Pop & Rock News

Afantastic 10' from the legendary jazz saxophonist, known as The Sound', Stan Getz.

Getz came to prominence in the 1940s working with artists like Jack Teagarden, Nat King Cole, Jimmy Dorsey, Benny Goodman and Woody Herman's Big Band. However he is probably best known for popularizing bossa nova, particularly through the release of the worldwide hit single "The Girl from Ipanema" performed with Astrud Gilberto who Getz worked extensively with, alongside her husband João Gilberto and Antônio Carlos Jobim.

Split Kick was originally released as a 10' LP in 1955 and features a group of classic standards, including 'On The Alamo', 'It Might As Well Be Spring', 'Fools Rush In' and 'Out Of Nowhere' - this reissue sees the release back on 10' vinyl, in its original format, for the first time since the 50s.

This year marks the 90th anniversary of his birth.

(printed innersleeve + download) One piano, two musicians, four hands. Music at the crossroads of minimalism, chamber music, contemporary jazz and impro.

One piano, two musicians, four hands. Music at the crossroads of minimalism, chamber music, contemporary jazz and impro.
In their new duo, the jazz pianist Christian Mendoza and classically-trained pianist Heleen Van Haegenborgh explore Bach's oeuvre, starting from Kurtág's transcriptions for four hands. This inspired them to make their own music, a mixture of compositions and improvisation. The result is a meeting of two worlds, a unique symbiosis of age-old music and the constant urge for renewal felt by two present-day improvisers.
Copper, their debut album, will be released March 3rd on the W.E.R.F. label, a mark of quality in Belgian jazz since 1993.

All original organic groove trip hop coming out of Cincinnati Ohio. Analog recorded, hard hitting vintage funk drums, thick grooving bass lines, meticulous guitar riffs, soulful electric piano's & Hammond organs create an original soundscape of emotion & groove. This music (we feel) is in a class of it's own. We are not trying to duplicate a sound of yesteryear but explore a distinct natural sound of our own. In 2016 Grimez brought some of Cincinnati's best musicians in the studio to record raw analog recordings using vintage gear. Guitarist Brad Myers currently has a phenomenal jazz cd out Prime Numbers.' Organ/Keyboard prodigy, J-SKillZ, is a frequent session musician for Hi-Tek. Tim Hensley is the drummer for The Cliftones, a reggae band that is touring and receiving well deserved national notoriety. The remaining musicians all have degrees in Jazz and perform in many shows throughout Cincinnati.

Berlin's Andromeda Mega Express Orchestra returns with its fourth album Vula'. Having celebrated their 10-year anniversary with a stunning series of concerts last year, the 18-piece's new full-length showcases a stronger focus on harmony and melody - and yet AMEO sound no less explosive or unpredictable than before.

It arrives gently, with shimmering lights, soft winds, sashaying melodies, and of course, the isotherms and isotheres function just as they should: All of a sudden, lighting strikes amid the concord of instruments, unforeseen energies erupt and upset the rhythmic scenery with elemental force. Making a combined effort to create sheltering patches of harmony within the unfolding drama, leader Daniel Glatzel and his 18-piece working band' set out to harness album #4: Vula' is out 09/07/ 2017 via Alien Transistor/Morr Music.

Another musical tour de force that connects too many dots, decades, traditions and genres to mention, Vula' is quite a different beast compared to its live predecessor or the orchestra's last studio effort Bum Bum' (2012): There's bigger, bolder strokes, and the compositions are linked by recurring motifs and harmonies, which is why the new LP sounds like one entity: It is ONE hour-long adventure that needs to be listened to in full. Listeners who just dip in and out won't be able to grasp it, I'm afraid,' says Glatzel. It takes concentrated listening from beginning to end with good sound to feel it out. It might sound somewhat anachronistic, but it actually reflects the working process, because there were so many hindrances and obstacles we had to overcome during the five years in which we worked on 'Vula'. And yet, despite all the hullaballoo I felt inspired to see it through: the music seems to tell us 'if you can't devote yourself to this, you're lost, but if you can, you're bound to experience this ride fully.'

A musical deluge of incredible breadth and depth, the title Vula,' taken from the Tumbuka language (spoken in the northern region of Malawi), indeed translates to tempest or thunderstorm: Compared to what we get in Germany, rainstorms in Malawi are actually a lot heavier - they really shake your senses,' says Glatzel, a frequent visitor of the area. The storms in Malawi are announced by playful winds that arrive in the sweltering heat, and the giant clouds soon erupt into downpours that can last hours. The sky is utterly black, as the loud rain keeps hitting the earth incessantly. Plus, there's the loud cracks of thunder, of course...'

