Pop & Rock News

The music of Nat Birchall joins with a long-flowing conversation in jazz. His chosen tongue is that of the spiritualised musical discourse whose vital source can be found in the sacred testaments of John Coltrane, and which was channelled most directly by his fellow travellers Albert Ayler, Pharoah Sanders, and his wife Alice. Many others followed where Coltrane led, giving voice in music to the esoteric renewal of the soul and mind that lent spiritual strength to the black counterculture, and complemented the political radicalism of the late 1960s and 1970s. This rich vein of spirit music has rarely been tapped by British jazz musicians, and Birchall is one of the few to have been drawn to it with the conviction of heart that it demands. For these are the sonic and spiritual spaces where the colossi of an earlier age declaimed and confessed with sacrificial passion, from within the flames of revolution.

Ultimately, it has been the sonic pathways offered by jazz that have provided Birchall with the clearest way to channel the resonances of the higher heights, wherefrom timeless musical messages might be revealed. 'It seems to me that's it's the most direct way of tuning in to this higher source. That music seems to me to display this connection to whatever this higher source, this higher energy, might be. It seems to connect to it the most, more than other music. You can hear it in other musics to a certain degree sometimes, but this seems to be almost purely of that nature. That's what really motivates me the most.'

All music is a spiritual communion - it is a talking in tongues, a present conversation with the past and the future, a dance with technology, a branch held out to a stranger. It speaks to the old and the young in a language that is beyond language, it expresses and elicits emotion and thought at once, it is both bodily and mental, noise and silence, intention and accident: it is the dissolution of opposites, the fleeting noise made eternal prayer, the transubstantiation of spirit into sound. Music is the expression of unity, in which difference is both accepted and resolved, and from which a mended world might be born. To make music is, as Roland Kirk observed, to talk with the spirits. We are lucky that the music of Nat Birchall allows us to hear the sounds of their world once more.

'Esoteric, Modal and Deep Jazz Vocals 1960-86'

"The human voice is the organ of the soul"

Henry Wadsworth Longfellow, poet

"You know the drum was the first instrument besides the human voice."

Billy Higgins, jazz drummer
The power of the human voice, especially when held in song, has long been known to be immensely influential, potent and emotive across all of humankind. When conveying a message, the spoken word - whether in speech, poetry or song - is infinitely more evocative than that of written. And when that message is voiced in the realm of jazz, amidst the open and dramatic freedom that only jazz can provide, the message can be all the more poignant.

Having examined spiritual jazz as it was expressed in the US, and then followed its messengers and influences in Europe and beyond, our sixth instalment of our Spiritual Jazz series showcases jazz vocals: a collection of jazz messages that are united in voice.

The majority of tracks here are as political as they are theological, but it's the inner sanctity of the music that is the defining factor. These are songs that concern themselves with the universal condition of this world, as well as the next. In fact, as the distinction between the theological and the humanistic is blurred, so is the definition of a song - many of the tracks are atypical in that they do not possess lyrics with a beginning, middle and end. Likewise the voices that convey them often can't be said to be 'singing' in the usual sense of the word; we hear solemn chanting, intense wailing, earnest poetry and ardent recitation in between bouts of singing, the quality of which is often nothing short of exquisite. The styles of performance encompass modern jazz, the avant-garde and jazz fusion, and include elements of styles from the long and winding path of the African diaspora, including Cuban, Brazilian, Caribbean and other Pan-American rhythms.

Spiritual Jazz 6: Vocals examines some of the rarest and most extraordinary vocal jazz recordings. We have included some well-known songs, as well as some of the most obscure. There are tracks recorded made for major labels, and some that were issued privately. But all of them speak or sing of a better place or a better world, and the world can only be a better place when they are played.

This is esoteric jazz, modal jazz, spiritual jazz - as performed with the human voice.
· All tracks fully licensed and digitally restored from the original master tapes
· Comprehensive liner notes with added individual notes on each track and original stories direct from the musicians involved
· CD with 24 page colour booklet with in-depth liner notes, album cover scans and previously unpublished photographs
· Most tracks never before reissued - previously only available on rare, long-deleted LPs
· Deluxe double vinyl LP pressing with gloss gatefold sleeve
· Only on Jazzman - all because WE DIG DEEPER

Funkmaster general Reole is following up his dazzling album 'Hear Come The Drums' with an equally incredible offering 'What's Cookin.' The album is a warm homely feeling album that is honest and not over spiced. The cooking music part is equally influenced by cooking food. We suggest cooking up one of his fantastic recipes while blasting this brilliant record on full volume.

