and unreleased material from 1982 to 1990, embracing and evoking the timelessness of his artistic statement: a wordless translation of the individual's musical experience, met with the poetic expression of being here.

Mark Renner first encountered punk while a teenager in Upperco, a country town in rural Maryland. Growing up on his family farm, he became a young acolyte of the British exports hitting not-so-distant Baltimore record store shelves in 1979 / 1980 and was baited by an area musician-wanted ad declaring Ultravox a primary touchstone.

This nascent band and a pair of other group experiments flamed out under the typical totem of despotism. In their ashes Renner began recording independently around 1983 with a portable four-track, electric guitar, and classic Casio CZ101 synthesizer. Aside from John Foxx-era Ultravox, Renner's process was inspired by the period's electronic pioneers venturing into deeper, romantic pop pastures: Yellow Magic Orchestra, Bill Nelson, The Associates.

With his tools and teachers in place, the blueprints for Renner's sound were laid out - metronomic, skeletal rhythms built on sturdy yet singular drum machines supporting luminescent guitar and synth lines, Renner's reverent voice guiding the fables and construction.

Most directly influential, Renner's enthusiasm for Days in Europa, the third album by Scottish new wave band Skids, would lead to a correspondence and long-distance tutorship with Stuart Adamson. Before Adamson would achieve worldwide success co-founding the group Big Country, a chance friendship with Renner would impart great confidence in the young musician from Maryland, who, after a visit in Edinburgh, would then travel to London to demo an early version of Half A Heart' featured in its final form on Few Traces.

The sum of Renner's music is one-part literary, one-part painterly. The artist cites the individualism of Herman Hesse as a guiding force, and there are overt references to W. B. Yeats and John Greanleaf Whittier among other authors. Lyrical themes evoke the presence of the ancient past, much like early Felt songs or the spiritual visions of Van Morrison. (Tellingly, Renner cites Morrison's 1980s albums made between Inarticulate Speech of the Heart and No Guru, No Method, No Teacher as musical influences.)

Apart from his writing, Renner explored music as a complement to visual language: many of the dream-like instrumental passages presented across Few Traces were originally implemented as sound elements for exhibitions of his paintings. Renner pursued wordless music as a pure aesthetic in its own right, pristinely balanced segues and open-ended compositions that lead to pasture but not without shepherd.

Compiled three decades after the music was originally put to tape, Few Traces collects Mark Renner's early music but strives not to simplify or reframe it. (Mark is still active making music and painting) The instrumental explorations remain on par with the great ambient adventurers of the period (Brian Eno, Harold Budd, Roedelius), while the vocal and guitar-centric songs crystalize across similar terrains being transversed by Cocteau Twins and The Chills.

Few Traces highlights in intuitive sequence gems from Renner's scarce discography and archive: the self-released debut All Walks of This Life (1986), the aptly titled follow-up Painter's Joy (1988), plus early singles, compilation tracks, and exemplary songs that saw no original release. The collection allows an intimate look at an artist growing into their sound and surroundings, finding the in between echoes and spirituality of the individual.

Late 1962 and early 1963 were a period of transition for Miles Davis. He had health issues and his original quintet from the 1950s was on its last legs. He played with a variety of hired hands while working on assembling a new quintet. Seven Steps To Heaven collected various recordings from LA and New York, and the New York recordings are particularly interesting because they feature the 17 year old Tony Williams, as well as Ron Carter, and Herbie Hancock, 3 of the brilliant players that would make up Davis' working Quintet for the next several years. While comprised of various players and sessions, Seven Steps To Heaven is still a beautiful album from the legendary trumpet player well worthy of inclusion among his finest works.

In 1963, Miles Davis was at a transitional point in his career, without a regular group and wondering what his future musical direction would be. At the time he recorded the music heard on this disc, he was in the process of forming a new band, as can be seen from the personnel: tenor saxophonist George Coleman, Victor Feldman (who turned down the job) and Herbie Hancock on pianos, bassist Ron Carter, and Frank Butler and Tony Williams on drums. Recorded at two separate sessions, this set is highlighted by the classic "Seven Steps To Heaven," "Joshua" and slow passionate versions of "Basin Street Blues" and "Baby Won't You Please Come Home."

A fantastic-sounding album. Mastered by Ryan K. Smith at Sterling Sound, and pressed on 180-gram vinyl by the best in the business, Quality Record Pressings. An old-style tip-on jacket by Stoughton Printing makes this one a jewel for your LP collection.

