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Mention Brazilian jazz to most music fans and the inevitable bossa nova images flood into view: the beach, the female whisper-vocal, the rimshot snare drumming, the chord-plucked acoustic guitar, possibly a little mutedbatucada percussion, breathy alto saxophone and cabaret-vamp piano. It's an image ineluctably stuck in the 1960s, when most aspiring Brazilian musicians looked to America's West Coast 'cool jazz' scene for inspiration, listening to artists such as the Modern Jazz Quartet, Chet Baker, Paul Winter, Jimmy Giuffre and Stan Getz.
Of course there were Brazilian jazz musicians in the 1960s whose work was highly original and owed little or nothing to bossa nova, obvious examples being Victor Assis Brasil and Dom Salvador, the only two 'old-school' players present in this compilation - their presence I hope demonstrating the continuity of Brazilian jazz explorations way beyond bossa-jazz. There were also artists drawing inspiration from native Indian, regional folkloric and liturgical sources: Hermeto Pascoal and Egberto Gismonti made (and still make) thrilling and bizarre jazz that owed nothing to 'conventional' Brazilian jazz, or indeed 'conventional' jazz of any kind.
Brazil's millennial musicians, however, use a different palette from that which has gone before. Disillusioned with the vapidity of manufactured national pop - pagode, axé, lambada, brega and the rest - they started digging for rare soul, funk, reggae and hip hop records for inspiration, an entry-point to the Blue Note and soul-jazz classics of America's east coast, as well as richer meat - Sun Ra, Roland Kirk, Pharaoh Sanders and afrobeat. They also started listening more to European jazz: a fascinating 'full-circle' effect, because earl twentieth century choro jazz was strongly influenced by European music in template if not in tempo.
The large majority of players on this compilation are under 30 years old, most from São Paulo and Rio De Janeiro. Many have played with each other and are familiar with each other's work - as were Rio's 1960s bossa nova community. But the sheer range, energy and boisterousness of the approach is thrilling.
Iconili, Nomade Orquestra, Höröya and Bixiga 70 are essentially gafieira (dancehall) orchestras - with all the discipline, skill and 'listening to each other' that it implies - playing from a different songbook: a repertoire inspired by Nigeria, Guinea, Ethiopia, the Caribbean and New York. Thiago França's sharp-elbowed genius makes itself felt in his solo work as well as in the more modal Space Charanga and European fans may know Thiago from the touring combo Metá-Metá. Juçara Marçal and Karina Buhr's voicings explore similar territory to Carla Bley while Tulipa Ruiz's sparkling Roy Ayers-style jazz-funk contribution wouldn't be out of place on the 1980s London dancefloors of Dingwall's, the WAG or the Electric Ballroom.
There had to be a hip hop track - so many Brazilian millennials got into jazz via hip hop - and new teenage sensation Tassia Reis was a no-brainer.
And it's no mistake that the collection is sandwiched between contributions from young Turks Fernando Moura & Ary Dias and (for this compiler, at least) probably the most complete mainstream jazz musician that Brazil has ever produced, Victor Assis Brasil.
Innovative music is alive and kicking in millennial Brazil: although it never really left the building.

Gilles Peterson has said of Nat "One of the best musicians in the UK, no question" And Nat's last album (Invocations, on Jazzman Records) was featured in his best of 2015 show. Nat's music is regularly featured on Gilles' radio shows, as well as BBC Radio 3 shows, Jazz on 3 and Jazz Line-Up, plus Jamie Cullum's Radio 2 show and shows like Gideon Coe on BBC 6 music and a recent BBC Radio 4 documentary about John Coltrane's iconic album A Love Supreme.

Creation is Nat Birchall's eighth album and his most fully realised to date. The group assembled for this recording features two drummers, Johnny Hunter and Andy Hay, and along with Nat, pianist Adam Fairhall and bassist Michael Bardon they create a sound and energy perfectly matched to reveal the deepest messages within the music. From the opening bars of Love In the Cosmos to the closing diminuendo of Light Of All Worlds the music stretches and soars, taking the listener both deep within themselves and also to the furthest reaches of space/time on a journey of profound emotional expression that ultimately uplifts the spirit.