Ranging from softly trickling melodies ( Lakta Makta Ha') and hazy interludes, the mood, vibe, and pace change faster than cloud formations come flying across the screens nowadays (e.g. qwetoipntv vjadfklvjieop' with its arrangement à la Helmut Lachenmann). In fact, even the flight of swallows is often misleading: head-nod bliss, motion picture soundtrack vibes, and even J.B. licks aren't mutually exclusive in these compositions, as AMEO showcase with J Schleia,' a track that nods both to Dilla/Grandmaster Flash and to Bach-era counterpoint techniques. Elsewhere, a pounding surf-rock beat metamorphoses over the course of 14 minutes ( In Light Of Turmoil'), only to see them return to patches that are surprisingly catchy and calm. The final applause turns out just as thunderous though, after the album ends with the vibrant and colorfully orchestrated Papaya Flyers IX Epsylon,' a live recording that already foreshadows the group's later collaboration with Hermeto Pascoal.

A work that's born out of turbulent times - both internally and externally,' Glatzel says that AMEO's fourth album is generally driven by an urgent search for some kind of truth, a feeling that pushes its way through countless layers.' In fact, one can actually hear that the entire process, from writing to intricate post-production, took almost five years: The album's somewhat vintage, almost dreamlike and unrealistic sound is due to the fact that a full year lies between recording and mixing', Glatzel explains. It resembles the feeling of looking back and experiencing the past all over again. There was an element of detachment, but at the same time I was able to see things in a clearer light.' And it's true: These puddles, rippled and ripped open by an onslaught of raindrops, do look even more magical in that sepia-hued light.

About Andromeda Mega Express Orchestra:

A self-organized, independent group of likeminded individuals, AMEO is unlike any other orchestra: It's a steadily working ensemble with a steady focus on experimentation. Comprised of 18 young, in-demand musicians hailing from various countries and musical backgrounds, its members have previously worked in constellations that couldn't be more diverse - including Ensemble Intercontemporain, Tony Allen's Afrobeat, Jazz-Legend Kenny Wheeler, Camerata Bern, The Notwist and post-conceptual artist Cory Arcangel. Daniel Glatzel, the orchestra's leader and saxophonist, has been the main composer over the last decade since it's inception in 2006, overseeing the groups three previous releases Live on Planet Earth' (2014), Bum Bum' (2012) and Take Off' (2009).
Besides playing concerts in internationally renown venues around the world, AMEO also hosts and curates its own genre-defying events such as their music festival Kosmostage', concert series and special projects with artists like Hermeto Pascoal from Brazil, tribal musicians from Malawi or the Latvian chamber orchestra Sinfonietta Riga'.

REPRESSED !!
Minds expanded and bodies soothed by Krakatau's deep spiritual eruptions, Growing Bin take us back to the beginning with three impressionistic jazz landscapes from the magical Merge. Inspired by childhood memories of an Iranian oasis, Jo Lienen let his fingers breeze over the keys like a warm shamal, leading him back through dusty streets and covered markets to his long forgotten Kashan..

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, but now in 2017 Courtney releases brand new music featuring another British music legend of equal repute, his Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E.

Both tracks of this single are taken from Courtneys' forthcoming album Black Notes From The Deep - the 19th of his stellar career. The exciting and fresh interpretation of Herbie Hancocks' Butterfly demonstrates straight away that this is a dream team combination. With Alec Dankworth laying down the bass, Rod Youngs' drumming underpinning the groove, the song also gives the outstanding keyboards of Robert Mitchell space to stretch out - Omars fantastic vocal performance rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Rules is a brand new, collaborative composition by Courtney & Omar - the punchy drums and bass line patterns hints simultaneously at classic jazz and funkier club-centric sounds. Courtney cooks on tenor saxophone and also the organ - whilst Omar marinades the super catchy melody with that unmistakable voice.

As an introduction to the forthcoming album Black Notes From The Deep this single points the way to what 2 British legends, both exemplary in their own right - can come up with when joining forces.

REPRESSED !!
Operating on their own and free from outside control, the Melbourne trio ''Krakatau'' had gone further than ever before, diving deep into black holes and solar flares to create their own style of sun-kissed funk and moonlit jazz.