Like Gerardo Iacoucci (already celebrated twice by Intervallo with Simbolismo Psichedelico and the new Industria N.1), Narassa - real name Sandro Brugnolini - is back in our catalogue with another gem: his second release on the legendary Rome-based label Rotary, which came out after the amazing Tensione dinamica. Guerra e angoscia was born as the fifth installment of seven and, like the previous album (which was recorded with the collaboration of label boss Amedeo Tommasi, the mind behind every release on Rotary), moves away from the experimental and mechanical drift of the first chapter, to dive headfirst in a dark and heavy mood - as the title suggests ( War And Distress'). Guerra e angoscia is truly faithful to the topic of its title - with tracks like Rommel, Minaccia di guerra, Campo di sterminio, Commandos, Battaglia tragica, Beat bellico, Eruzione, and Linea calda there's little room for misunderstanding - and it does a brilliant job offering library music to evoke tragedies, dark times and the madness of human kind. This is done with wonderful beats, sharp and powerful percussions, grievous rhythms and dramatic string sections. No more dynamism, to quote Narassa's other release on Rotary: here the tension is just the effect of explosions and wrecked nerves.

Having released music under various aliases over the last decade most famously as Renegades Of Jazz, as well as recent incarnation Dem Juju Poets and his Latin outfit Mankoora celebrated producer and DJ, David Hanke, has gone back to his blissful electronic roots with his latest project, Keno. Hanke's love for the early 21st Century downtempo music, as is apparent when you listen to this, his debut under the Keno moniker, entitled Around The Corne. It's far from simply early 'noughties' nostalgi a though, as his keen contemporary ear adds a modern touch tothe proceedings.

Nina Simone's legendary early recordings Including My Baby Just Cares For Me,' Porgy (I Loves You Porgy),' Love Me Or Leave Me,' & Mood Indigo'

- Features 7 Unique single only versions & an alternate take of He's Got The Whole World In His Hands'

- LP configuration includes bonus 7" replica of Nina's first single Porgy (I Loves You Porgy)' b/w Love Me or Leave Me'

- Liner notes by Ashley Kahn contain new interview with bassist Al Tootie' Heath

- 2018 is the 60th Anniversary of these recording sessions

- 2018 Nominee for the Rock & Roll Hall Of Fame

Moment In Time - This song is being released to mark the end of an era.

A catchy song inspired by Usain Bolt and his Jamaican team mates when they secured a record beating 1st 2nd and 3rd places in the 200 metres of the Olympics...The phrase 123 ARGUMENT DUN was coined immediately.
Written and produced in the heat of that incredibe moment by the Jamaican sax man Ray Carless & bass man Colin 'steamfish' McNeish, this anthem is performed here by UK rapper Watusi87 and soulful vocalist Emzee Haywoode.
This is our musical tribute in recognition of our legendary and Iconic Jamaican sprinter who has been showing a clean pair of heels to all-comers for quite some time now.
Lets face it, sain's been breaking records faster than us musicians can make or compose them, and we just wanted to sing his praises and express our love to the champ through song... #TheGreatest

Stunning new project from Niko Tsonev (Steven Wilson, Lifesigns) strictly limited to just 300 copies on 180g vinyl.

Earlier in 2017 Everland Jazz presented a reissue of Danser's Inferno's - Creation One, originally released in 1973. Now we present the even more obscure release The Danser Revolution by The John Danser Octet, almost impossible to find in original format. The ultra rare funky jazz LP from 1977 contains the killer funky fusion tune "Cool" known for being sampled by Gangstarr, Blackalicious and J.Dilla. At age 14, John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. In the 1970's, composer and multi-instrumentalist John Danser formed Danser's Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. The John Danser Octet most probably contains the core of that same ensemble but the groups's single album is so rare that little is known about it's exact origins. So, just let the great music speak for itself. Licensed from Jessica Danser

British pianist Ashley Henry makes his major label debut with the release of the Easter EP on Silvertone / Sony Music.

Drawing influences from jazz, hip-hop and R&B, the 6-track selection is an imaginative project that boldly explores new musical territory, marking Henry out as an important new artist on the Jazz scene

Born and raised in South London, Henry graduated from the Royal Academy of Music in 2016 and has gone on to perform and collaborate with the likes of Jason Marsalis, Terence Blanchard and Jean Toussaint. Within the Easter EP, audio and visual style touchpoints include the likes of Abdullah Ibrahim, Ahmad Jamal, Sinead Harnett, Digital Underground, ZuZu and even Margot Fonteyn, Era Istrefi, Freddie Mercury and Dreezy.