Soul diva Madeline Bell was born in the US, but during the '60s she settled in the UK. As a session vocalist and with her band Blue Mink, her vocals have been heard on countless records ranging from the Rolling Stones to Joe Cocker to Elton John (eugh - she must have done that one for the money), and as an individual she has made several singles and LPs. Then in 1976 she found some spare moments to record for the Themes library label in London, the very label that gave us two of the most sought-after library LPs of all time, namely the two volumes of the Hanged Man 'Drama Suite'. Collaborating with veteran librarian Alan Parker, they came up with an irresistibly catchy & soulful samba but with an intriguing jazzy & punchy edge to it - and that's what we have here! Play it: hear the clear, vivid sound. One side is vocal, the other instrumental. First commercial release, and first time on 7" vinyl.



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After spending much of the '70s humping his congos around New York as a session musician, Nigerian Aleke Kanonu pulled in some favours to record an album of his own. The result was Aleke, a criminally obscure Afrobeat/Funk/Jazz masterpiece featuring Buddy Williams on drums, George Davis on guitar and a cameo from Wynton Marsalis on flugelhorn. There are only four tracks on the album but they are all killers. N'Gwode sounds like Fela Kuti and Manu Dibangu hanging out with Bobby Womack, probably somewhere across 110th Street. 'Keep New York Clean' struts like Shaft after a successful bust. And 'Mothers Day' keeps things sweet and soulful, before Wynton Marsalis brings back the groove with his flugelhorn on 'Home Sweet Home'. Until recently you would have had to take out a second mortgage to get hold of Akele. And sold a kidney for the Happiness/Nwanne, Nwanne, Nwanne 12'' Kanonu released a year later. Thankfully PMG has re-issued the LP and the EP, with the CD version containing both. - Peter Moore,

One the best album by legendary french pianist Jef Gilson, recorded in 1963 & 1964 with Jean-Luc Ponty on violin, Daniel Humair on drums, Jean-Louis Chautemps & Pierre Caron on tenor sax, Guy Pedersen & Henri Texier on bass A Superb line up for this beautiful album including 2 splendid versions of Chant-Inca' (an hidden cover of Pharoah Sanders Creator has a Masterplan'). Essential French spiritual/avant jazz. Gilson was the brilliant mind behind a number of incredible, yet over-looked recordings during the late sixties and early seventies. His music spanned from big band and large led ensemble work to his later explorations with African influenced spiritual jazz. Limited edition of 500 numbered copies.

Recorded live at Town Hall, NYC in May of 1958, this historic concert (organized by Jasper Johns and Robert Rauschenberg) was a retrospective of Cage's work from 1934 to the present. Here Cage's interest in technology, Eastern philosophies, and the concept of silence' and chance' as related to composition come to the fore as he plays some of his most significant and controversial pieces of his career, several of which ( Six Short Inventions for Seven Instruments', She Is Asleep', Music for Carillon', and Concerto for Piano and Orchestra') were performed here for the first time ever. Includes booklet with comments by Cage himself. Limited edition of 500 numbered copies.

Mary Afi Usuah trained as an a opera singer at the prestigious St Cecilia Academy in Rome and spent 13 years touring Europe with artists like Duke Ellington and Deep Purple. She matched vocal chops with Robert Plant performing with Led Zeppelin and blew away the top names on the Lagos scene when she returned to Nigeria. She also broke a few hearts with her killer smile, if some accounts are to be believed. African Woman marshals these experiences into an exceptionally powerful and diverse album. From the Tina Turner stomp of 'What's A Woman To Do', to the Aretha-style musings of the title track, Mary takes everything she learned on the road to tell her story about her continent in a distinctly African manner. The boys from Akwassa were on hand to ensure that everything was kept extra tight and funky. Mary Afi Usuah only released two albums but she is undeniably one of the greatest female singers the African continent has produced. African Woman serves as her legacy, along with the remarkable number of Nigerian female singers she mentored and inspired. - Peter Moore