180g blue vinyl
A significant moment in the early career of Nina Simone came when she was invited to perform not just at a Town Hall, but the New York City Town Hall, one of the most prestigious venues in America. It happened on the night of 15 September 1959, when the young singer and pianist performed a selection of ballads, standards and traditional songs that perfectly suited her own musical tastes and talents. As a rising star and proud representative of African-American culture, Nina showed audiences and critics alike, her prowess as a commanding and gifted performer.

180g green vinyl

All he was buyin' was rags'n'old iron....' When Nina Simone waltzes into a song that exudes such bitter-sweet poignancy, her extraordinary singing voice sends chills down the spine and grips the imagination in a way few others can. The Oscar Brown Jnr. composition Rags And Old Iron was a perfect vehicle for Simone, and its inclusion on this 1961 solo album demonstrated her admiration for Brown's work as a lyricist, as well as his roles as a singer and activist.
It is one of a selection of superb performances that helped establish Nina's reputation as a singer and pianist whose
appeal would extend well beyond the realms of jazz and soul. Of course, these musical genres were the cornerstones of her work but, ultimately, she transcended categorisation. Simone was a woman of substance, a powerful personality and a singularly captivating artist.

180g purple vinyl

A thunderous, pounding piano signals the start of an electrifying performance at one of the world's most famous jazz venues: The Village Gate, home to dozens of visiting guest stars, but none quite so special as the girl they called 'The Amazing Miss Nina Simone.' It was one hot New York night in 1961 when the singer and pianist arrived at the club on the corner of Bleecker Street, Greenwich Village, for a gig that would become legendary, thanks to this cherished, on the spot 'live' recording. This performance emphasises Nina's joie de vivre and sense of humour - traits that offset her tendency towards anger and sorrow, and combine to make her such a commanding presence and magnetic, truly
amazing, performer.

180g blue vinyl

3x white vinyl

180g green vinyl
The Newport Jazz Festival at Rhode Island was first established in 1954 and quickly became one of the main summer happenings in America's jazz calendar. It became the place to be - a showcase for jazz performers, established stars and innovators alike... Nina Simone was booked to play the opening night at the seventh edition of the festival on 30 June 1960. However, it wasn't the best of times to appear there - it was the year when the hooligans made their way to Rhode Island to gatecrash the festival. These tussles caused the cancellation of several performances. But whatever the circumstances, Nina Simone was confident that she could make an impact. At the conclusion of Simone's set, the crowd rose to its feet and offered the kind of ovation that would only be surpassed when she returned to the festival again in 1966, causing an audience of 15,000 to stand and cheer.

For a quarter of a century, the James Taylor Quartet have set the standard for the coolest sounds in funky acid jazz. On dozens of mighty albums and at their legendary gigs at home and around the world, they've quietly becomea byword for distinguished British creativity.

Live show at Ronnie Scott's week after release

7 track Album from Rico Rodriguez & Friends released by Dub Store Records

Les Sourdes Oreilles (Deaf Ears), is the next generation analog cinematic music from the 21st century. Following the sound of 70's cinematic jazz funk, this first 300 copies from Cosmic Analog Ensemble is the new My Bags emergency hammer glass breaker.

Designed like a 70's movie soundtrack Graal, with the perfect hijacking artwork of Jerk 45, the album is a future now crate digging target. Built like a narrative scenario, scene after scene, each composition deploys his uniqueness, from the explosives intense actions of Camille 3000", moments of suspense with "Sol Sur Sol", to running chase on "En Faction" and flying panoramic views of "Point De Bascule"... the compositions are depicting a rich range of situations, moods and intrigue.

Brilliantly composed, produced and interpreted by Charif Megarbane, playing himself all instruments, track after track, each song is a one man piece of art. Chiseled drum breaks, evocative bass and stirring melodies are a part of a bigger plan, sprinkled with subtle sound effects.

Les Sourdes Oreilles is a long artisanal goldsmith work, cooking occidental classic jazz-funk tradition into an afro oriental kitchen. It's what makes this release so awesome, unique and necessary to our deaf ears.