Reole started his musical life playing brass in Mardi Gras parades. Later, once back in Scotland, he then set about the airwaves with Ritchie Ruftone on pirate radio and pioneered the introduction of illicit underground Broadcasting across Europe - from Scotland, Germany and beyond.
A harmonious multiculturist, Reole is a huge American football fan and that energy and passion comes across in his music. The number 13 has always been his address, is his lucky number and his albums all have 13 tracks.
Reole also runs Turntable Train Wax which demonstrates his dedication not only to the performance of music but to its preservation of vinyl for future generations.
'What's Cookin' is sure to set ears twitching and tummy's rumbling everywhere with its blend of instrumental funk, jazz and classic rock. It's an album with subtle touches and fantastic production.

ORIGIANLLY RECORDED IN 1976

Special Edition Coloured Red Vinyl 180 Gram

The Little Drummer Boy,
Sleigh Ride,
Silent Night,
Merry Christmas All,
There's Someone Who's Knocking,
Christmas Time,

Christmas Medley (12:08)



Joy To The World
Deck The Halls
O Come All Ye Faithful
Jingle Bells
Hark! The Herald Angels Sing
Santa Claus Is Coming To Town
The Christmas Song
White Christmas
Rudolph The Red-Nosed Reindeer
I'll Be Home For Christmas
Winter Wonderland
The First Nöel
We Wish You A Merry Christmas


New Year's Medley (6:46)

Auld Lang Salsoul
I'm Looking Over A Four Leaf Clover
Alabama Jubilee
Oh, Dem Golden Slippers
God Bless America

Reprint of the rare 1972 library LP by Maestro Giuliano Sorgini under the pseudonyms of Raskovich and The Bid-On. Originally released in just a few copies for a small label owned by a friend of Maestro Sorgini, this LP includes 12 really beautiful tracks with positive vibes. From Jazz Dance, Bossa Nova, Funk, and some Killer BreakBeat, with lots of percussion, growling flute and honking sax. Reissued with the original minimal artwork designed by Giuliano Sorgini drawn with chalk on a black sheet. Glossy Cinedelic cover. Limited to 600 copies.

Cream by The Black Fire is a nearly impossible to find Italian LP from 1973. A Library album that mix several themes including sexy and psychedelic whispered scat vocals, space synth lounge, lazy bossa with harpsichord, fender rhodes and a lot of congas, bongos and insane flutes; it also includes the killer wah-wah funk tune 'Alcoholic' used years later as the opening song of the kung fu movie Operation Cobra aka Squadra Omicidi Chiama Cobra. Original colorful artwork by the painter G. Pinna in a glossy Cinedelic cover. Limited to 600 copies.














G

Long sought after reissue of this avant-populist Chicago jazz classic. Includes 2 tracks never before released on vinyl.

As St John Sessions' reputation has developed, so too have opportunities outside its stained-glass windows: an accompanying string of performances have been established up the road at Café OTO; cultural institutions are frequently on board, most notably in the case of founding partner Moringa, a community-focused arts charity; local broadcasters NTS Radio and Boiler Room have been bringing the music to an international audience via frequent live streams. All this will now be housed within a larger umbrella company entitled ThirtyThree ThirtyThree - a double quip on both the sonic (full-length RPMs) and the spiritual (Jesus' rather untimely demise) - with a namesake record label to match. The imprint, set up in collaboration with The Vinyl Factory, will exist to showcase live recordings taken from St John Sessions, both home and abroad as the series expands. ThirtyThree ThirtyThree kicks off with arguably the most impactful St John performance to date: Ryuichi Sakamoto and Taylor Deupree. 2014's concert with sound design wizard Deupree and multi-discipline legend Sakamoto - whose career has run the gamut from Oscar-winning film scores through daring proto-electronic records - was notable for their kinetic understanding on stage, providing a fittingly unique way to inaugurate a unique label.* Legendary live performance by Ryuichi Sakamoto & Taylor Deupree * Recorded as part of the St. John Sessions * Mixed and mastered by Taylor Deupree * Vinyl mastering by Noel Summerville * Pressed on two 180-gram heavyweight records (run time: 54 minutes) * Housed in a bespoke clear foiled outer sleeve * Includes 12" photographic print * Limited to 1000 copies worldwide

Black Truffle is honored to present a major collection of archival recordings by seminal minimalist composer, performer, instrument builder and visual artist Arnold Dreyblatt. Following on from the archival compilation Choice (Choose Records, 2013), Second Selection presents eleven pieces selected by Oren Ambarchi from Dreyblatt's extensive archive of previously unreleased recordings. Recorded in beautifully varying fidelity between 1978 and 1989, the pieces range from solo works to documents of various iterations of Dreyblatt's long running Orchestra of Excited Strings.