"I met MARY AFI USUAH in 1979 while I was the lead singer with TEE MAC COLLECTION. We were based at SURULERE NIGHT CLUB in Lagos, Nigeria. She came in from Calabar in the Cross river state. She was a beauty with her afro hair and had a very strong voice and very powerful on stage. Her performance was electrifying. She did a lot of shows with us and together we got the crowd rocking. A very dark complexioned lady, she was full of life and love. Her smiles would sweep any man off her feet instantly and I immediately recognized a talent that go all over the world. Her music is a blend of African rhythms, soul and funk with heavy bassline. I am glad to let you know that the vynil you have in your hands now contains music that will tickle all ears for a very long time. Happy listening."
Steve Black

Brazil is a country of great musical talent especially in the field of rhythm oriented music. The rich tradition of samba sounds among others will certainly prove that. By the 1970s of course other styles came into the music lover's perception. Funk and soul swashed down south from the bigger US metropolises and infected a whole generation of musicians including Miguel De Deus and his fellows. As a result the former OZ BRAZOES (Latin acid rock with fuzzed out guitar) rhythm guitarist and his crew delivered their now classic sole album "Black soul brothers" in 1977, a hot blooded, steaming masterpiece of raging ghetto funk spiced up with soul eruptions on and a Latin American flavor. A rather explosive cocktail in times of slick disco music. The Latin elements tend to be more like a support for the groovy soul and funk than a bearing pillar of the whole sound. They still give the songs exciting twists and turns. The non stop rhythm pulsations would certainly feel different without any Samba influence. And so the album presents a permanent steaming dance beat that will swallow you when you put this hottie on your turntable. A never ending swirl of rhythm patterns, bass notes, brass section harmonies and commanding vocals pushes you to your physical limits. A few more relaxed songs let you breathe some fresh air but the spell of this music lasts upon your soul. You want to go wild and crazy and have your lame high school party turn into a loose and lethal freak out Play some wicked Latin funk like "Flaca louca" with its beautiful interplay of utterly melodic female vocals and dirty, screaming male vocals, your desired result will be the case. An ingenious crown jewel of 70s funk that will appeal to each fan of early FUNKADELIC, BLACK MERDA, BETTY DAVIS.









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* On the back of two hugely successful albums and almost constant touring, HCB's new LP 'Sharpener' shows the band on more confident form than ever, with powerful new electronic elements and a dance floor sensibility adding to the jazz, rock and soul for which they are known.

* Building on the strength of their critically-acclaimed original writing, 'Sharpener' has a powerful set of originals at its core, alongside a trio of leftfield covers in the shape of Nirvana's 'Heart-Shaped Box', Kwabs' 'Wrong or Right' and Three Trapped Tigers' 'Cramm'. It's a record that resounds with humour, charm and the hum of the glorious variety of musical genres that emanate from their hometown.

* Album opener 'Jump Then Run' echoes the sound of the legendary Moondog, while 'Gather Your Wits' is a roof-raising rumble of brass and rebellious behaviour. 'Wrong or Right', a soulful version of London soul star Kwabs' great tune, comes to life with juicy menace before 'The Morning', an uplifting anthemic arrangement, builds into joyous hedonism. 'When You Know' gives space to the band's superb jazz chops, while album title track 'Sharpener 'is a big, bold, brassy and utterly mesmerising affair.

* It's perhaps the band's outstanding arrangements which sets them apart. From the intricacies of 'Timelapse' to the introspection of 'Reawake', from the punky rock groove of I't's Normally Bigger' (based on a true story) to the rave jazz of 'Bread and Circuses', the arrangements throughout showcase writers Olly Blackman, Luke Christie and Steve Pretty's contrasting styles, able to switch from screaming energy to moody introspection, from cutting-edge jazz to dancefloor rave, and proving that Hackney Colliery Band is not just another party brass band blowing through the usual pop covers.

* Alongside main stage sets at festivals like Field Day and Love Supreme and collaborations with Amy Winehouse, Fyfe Dangerfield, Eliza Doolittle, Jamie Cullum, Andreya Triana, Williams Fairey Band, Rhodes and DJ Yoda, they have performed live sessions on BBC Radio 2 and Jazz FM, and their performances have been festured on BBC Two (The Culture Show), Sky Arts (Brass Band Wonderland) and live at the BRIT, Mercury and Mobo Awards.