- 180 GRAM AUDIOPHILE VINYL
- INCLUDING INSERT
- 25TH ANNIVERSARY EDITION
- FIRST PRESSING OF 1.000 NUMBERED COPIES ON
SILVER VINYL

John Weldon J. J.' Cale was an American guitarist, singer, and songwriter. Though he avoided the limelight (being temperamentally averse to celebrity), his influence as a musical artist has been widely acknowledged by artists like Mark Knopfler, Neil Young, and Eric Clapton, who described him as one of the most important artists in the history of rock.
J.J. Cale is considered to be one of the originators of the Tulsa Sound, a loose genre drawing on blues, rockabilly, country, and jazz.

Cale unfortunately passed away in 2013, but his legacy lives on.

Number 10 is Cale's 10th album and contains another wonderful and laid back/mellow collection of typical J.J. Cale tunes. Traces', Artificial Paradise', Low Rides' and Jailes' are considered part of his best 1990s songs.

We celebrate the 25th anniversary of Number 10 by pressing a limited run of 1.000 copies on 180 gram silver vinyl.

Oldschool vibes meet acid and jazz in this EP full of House energy written by Aiby & The Noise. Comes with a remix by Kyodai (Exploited Recs) giving Jazz Affair an extra dose of funk.
Supported by Paul Nazca, hrdvsion, Paco Osuna, Christian Varela, Kindimmer, Charles Webster, and many more

Claude Debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. His innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of Steve Reich, Philip Glass, Miles Davis and Herbie Hancock.
Remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music.
After studying countless composers of the last centuries Marc Romboy decided to accept the challenge to edit, remix and reconstruct several works of his favorite French composer, ranging from - La mer' to "Prélude à l´après-midi d´un faune'. Romboy: - One sentence of Debussy impressed me a lot when he said that he simply intents to write new sounding music. This is and has been exactly my goal, to create kind of unheard sounds'.
On the album Romboy performs together with the Dortmund Philharmonic Orchestra, the renowned conductor Ingo-Martin Stadtmüller, the well respected Düsseldorf based concert master Miki Kekenj and sound programmer Ali Khalaj. The recordings was directed December 12th 2016.
It´s the first live recording ever released on an album where electronic sounds and classical components were merged in such manner.

Claude Debussy (+1918) was one of the most popular and forward thinking composer associated with impressionist music. His innovative and at this time new way to compose music with non traditional scales and chromaticism inspired countless artists from the likes of Steve Reich, Philip Glass, Miles Davis and Herbie Hancock.
Remarkable attributes of his music were i.e. the usage of parallel chords, bitonality and many compositions of whole-tone and pentatonic scales and all this surely reminds us on contemporary electronic music where you hardly find limits or boundaries when it comes to traditional, harmonic sounding scale tone music.
After studying countless composers of the last centuries Marc Romboy decided to accept the challenge to edit, remix and reconstruct several works of his favorite French composer, ranging from - La mer' to "Prélude à l´après-midi d´un faune'. Romboy: - One sentence of Debussy impressed me a lot when he said that he simply intents to write new sounding music. This is and has been exactly my goal, to create kind of unheard sounds'.
On the album Romboy performs together with the Dortmund Philharmonic Orchestra, the renowned conductor Ingo-Martin Stadtmüller, the well respected Düsseldorf based concert master Miki Kekenj and sound programmer Ali Khalaj. The recordings was directed December 12th 2016.
It´s the first live recording ever released on an album where electronic sounds and classical components were merged in such manner.

Recorded over three sessions in New York City on 9 December 1970, 21 January 1971 and 9 March 1971. The Paul Bley Synthesizer Show showcases new songs and tough renditions of previous work. Featuring the songs of Annette Peacock, this collection sets another milestone in the free jazz spectrum and celebrates an innovative and iconic figure. Some funky episodes, with Ra-esque ARP synthesizer moves and moods.

Full colour insert with interviews, liner notes and rare archival photos.

Recorded live on 26 March 1971, at Club B14 in Rotterdam, with Annette Peacock on voice, electric piano and synthesizer, and radical drummer Han Bennink. Improvisie completes the 1971 trilogy of Paul Bley and Annette Peacock's combined experimental synth. works. Together with the reissues of The Bley - Peacock Synthesizer Show release, Revenge: The Bigger The Love, the Greater the Hate, and Annette Peacock & Paul Bley - Dual Unity, Improvisie completes a compelling period for two iconic figures of the free jazz movement, and their pioneering use of moog synthesizers.
Presented with expansive liner notes, interviews, and rare archival photos. Professionally re-mastered.

Next up on All My Thoughts is eight cuts of warm fuzz from U-I.