Man, this is a blast. Soulful disco and pop music with a rather naked production and heart melting songs is what Ms. Cleveland has to offer on her hyper rare 1977 album 'Looking up', a sacred gem of late 1970s black music with electronic tinges. Her masterpiece must be the hypnotizing soul pop anthem 'Love will set you free' that lives from a primitive electronic drum beat, some rattles and tambourine sounds and the interplay of organ and synthesizer. Actually even the organ sounds like a synthesizer. Her rich and soulful voice will captivate you within a moment. There are some slower tunes in here that have a spaced out feel due to the synthesizer lines despite their stylistical link to early ska and rock steady or lush classy pop. Carrie's vocals have a unique charm and come as intriguing as they can. This cat knows to sing like an angel, clean and innocent but with the spirit of a diva. This is indeed a strange album and if you can imagine KRAFTWERK working with Donna Summer on disco music, this is close to what you will discover here. Original copies of this jewel go for 450,00 and more Dollars and I agree that this record is so unique in its whole approach it may bring a true aficionado and collector to the point where money plays a minor role. A strange little rarity of angelic beauty. Great to find it reissued now so we can all enjoy the slick weirdness offered by Carrie Cleveland.

Cécile McLorin Salvant's debut album, 'WomanChild', went on to earn a bevy of honours, including a Grammy nomination, and Cécile found herself at the top of multiple year-end critics' lists. Now she releases her follow-up album, 'For One to Love', a more intimate and confessional project that reveals new dimensions of this young vocalist's artistry.
Double 180 gram vinyl, includes three bonus tracks not on the CD version.
"I'm not playing anyone else here but myself," McLorin Salvant explains. "I can look at many of these songs, and see that this is an event that really happened, or a feeling I've lived through myself. That's what makes it so difficult to share. It's almost like a diary entry."
Cécile is increasingly making her strongest musical statements via her own compositions, which stand out as the centerpiece on this project. Five of the tracks on 'For One to Love' are her songs, and here she reminds us of those other great jazz singers, from Billie Holiday to Abbey Lincoln, who found that the most powerful expressions of moods and feelings often came via their own compositions.
This may be the defining jazz statement on romance in the new millennium, a heartfelt album that both embodies the full range of the American popular song idiom, but distills it into a distinctly personal expression of a modern-day poet-troubadour.

'If anyone can extend the lineage of the Big Three - Billie Holiday, Sarah Vaughan and Ella Fitzgerald - it is this 23-year-old virtuoso.' - The New York Times

Plus 3 bonus tracks! These folks were all England based but originated from quite a few former Commonwealth countries with many having African roots. Back in 1968 before they became DEMON FUZZ (The Devil's child) the musicians started as a typical soul music group but following a trip to Morocco they had opened their minds and broadened their musical vision towards a conglomerate of jazz, African roots music, psychedelic sounds, blues, powerful rock and tinges of funk and soul music. The multi ethnical band felt like playing multi ethnically influenced rock for the club and festival audiences all over the UK who were craving for the next hot sensation. And despite their sensational musical vision and captivating compositions DEMON FUZZ never made it further than a cult band. Anyway, what they deliver here is progressive even for its time and still groovy and hypnotizing enough to fill the dancefloors of the most hip underground clubs. Great saxophone lines (or are these melodies created by a sax) over polyrhythmic groove patterns will drive each fan of bands like SOFT MACHINE and COLOSSEUM nutz. You can bet. There is the mandatory cover version included here, 'Another country', originally played by THE ELECTRIC FLAG, which received another cover treatment from Leicester based heroes PESKY GEE! , later to be known as BLACK WIDOW. Both English bands do an awesome job on it and DEMON FUZZ get the most psychedelia out of their open jazz saxophone improvisations over a smooth, repetitive rhythm pattern in the long middle section. This tune must have been written by the Devil himself to deprive you of your soul. The soul is indeed what this composition has been all about ever since, the essence of soul music but the way it got spiced up with so many extraordinary and exotic elements makes it one of these ever flourishing youthful anthems of progressive rock and pop from the late 60s, the pioneer days of progressive music. The further you get on this album the more greatness you will experience. Fans of the jazz and rock amalgam of the Canterbury scene will definitely get excited when they stumble over 'Afreaka'. Each not gets played with so much love and passion, with a nearly demonic lust and an irresistible joy of life despite some melancholic undertones. The progressive breakouts that flow directly into the one or another boiling psyche soul cauldron come as naturally as they can come. They belong here and are one color of so many. Go and experience this beautiful record yourself if you can take a strong alloy of PACIFIC GAS & ELECTRIC, SLY & THE FAMILY STONE, COLOSSEUM, WAR, GINGER BAKER'S AIRFORCE, MILES DAVIS, OSIBISA, BLACK WIDOW, IF and NUCLEUS.