* With 'Sharpener' their most exciting work to date, a tour taking in more venues than ever before and a collaborative EP out in the autumn, 2016 looks set to be a huge year for Hackney Colliery Band.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

Do not complain. The legion of Excitements fans DOES exist in places near and far in this world-gone-insane so if you are ready to be recruited you're in luck. Miraculously, these workaholics of rhythm, who conquered and claimed more than fifteen countries just for the sheer thrill of it during their last tour, found a break and the action of their troubled agenda. It seemed only logical to throw their road sharpened revue into the studio to commit to wax their finest album to date entitled "Breaking The Rule".

After more than two years on the road and 200 sweat soaked performances since the release of their second LP "Sometimes Too Much Is Not Enough", this third LP certifies that the big combo from Barcelona can do whatever they please: either caress you or kick you in the stomach-or both. The steamroller rhythm section is one powerful structure pounding under searing guitars, roaring horns and all reigned over by the voice of Koko that claws at their hypnotic gyrations with wild abandon. This new Excitements bag, as expected, is THE satisfier with high voltage rhythm and soul floor shakers and lease breakers-"Everything is Better Since You're Gone", "Fire", "Hold On Together"-ripping spear-hurling R & B - "Chicken Picking" "I'd Rather Feel The Pain", "Did I Let You Down", heartbreaking ballads and mid-tempos - "Breaking The Rule", and "Take It Back" and a pair of rhythmical postcards- a tribute to what once were the noisy streets of New Orleans ("Mojo Train") and restless nights in a Havana boarding house ("Four Loves").
And do not, do not fear, inside this explosive cocktail of sonic chaos, a strange sweet harmony prevails through all and each of the grooves of the record. And as always, all wrapped up, signed, sealed and delivered with the elegantly filthy production of Mike Mariconda.

As with so many alto saxophonists who forged their careers during the Fifties, Julian "Cannonball" Adderley was
influenced by Charlie Parker. But it is to his credit that soon after he forged a style which became his very own. As has
often been noted, there was a joyous quality about his playing that very few of his contemporaries could or chose to
match.

Sinatra left us in 1998 after a stellar, near six-decade career, but his legend lives on through his music. Many
f his signature songs have been collected here in a compilation that includes songs from most of his 1961-62 albums,
augmenting them with earlier American Songbook classics. Settle back and lend an ear to the excellent tracks
presented here and sung by a true one-off.

When Downbeat reviewed Miles Ahead in 1957, the magazine awarded five stars and commented: 'This is an
extraordinarily well done album with absolutely no point which you can wish for more. Miles' solos throughout
have an almost ascetic purity about them.' But Miles was delighted by a more personal assessment. In his
autobiography he remembered: 'After Miles Ahead came out, Dizzy (Gillespie) came by one day to see me and
asked for another copy of the record because he had played his so much he had worn it out in three weeks.'
Enjoy this incredible LP including "Springville", "New Rhumba" and "My Ship".

T-Bone Walker is one of the greatest blues singers of all time. He's not a shouter, he's a singer and he's steeped in
the blues tradition. Walker went throught what has become the classic pattern of apprenticeship of the blues
singer. He's also a guitar player of considerable ability, with a really compelling rhythm and an intensity that is
almost frightening. But it is as a blues singer that T-Bone will be remembered. Enjoy this superb LP including
"Mean Old World", "T-Bone Blues" and "Stormy Monday Blues"

THE NUMERATORS is the musical incarnation of the brothers RANA. SAMMI, who lives in Austin, TX, keeps himself busy with his dog, Bill, his labyrinthine line art, the explosive world of mango connoisseuring, and his solo ear roller coaster project, SELFIE. While BURGERS, who resides in Brooklyn, NY, drums in the lush-shine psych outfit, SCULLY, assembles effect pedals at Death By Audio, and does visual & light work for Noises and A Place To Bury Strangers. When the two get together the undoubtedly solid brother connection is in full force with he Numerators. After a string of 7' singles and numerous tapes the duders are release Strange—ten sun-scorched tracks, somewhere on the spectrum of kraut-scuzz & fuzz-abilly, about feeling weird, mutating nights of excess, and Bill, the dog. Inspired by David Fair's (Half Japanese) mini-manifesto on how to play the guitar, the Numerators are ever climbing rock n roll's highest mountain—'the idea isn't to feel foolish. the idea is to put a pick in one hand and a guitar in the other and with a tiny movement rule the world.'