MOOCHIN' ABOUT, NEW ORTHOPHONIC' HIGH FIDELITY RECORDING, BRINGS YOU...

MAMBO FOR CATS+10!
Damiron, Don Elliott, Tony Martinez, Noro Morales, Perez Prado, Al Romero, and their orchestras

Plus 10 classic mambo tracks as bonus downloads..!

Including... Isla Verde / Noro Morales / Mambo 5 / Perez Prado / Mambo 8 / Perez Prado / Mississipi Mambo / Noro Morales Y su Orchestra Mambo en Sax / Perez Prado /Mambo Del Politecnico / Perez Prado / Mambo En Trompeta / Perez Prado / Hollywood Mambo / Tony Martinez quintet / Black Magnolia / Perez Prado / Broadway Mambo / Perez Prado

'Man, it's time to bolt down the furniture and kick back the rugs. This is no time to be a drag - let down your hair, roll up those trousers and start swingin'! This is the righteous stuff for all you jazzbos - mambo for cats - and, man, if you're not a jumpin', rockin', screamin' cat by the time this record ends, there's just no hope - you're dead...!

We've assembled just about every fast-movin' mambo out in the game, lighted are under their respective music stands and, brother, the results are absolutely the livin' end. They just have to be, for this is music that moves and moves and never gives up - it's the greatest, man, it's the most frantic, it's the hippest! And any of you deluded hipsters who thought the Latins could play nothing but guitars are sure livin' somewhere in the middle ages...!'

Jim Flora was an artist, best known for his distinctive and idiosyncratic album cover art for Columbia Records and RCA Victor from the 1940s through the 1970s. His abstract creations are almost Picasso-esque at times and have a dynamic suggestion of motion that pairs well with music—especially Jazz & Classical...

Over the next year ,together with Irwin Chusid , Author/Editor and biographer of all things Flora, plus the Jim Flora website - and Barbara Economon who lovingly restored all Flora's wild & wacky album covers, Moochin' about will be re-issuing a series of special edition boxset's, LP's, featuring all the Columbia & RCA Victor recordings, including some of the finest Jazz and Classical recordings ever, as well as some hidden gems, in sensational celebration of The Wizard Of The Foot Square Canvas...

So to get us started, a classic Mambo Collection. An ultra rare LP, featuring some of the greatest Mambo artists ever and one of the most Iconic Flora album covers ever - MAMBO FOR CATS, which was originally released on RCA Victor, now digitally re-mastered for release on LP, plus 10 extra mambo classic's via download link ...

And as hipster, BILL ZEITUNG says in his mad, beatnik style sleeve notes... 'When the mambo meets jazz, man, don't run for cover - just stand your ground
and swing with the rest - but above all else, friends, STAY LOOSE! '

Recorded almost two years after his most popular trio album, At the Pershing, Happy Moods is a program of mostly standards, a flirtation with a classical piano piece and two Jamal originals. According to All Music Guide critic Dave Nathan, Playing with his patented sneaky left-hand voicings and his jingling right hand, interspersed with block chords all within a lean framework, the performances offered by this album are representative of Jamal's work of the period. He takes a piece of fluff like 'Little Old Lady' and transforms it into a fugue replete with the counterpoint that personifies this classical form. An up-tempo 'Easy to Love', highlighting Fournier's brushes, is tastefully garnished with runs and chords borrowed from fellow Pittsburgher Erroll Garner. Billy Strayhorn's 'Raincheck' features heady arpeggios as well as quotes from 'I'm Beginning to See the Light'.'

This release contains the complete original 1957 LP Tough! (Cadet LP-4049) by Art Blakey and the Jazz Messengers. The album seems to be one of Blakey and the Messengers' more obscure efforts. As a bonus, we have added the group's first version of the Gershwin Medley they later included on Tough! This earlier reading of the medley was taped during the same sessions that produced another album by the Messengers titled Hard Bop and first appeared on a compilation LP.

If you know the 1968 Eurovision song, or the TV kids cartoons tunes which Claude Lombard sang, it will be hard to believe what's happening there...Beautiful pop songs sung in French by this Belgian maverick (who worked with Luciano Berio) swirling upon wonderful 60's abstract-expressionism orchestrations: chimes and ondes Martenots among lovely dream bass lines and organ drifting, with dreamy use of echoes, reverbs and sometimes electronics.