Henry is beautifully influenced by his Jamaican heritage and in particular the wave of Caribbean jazz musicians from the 1950s, including the likes of Joe Harriott, Harold McNair, Dizzy Reece, Harry Beckett and Wilton Gaynair, who arrived in Britain during the jazz boom of the late post war period. Despite this eclectic range of international influences, Henry's sound remains distinctively British, crazily present and in the true tradition of jazz is bold.

The Easter EP sees Henry tackle a broad range of material in his original tracks and re arrangements of tracks by revered US rapper Nas and indie punk trio The Enemy.

A high-speed car chase between a Dodge Charger and a Ford Mustang, with super-cop Bullitt at the wheel, who forces the hitman off the road and into a petrol station, which explodes and incinerates him. Prior to that, harsh clashes of metal, hubcaps flying all over the place, and the chief character Steve McQueen, who grimly changes gears and hurtles through the streets of San Francisco, wheels screaming and rubber burning. That was how Hollywood staged one of the longest and most dramatic car chases, long before the days of the Anti-Blocking-System and Anti-Slide-Control.

Very up-to-date and just as exciting as the screenplay is the music Lalo Schifrin wrote for the film, which embeds the characters, places and events in a musical context. For example, "Bullitt": the metrically angular main theme portrays a mysterious, cool character who sums up a situation with keen alertness and then makes his attack with the speed of lightning.

Initially the music travels through easy-going Latin terrain. But gradually the rhythmic texture changes and takes a rougher path, with clicks, knocks and hammering. Legendary flute lines create a compensatory placidness with airy clouds floating above the sharp mix. A really special track is "Shifting Gears": here you can listen to Schifrin tuning the car, how he manipulates a jammed springy bossa to take on the sound of clean, smooth-running rock.

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.

Previously unknown hard bop and cool jazz from Berlin Image Films of the 1960s, transferred and carefully restored from the original master tapes. All music by composer, vibraphonist and pianist Manfred Burzlaff (1932-2015), a true master of harmonies, inventing improvisational concepts and experiments somewhat comparable to the famous style of the Clarke-Boland Sextet. Lost soundtracks from promotional films for the city of West-Berlin, all original material plus versions of Mobley 's "Infra-Rae" and Tjader's "Crow's Nest". Burzlaff was one of the best European vibraphonists and a great arranger, which is not just a sentence being said because he doesn't live anymore ! Vinyl-LP exclusive & digital, with unseen photos and nicely written obituary by Tatjana Wulfert.

Incredible today: Standing on a stage with Chet Baker in the late 50s when he still had his James Dean face. Jamming with Art Farmer, Dexter Gordon, Jim Hall and Lionel Hampton, who takes Manfred Burzlaff's mallets in his hands and plays on Manfred Burzlaff's vibraphone. Bebop, Hard bop. Rich harmonic schemes, improvisation, furious playing, nervous, metropolitan. Faster and rhythmically freer than the swing music he has played before, although Glenn Miller became a sensation for the German jazz lovers, especially for Manfred Burzlaff. Now, in May 1945, one no longer has to endure march music, no staccato goose-step, no songs of perseverance, no Wagnerian pomp. One can turn on the radio, tune in to one of the American channels and then listen to this new music called Jazz ... just like that. Jazz, which was hated by the Nazis, for whom twelve-year old Manfred Burzlaff had to perform in front of military audiences, with his excellent accordion and piano skills.

After listening to Glenn Miller, Art van Dam's music on a vibraphone is another key moment. And then, a little later, Lionel Hampton "topped all previous experiences," as Burzlaff points out. Being 20 years old, he studies music at the conservatory and switches to the vibraphone, a percussion instrument similar to the marimba, except that the plates are not made of wood, but of a hard metal alloy. Now he starts to perform. "At that time smaller combos grew like mushrooms out of the ground. That's when the TABU venues came into being, a club chain where jazz was played, from nine in the evening to five in the morning. Playing there felt like slave labor. One evening maybe half an hour off. It was far from secure, and money was extremely short."

The Germans are keen to perform with the Americans. After concerts of American bands, the musicians usually gather together at the "Badewanne" ("bathtub"), a legendary club at Nürnberger Straße, where there was a tub filled with champagne, not water. Even Louis Armstrong is said to have climbed in. One evening there is a guy in the audience, Jacques Loussier, a Frenchman with a notion of jazzing up Bach. He is responsible for booking Manfred Burzlaff's band into a Parisian club without many words. Suddenly Paris. They are all really there: Chet Baker, Stan Getz, and Manfred Burzlaff is allowed to stay there for a full year. He is discovering the music of Milt Jackson, one of the greatest vibraphone players of all time. He copies him, at first, getting better and better. Usually he uses two mallets. But one day he has to work with an incompetent piano player and takes four mallets to replace him. That's the turning point: "I did not imitate Milt Jackson any longer."