The Allman Brothers Band is best known for their typical Southern Rock sound and incorporating elements of blues, jazz and country music. Their eight studio album
Brothers Of The Road originally came out in 1981 and was produced by John Ryan, who did production work for Styx and The Doobie Brothers. The single 'Straight From The Heart' from the album became their first top 40 hit since their heyday. It peaked at #39 on the Billboard Hot 100 and
#11 on Billboard's Rock Top Tracks chart.

On colored vinyl !!


Afro-Asian Exotica! Jungle beats and lush rhythms from the famed film and television composer. An early stereo marvel from the original 1958 tapes!
Takashi "Tak" Shindo was one of the most prominent purveyors of that gorgeous genre known as Exotica, a magnificent and surreal style of music which took the sounds of cultures at the time unknown or mysterious and blended it into a swingy, sexy stew. As a Japanese-American, Shindo brought a unique cultural perspective to the proceedings -- he combined the sounds of his own heritage into a brilliantly orchestrated shabu-shabu that made him a highly in-demand arranger and composer (Shindo would later become known for his TV scores, including Gunsmoke).
Nowadays, we'd call it "appropriation," but at the time Exotica knew no such boundaries -- anybody's culture and sound was fair game, often leading to unusual and thrilling combinations of sound. Mganga! is Shindo's exploration of African sounds -- it's obvious that his knowledge of African and afro-Cuban musical forms was based not only on a knowledge of traditional native music but also from soundtracks and "fantasy" versions of music from the African diaspora. Drums and congas abound, as do guttural chants and thrilling Cuban rhythms (and the ever-present exotica sound effects!). But Shindo's own love of Japanese sounds crop up here and there too -- listen for Japanese scales and traditional instruments such as the koto.
Modern Harmonic presents the thrilling Mganga! the way it was meant to be heard -- thrillingly mastered from the master tapes, pressed onto gorgeous colored vinyl and wrapped in restored packaging that reproduces the groundbreaking neo-tribal graphics. Pour yourself an exotic cocktail, turn the lights down low and let Tak Shindo take you to his own crazy, sexy version of Africa!

Deluxe vinyl edition of RAY CHARLES' "Timeless Classics"

Classic work from one of Brazil's greatest soul singers! Cassiano was one of Brazil's groundbreaking soul singers of the 70s - and although he's similar to Tim Maia, he's also got a smoother sound that approximates some of the best American soul vocalists of the time. This album includes the funky "Central Do Brasil", the extended midtempo groover "Onda", the semi-hit "Hoje E Natal", and the cuts "De Bar Em Bar", "Ana", "A Lua E Eu", and "Salve Essa Flor"

A bit of funky, jazz, electro-pop, blues, ambient. A full of sounds album, rich in different musical influences, brought together by a common thread: deep house galore for your mind. Formix is a Neapolitan producer and he really rocks with this impressive release. "Run" into many genres, to a multi ethnic world, led by so much creativity and talent. The attractive groove in "Run", the old-fashioned electronic rhythm of "So What", by way of "Slow" and his soul shape. The deep vibe of Sensual Trip feat. Gastek. "Evolution" is the way! A groovalicious track that amazes the listener; a real sensitive club tune. The remix made by GuyDee is the right answer to the original mix, a tasty manner to recreate the same vibes. Not to mention the remix of "Another Journey" Formix feat. Lello Di Franco aka L D F made by The Legendary 1979 Orchestra or the hypnotic pads of the British artist OOFT! Music! "Run" remix. "Just because a records got a groove doesn't mean it's in the groove". "Run" album does both.