After many hours I spent among high society buggers at clean mansion parties lately it is time to go back to the streets and crawl through some nasty gin palaces for the real stuff, the dirty, the hot blooded and unrestrained grooves and striking melodies. And so we end up in some hell hole of a backstreet barroom where half dressed beauties dance around the rods and a mean looking bunch of black guys in shiny outfits lounge around the stage and play some steamy and ever pulsating soul and funk with enough dirt beneath the fingernails to prove their ghetto origins. And when I open my eyes again I am here in my comfort zone, the living room of my apartment and I listen to some vinyl turning on my turntable but still shiver from the experience I made in my dream. What is this all about Oliver Sain (1932 - 2003) was a bandleader extraordinaire and brought his crew to play at highest levels while still retaining an honest feeling. Most songs on this first album of his group come as instrumentals with the occasional commanding shout by the master himself and you will for sure recognize a few fairly popular melodies and indeed, there are adaptions of classics like 'Georgia' and the 'Harlem nocturne' played with an enormous dedication which of course goes for all the performances here. Oliver Sain and his band do not just play down their tunes, they live out each note with the fire burning within their hearts. Especially the expressive saxophone playing will leave you as a listener floored. Eruptive lines that could come straight from the vaults of the great late John Coltrane meet a rather relaxed and laid back funk sound, can you dig it There is steam heat and sheer love pouring from these well executed compositions and adaptions. Prices for originals of this rare vinyl go up to 180 Euros, so we can shiver with anticipation to get our hand on the beautiful Funky Planet reissue quite soon. Black music aficionados with a special fondness for 60s and 70s stuff will feel like a child in a sweets shop. It's all good and groovy here.

The fifth album from the brilliant free-jazz saxophonist, Ornette Coleman, was released in 1961, a mere 3 years after his first title as a leader. Coleman burst on the scene with his fiery playing and strong compositional statements. This Is Our Music is a brilliant statement of purpose, a youthful declaration of power and innovation, and one of the cornerstones of early American free-jazz. Featuring perhaps his most well regarded quartet, with Don Cherry on pocket trumpet, Charlie Haden on bass, and Ed Blackwell on drums. Essential free music from a legend.

Detroit Chicago Well, no not at all. This 1968 release comes from a German band playing some lush and dynamic soul pop with an emotionally exalted vocal style that reminds a bit of Tom Jones at times. The songs range from powerfully onward grooving booty shakers to striking melodic tunes with great chorus lines that enlighten your spirit. When you take a listen you will realize these folks had a sense for the classic beat music of just a few years prior to this release and they really manage to lay down a steaming performance on this style actually already outdated back then. But since THE SOUL EXPLOSION spice up everything with a dark and brooding back street club atmosphere at the right moment, they could do what they want and always sounded exciting and fresh. I could not have told the difference between these krauts and any popular British or North American act in their genre. There is passion, sheer lust, a wild and animalistic drive and an ongoing groove that will mesmerize you. Technically this is a really solid group that knows to let loose when it is time to but mostly keeps the energy flow under control. I am certain that 60s fanatics who love the soul and early rock fusion of this era will go insane. It might be one of these typical exploito bands that were only studio projects done by the same musicians on several occasions for good money to be sold in the bargain bin to a willing audience. Well, we rather do not think further into that direction since the music that appears on 'Soul fire' strikes your deepest inner self and sets your spirit aflame. The melodies are amazing and if you go and check the rhythms you will end up shaking without a chance to escape the everlasting pulse. This should have been enormously big. Think of later day ANIMALS, THE FOUR TOPS and the EQUALS all thrown into a mixer on full throttle, you might get something of a similar quality. Oh, Baby, c'mon shake it with me, yeah!