When he stands there, in a suit, with cufflinks and handkerchief, bent over his instrument, striking the plates, using the pedals, with sensational speed, highly dynamic, a master of harmonies, the layering of sounds. Even at eighty, suffering now from serious illness, from cancer, but still with that feverish energy. In the middle of the night, he might call a musician from his band and say, "Listen, I've got something here," finally playing over the phone. He is one of the best vibraphonists in Europe, which is not just a sentence being said because he doesn't live anymore.

But it's not just about intoxication, feeling, spontaneity. Improvisation is not an unrestrained digression. Manfred Burzlaff is more of an intellectual guy, inventing improvisational concepts and experiments. He meets the film producer Hansjürgen Pohland. "I need a soundtrack," he says, and Manfred Burzlaff replies, "I've never written one." - "Then you'll write one now." Then he composes his first soundtrack for the short film "Schatten", which is awarded with the "Berliner Kunstpreis" ("Berlin Art Award") , Now he gets more jobs like that, for more than 40 films. Among them are not only cultural highlights but also movies for sexual education or commercials. One, however, produced for the fashion house "Max Knaak", makes it to the advertising film festival in Cannes. At least he is earning a little with these soundtracks, on top of his small concert fees .

He often performs at "Old Eden Saloon", a jazz club owned by Rolf Eden, founded long before Eden's glamorous discoteque at Kurfürstendamm. He jams every night with Albert Mangelsdorff, with Pony Pointdexter and with Art Farmer as a permanent guest. One time someone drops LSD into his drink, another time he carries Chet Baker on his back down from the stage, or a guy from the audience comes up, sticks a hundred-Mark bill to his forehead and asks him to play a very special tune. Eventually, the "Old Eden" closes and everyone moves on. Manfred Burzlaff begins to teach at the HdK art school (Hochschule der Künste) and the music school Berlin-Neukölln, builds up a mallet group, writes articles for specialist magazines, works as a lecturer in Stockholm, founds the ensemble "Mallets Ahead", composes and plays and plays and plays.

Tatjana Wulfert

Paul Who Even to those deep within the jazz cognoscenti the name Paul Jeffreys is unlikely to ring any significant bells. Beside being a featured sideman with two of the music's most demanding bandleaders - THELONIOUS MONK and CHARLES MINGUS and holding down several notable academic posts ,the last of which North Carolina's Duke University helped two generations of aspiring jazz performers gain valuable practical insights into the art form - - including Grammy winning trumpeter Terence Blanchard. Paul Jeffrey spent the majority of his lengthy career with a label that can be as much a curse as an endorsement - that of MUSICIANS' MUSICIAN.'
Paul worked with a wide range of artists, Maynard Ferguson,Howard Mcghee, Big Maybelle, BB King , Count Basie and Dizzy Gillespie.The album's title The Electrifying Sounds of The Paul Jeffrey Quintet' gives it away in that it wasn't just an attempt to create genuine excitement but the fact that for much of the record Jeffrey's tenor is coonected to a Gibson Maestro Octave Box which enabled him to add either a higher or lower parallel music line to whatever he played.
This album was a most definite ground-breaker.

REPRESS ALERT! Spearheaded by Stuart Leath, Emotional Rescue is a label committed to unearthing forgotten gems and giving them the exposure they richly deserve, with all releases officially licensed by the artist and remastered in full. This 12" sees two classic tracks by the world music collective Suns of Arqa take pride of place. Incorporating elements of raga and dub, "Brujo Magic" is a much more straightforward dancefloor number than its description would suggest, with its rolling bassline and vocoder effects fusing irresistibly with its psyche-rock styles. On the B-Side, "Ananta Snake Dance" combines traditional Indian percussion and harmonium with conventional drumming to create something completely unique. A strong start to what will no doubt be an indispensable label.

180g double vinyl with digital download insert.
The definitive jazz ballads album by the greatest saxophonist in history.
Following the 50th anniversary of his death in 2017 and the release of a new documentary, Coltrane's profile couldn't be higher at this time.

The legendary Finnish pianist/composer Olli Ahvenlahti returns with his first new jazz album in 31 years! The new album "Thinking, Whistling" will be released 8 Dec by Helsinki's We Jazz Records.