Miles Davis live at the 12th Annual Chicago Jazz Festival, Petrillo Music Shell, Grant Park, Chicago August 30, 1990

Though it was performed as he approached the final year of his life, this remarkable live set shows no decrease in Miles Davis' awesome power and musicality. Originally broadcast on Washington' WPFW-FM, it finds him tackling material from his 1980s Star People, You're Under Arrest, Tutu and Amandla albums, backed by arguably his finest latter-day band, and is presented here with background notes and images.

Pat Metheny, Charlie Haden & Jack Dejohnette, live at the Festival International de Jazz de Montreal, Salle Marie Gerin-Lajoie, Montreal, Canada on 5th July 1989

Having played with John Coltrane, Sun Ra, Bill Evans, Ornette Coleman, Keith Jarrett and many others between them, bassist Charlie Haden and drummer Jack DeJohnette were already jazz legends by the time the young Pat Metheny began to make waves in the mid-70s. This unique set was broadcast on Radio Canada in the Salle Marie Gerin-Lajoie during Montreal's International Jazz Festival on July 5th 1989, and finds all three musicians driving each other to remarkable peaks. It's presented here with background notes and images.

On June 17th Bodytonic Music present the fear inducing yet exquisite Mouth To Mouth EP by cult Dublin band Ocho. Distorted bass, grinding rhythm and icy atmospherics give EP opener Vines a dramatic, dark and icy Celtic beauty, all set to the spectral voice of lead singer Stace Gill. Completed by producer /writer DOS and a plethora of talented guest musicians, the band's ambient sound is influenced by an eclectic mix of music from around the world. Ocho released their hauntingly beautiful debut Young Hunting in 2012 and Mouth To Mouth marks a mesmerising return for the intriguing duo and their unique brand of ice-cold, soulful electro, getting support from the likes of Severino, Anthony Naples, Fish Go Deep & more

Disco master Darshan Jesrani (one half of the legendary NY duo Metro Area) reworks Vines into enchanting Balearic sunrise house, presented in both vocal and instrumental incarnations.

Ocho amp up the drama level even more for an engrossing, trance inducing fantasy journey high into stratosphere on Disappearing. The EP closes with the epic, Burial-goes-baroque torch song 'Offshore'.

Bodytonic started life in 2002 as a small club night based in Dublin and has since thrown parties everywhere from Sonar to Berghain, with guests including Carl Craig, Theo Parrish, Laurent Garnier, Horse Meat Disco, Switch & Diplo, Marcel Dettmann, Ben Klock and Q-Tip.

In addition to their ongoing club nights and label, Bodytonic run Irish nocturnal institutions Wigwam (formerly the Twisted Pepper venue) and the Bernard Shaw pub, whilst other areas of their rapidly growing empire include festivals, pubs, brewing beer, restaurants, a gallery, apps and websites.

The first release on Bodytonic's labels came in 2007 and they have since put out records featuring Ron Morelli & Svengalisghost (under their Ghost 202 guise), Naum Gabo (AKA Jonnie Wilkes from Optimo), Mr Fingers, JD Twitch and Irish stars Kormac & Tr One.

Bodytonic releases are forthcoming from Adultrock and Hmeflght, with Bodytonic parties at Snowbombing, Dimensions, and Wigwam in Dublin happening in 2016, with events at ADE and beyond in the pipeline.

The soul behind these recordings is Rama Dyushambee. Not only a vocalist, Mr. Dyushambee also plays tenor saxophone too. He even produced, composed and arranged the entire album. The music on here is hard to categorize. The basic feel of the songs is Jazz, but you also find a portion of Funk and lots of spirituality in them too. If you like your Jazz funky - check out this album. If you like your Funk jazzy - check out this album. Generally, if you like music with SOUL then you can't go wrong with Orbit In Space.

This multi-talented North Carolina native makes his debut after having been a consistent source of inspiration with the freshness of his perspective, and sonic tapestry. It is unchained, fluid, and free, like everything on Deepblak

While John Coltrane first gained attention for his revolutionary 'sheets of sound' technique, it was the deep spirituality of his music that really made his recordings as a bandleader such classics. The albums this giant of music recorded for Atlantic in 1959 and 1960 really represent the heart of his legacy.