There are incredibly beautiful songs here, and probably one of the unique example of French songs with really gorgeous, untypical sound work, closer to some UK and US proto-psychedelic orchestration in pop world. It was by the time a complete commercial flop... A shame of course considering the quality of compositions offered here by Claude Lombard herself, who have no shame to feel if one compare the elegance of her work to an inspired and electronic version of Michel Legrand...

Any serious fan of Broadcast or Stereolab will fall in love forever with this true secret gem, to say the least...And no need to mention the kaleidoscopic design of the cover, mesmerizing and perfectly illustrating the content. Masterpiece here Hell yes! And you can forget about the cartoon tunes of your lazy childhood...' - Emmanuel Holterbach

Brubeck and Desmond played with several musicians over the years, the formation of Brubeck-Desmond-Wright-Morello would become the most famous of Brubeck's bands. The new quartet had been together for about a year when the State Department hired them for a goodwill' tour of Europe in 1958. Brubeck, Desmond, Wright and Morello made the trip across the Atlantic and performed across two continents for audiences in England, Germany, Scotland, Denmark, Belgium, Holland, Turkey, Pakistan, India, Afghanistan, Iran and Iraq.

Big band jazz-funk at its best. Words cannot describe the energy the ensemble releases on both sides. For fans of the Kashmere Stage Band and the TSU Jazz Ensemble.

FT. WYNTON KELLY / 180GR. LTD. 1000 PCS

on May 18, 1959, would remain together for five more years. Their final recorded concert took place on May 29, 1965 at Tivoli Gardens, in Copenhagen, Denmark. Drummer Ed Thigpen would quit the group soon after, in mid-1965. Peterson hadn't ever recorded Liza', Con Alma', Close Your Eyes' or The Maidens of Cadiz' prior to The Jazz Soul of Oscar Peterson. On the other hand, he had been playing My Heart Stood Still' for many years and versions of that tune by Peterson exist dating from 1949. The pianist had recorded Dizzy Gillespie's Woody 'n' You' with its composer on October 29, 1954 for an album that also showcased trumpeter Roy Eldridge.

Underground Jazz, Street Funk & The Roots Of Rap 1968-79

Soul Jazz Records' new release 'Soul of a Nation: Afro-Centric Visions in the Age of Black Power' is released in conjunction with a major worldwide art exhibition, Soul of A Nation: Art in the The Age of Black Power which takes place at the Tate Modern, London, UK (July-Oct 2017) and The Brooklyn Museum, New York, USA.
The album shows how the ideals of the civil rights movement, black power and black nationalism influenced the evolvement of radical African-American music in the United States of America in the intensely political and revolutionary period at the end of the 1960s following the assassinations of Malcolm X, Martin Luther King and the rise of the Black Panther party.
Featuring groundbreaking artists such as Gil Scott-Heron, Roy Ayers, Don Cherry, Oneness of Juju, Sarah Webster Fabio, Horace Tapscott, Phil Ranelin and many others, Soul of A Nation shows how political themes led to the rise of 'conscious' black music as new afro-centric styles combined the musical radicalism and spirituality of John Coltrane and radical avant-garde jazz music alongside the intense funk and soul of James Brown and Aretha Franklin and the urban poetry and proto-rap of the streets.
The Soul of a Nation exhibition draws on the links between Black art forms - art, music, poetry - and how they came together during the civil rights and black power era as part of the wider black arts movement across the United States.
Iconic African-Amercian revolutionary figures such as Martin Luther King, Malcolm X and Angela Davis, John Coltrane, Muhammad Ali all appear in the radical artworks of Barkley L. Hendricks, Romare Bearden, Norman Lewis, Lorraine O'Grady and Betye Saar.
A selection of original radical jazz record sleeves artworks which appear in Soul Jazz Records' earlier groundbreaking Freedom, Rhythm and Sound - Revolutionary Jazz Original Cover Art book will also be on show at the Tate, London throughout the exhibition. The Freedom, Rhythm and Sound book is also newly back-in-print in conjunction with this major exhibition and the release of the Soul of a Nation album.
Stuart Baker (founder of Soul Jazz Records) will appear on the panel of Jazz for Soul of a Nation: Art in the Age of Black Power discussion at the gallery as part of the show.
Soul of a Nation comes with extensive sleeve-notes and exclusive photography in a large 36-page outsize booklet and slipcase. Double gatefold vinyl album edition comes with full colour inners + bonus download code and includes full sleeve-notes/photography.