The new record finds Ahvenlahti teaming up with the Jaska Lukkarinen Trio, one of the most highly-regarded ensembles in Finnish jazz. From funk-influenced acoustic jazz to heartfelt ballads, the band are delightfully in a world of their own, drawing from Ahvenlahti's effortless pianism and the trios natural swing.

As Ahvenlahti sums it up: "For me, jazz music has always been about three things: melody, harmony and rhythm."

Olli Ahvenlahti is one of the living legends in the Finnish jazz scene. His debut album was released in 1975 by the famed Love Records. DJs are likely to know him from such highly-regarded rare groove classics as "Grandma's Rockin' Chair" and "Countenance". The new album "Thinking, Whistling" presents Ahvenlahti's knack for writing catchy jazz music with a solid groove base, plus his more introspective side through the heartfelt ballads found on the new record.

- First-ever high-quality vinyl reissue

- 180-gram vinyl pressed at QRP, the trusted source for audiophile-quality records

- Lacquers cut by Kevin Gray at Cohearent Audio

- Vinyl housed in an old-school style heavyweight jacket

- Includes Jazz Dispensary Authorized Dealer' window cling

Flanked by a who's-who of exceptional talent, which includes Bernard Purdie on drums, Jimmy Lewis on electric bass, Grant Green on guitar, and Houston Person on tenor saxophone, Charles Kynard turns in a soulful and sublimely understated set of purely grooving soul-jazz fare. Long out of print and never reissued in the U.S. on vinyl since its original release in 1970, Afro-Disiac just might be the musical panacea you've been looking for. Features the smoldering, deep-pocket Purdie showcase, Sweetheart.'

Altoist Ernie Henry's first of three sessions as a leader, all of which were made within 16 months of his premature death, served as a strong debut.
Joined by trumpeter Kenny Dorham, pianist Kenny Drew, bassist Wilbur Ware and drummer Art Taylor, Henry - who always had a distinctive tone - performs five bop originals, plus "Gone With the Wind" and "I Should Care." Throughout the date, Henry hints strongly at the great potential he had.

Personnel:
Ernie Henry (as), Kenny Dorham (tp), Kenny Drew (p), Wilbur Ware (b), Art Taylor (d).
Recorded at Reeves Sound Studios, New York City, on August 23 (Side A) & 30 (Side B), 1956

Altoist Frank Strozier's first session as a leader has been reissued here with the original six selections joined by two additional and previously unreleased performances. The altoist's quintet consists of Miles Davis' rhythm section of the time (pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb), along with the late, great trumpeter Booker Little. The music, mostly comprised of Strozier originals, is advanced hard bop, and the music is both enjoyable and (due to Little's presence) somewhat historic.

Personnel:
Frank Strozier (alto sax), Booker Little (trumpet), Wynton Kelly (piano), Paul Chambers (bass), Jimmy Cobb (drums).
Recorded in New York City, December 9, 1959 & February 3, 1960

With 'Five Go Adventuring Again', Lundin returns to the format with which he successfully debuted on the Scandinavian jazz scene in the early eighties: drums, bass, and horns. A special format, because without the presence of a traditional chordal instrument, it appears openly and intermittently bare in its expression, while giving Lundin the optimal opportunity to present its dense, colourful music, using all the available acoustic accoutrement, including brass with mutes, his own 3 saxophones, the Bazantar bass, bells and percussion, and much more. It is the ideal setting for Fredrik Lundin as both a composer and the powerful soloist he has always been. A few years ago, on the occasion of Fredrik's 50th birthday, the Danish newspaper Politiken's jazz writer and critic Christian Munch-Hansen wrote that Lundin is considered by many to be the most complete and talented musician of his generation' and an artist with more heart than most.'

Other than four titles from 1949, this set has tenor saxophonist Harold Land's first sessions as a leader. Teamed up on the West Coast with trumpeter Rolf Ericson, pianist Carl Perkins, bassist Leroy Vinnegar, and drummer Frank Butler. Land shows that hard bop was very much alive in Los Angeles in the late '50s. His tone is cooler and softer than it would become later on, but it was already pretty distinctive. Land performs three of his swinging originals, the original version of Perkins' "Grooveyard" (which became a minor standard), an obscurity by Elmo Hope, and the standards "Speak Low" and "You Don't Know What Love
Is." This reissue also adds "Promised Land" to the original program. Fine straight-ahead music.

Personnel:
Harold Land (tenor sax), Rolf Ericson (trumpet), Carl Perkins (piano), Leroy Vinnegar (bass), Frank Butler (drums). Arrangements by Elmo Hope & Harold Land.Recorded at Contemporary's studio in Los Angeles, on January 13 & 14, 1958

Massive club floorfiller