John Coltrane's life will be the subject of a new documentary (tentative title: Chasin' Trane), out later this year, and now, for the first time since their original release, this box set gathers his mono recordings from the Atlantic vaults.

- Packaged in an elegant clothbound box
- Fully remastered in glorious mono
- 5 Original studio albums replicating the original artwork and labels:
Giant Steps (1960)
Bags &Trane (1961) with Milt Jackson
Ole Coltrane (1962)
Coltrane Plays The Blues (1962)
The Avant Garde (1966) with Don Cherry.
- Includes bonus LP featuring outtakes
- A 32-page, perfect-bound booklet, with period photos by Lee Friedlander and liner notes.
- Liner notes by Grammy-winning jazz writer Ashley Kahn
- Vinyl Box Set includes My Favourite Things 7' single

It's the year 2016 and David Hanke, widely recognized under his moniker Renegades Of Jazz, is back with his third full-on longplay effort entitled 'Moyo Wangu'. After his conceptual and darker approach to his last album 'Paradise Lost' released in 2015, we see Renegades Of Jazz explore the world of Afrofunk here, a world David Hanke is deeply linked to since he spent an influential part of his childhood in Arusha/Tanzania in the early 1980s .Due to being exposed to the sound of this East African metropolis throughout his early childhood days the love for any kind of African rhythm signatures and vibes has stuck to this day and is now reflected in the twelve tracks on the album 'Moyo Wangu' - a Swahili expression that translates as 'My heart' and perfectly describes where his heart is at.

It's the year 2016 and David Hanke, widely recognized under his monikerRenegades Of Jazz, is back with his third full-on longplay effort entitled 'Moyo Wangu

From Athens, Greece, Afrodyssey Orchestra take you on a musical journey that flows unconstrained between genres. The ensemble's influences span Jazz, Funk, traditional West African dance music and percussion, Psychedelia, and the Greek musical culture.


Afrodyssey Orchestra are an instrumental ensemble from Athens, Greece, comprising seven established musicians of diverse musical backgrounds. They came together through a series of musical journeys over the years — and officially as Afrodyssey Orchestra from 2013. Afrodyssey is unique in Europe for their use of Greek and West African musical forms together and their sound — an expression of contemporary Athens. In devising and performing compositions Afrodyssey seek to evoke communion between audience and music, transmitting the impulse to move - an intention that reconnects to the origins of Greek music as a process that gave a village social cohesion. In addition to their original compositions, the band performs innovative versions of well-known African and Greek traditional music. Most band members are multi-instrumentalists — lesser-known instruments played include the Kamelen Ngoni, a type of African harp, and the Balafon, an ancestor of the Marimba and Vibraphone.

In early 2005, an engineer at the Library of Congress accidentally discovered, in an unmarked box, the recording of Thelonious Monk's and John Coltrane's performance at a 1957 benefit concert at Carnegie Hall. Long considered one of the most important musical meetings in modern jazz, Monk's and Coltrane's work together during a scant few months in 1957 had, until this discovery, been thought to be almost entirely undocumented.

In this book, Gabriel Solis provides an historical, cultural, and analytical study of this landmark recording, which was released by Blue Note records later in 2005. Taking a wide-ranging approach to the recording, Solis addresses issues of "liveness," jazz teaching and learning, enculturation, and historiography. Because nearly a half century passed between when the recording was made and its public release, it is a particularly interesting lens through which to view jazz both as a historical tradition and as a contemporary cultural form. Most importantly Solis accounts for the music itself. Offering in depth analytical discussions of each composition, as well as Monk's and Coltrane's improvisational performances he provides insight into Monk's impact on Coltrane as he developed his signature "sheets of sound" style, as well as into the influence of a strong side-man, like Coltrane, on Monk at his creative and professional peak. The first study of one of the most significant jazz releases of the twenty-first century, Thelonious Monk Quartet with John Coltrane at Carnegie Hall is essential reading for all jazz scholars.