Detroit Chicago Well, no not at all. This 1968 release comes from a German band playing some lush and dynamic soul pop with an emotionally exalted vocal style that reminds a bit of Tom Jones at times. The songs range from powerfully onward grooving booty shakers to striking melodic tunes with great chorus lines that enlighten your spirit. When you take a listen you will realize these folks had a sense for the classic beat music of just a few years prior to this release and they really manage to lay down a steaming performance on this style actually already outdated back then. But since THE SOUL EXPLOSION spice up everything with a dark and brooding back street club atmosphere at the right moment, they could do what they want and always sounded exciting and fresh. I could not have told the difference between these krauts and any popular British or North American act in their genre. There is passion, sheer lust, a wild and animalistic drive and an ongoing groove that will mesmerize you. Technically this is a really solid group that knows to let loose when it is time to but mostly keeps the energy flow under control. I am certain that 60s fanatics who love the soul and early rock fusion of this era will go insane. It might be one of these typical exploito bands that were only studio projects done by the same musicians on several occasions for good money to be sold in the bargain bin to a willing audience. Well, we rather do not think further into that direction since the music that appears on 'Soul fire' strikes your deepest inner self and sets your spirit aflame. The melodies are amazing and if you go and check the rhythms you will end up shaking without a chance to escape the everlasting pulse. This should have been enormously big. Think of later day ANIMALS, THE FOUR TOPS and the EQUALS all thrown into a mixer on full throttle, you might get something of a similar quality. Oh, Baby, c'mon shake it with me, yeah!

This once privately released album finds its origins in the jazz music scene of Boston / Mass., USA from where people came together to lay down the two lengthy compositions 'The beginning of a new birth' (25 minutes) and 'The prayer' (15 minutes) by composer and director John Jamyll Jones. The mood is thoughtful and spiritual in some way with wordless chants, hypnotizing polyrhythmic grooves and haunting lead harmonies by saxophone and flute creating a colorful trippy stream of sound that is certainly domiciled in the field of free modal jazz in a rather relaxed fashion. It is the kind of spiritual jazz created on all acoustic instruments that recalls the greatest works of JOHN & ALICE COLTRANE or PHAROAH SANDERS during their heydays. You swim on top of this gently flowing river of notes and sometimes get swallowed by a few freak out sound maelstroms. You drift through a haze of colors and sounds until you reach a state of total enlightenment due to the repetitive nature of the rhythms and song structures. The solos of flute and saxophones are just awesome and the melodies set your soul ablaze despite the fact that the background by drums, standing bass and piano stays with one line like a stubborn mule as experienced in 'The prayer'. Well, people who love this kind of jazz will be enchanted by the WORLD'S EXPERIENCE ORCHESTRA and their sole album from 1975.

This once privately released album finds its origins in the jazz music scene of Boston / Mass., USA from where people came together to lay down the two lengthy compositions 'The beginning of a new birth' (25 minutes) and 'The prayer' (15 minutes) by composer and director John Jamyll Jones. The mood is thoughtful and spiritual in some way with wordless chants, hypnotizing polyrhythmic grooves and haunting lead harmonies by saxophone and flute creating a colorful trippy stream of sound that is certainly domiciled in the field of free modal jazz in a rather relaxed fashion. It is the kind of spiritual jazz created on all acoustic instruments that recalls the greatest works of JOHN & ALICE COLTRANE or PHAROAH SANDERS during their heydays. You swim on top of this gently flowing river of notes and sometimes get swallowed by a few freak out sound maelstroms. You drift through a haze of colors and sounds until you reach a state of total enlightenment due to the repetitive nature of the rhythms and song structures. The solos of flute and saxophones are just awesome and the melodies set your soul ablaze despite the fact that the background by drums, standing bass and piano stays with one line like a stubborn mule as experienced in 'The prayer'. Well, people who love this kind of jazz will be enchanted by the WORLD'S EXPERIENCE ORCHESTRA and their sole album from 1975.

Limited to 300 copies only! When it comes to a fusion of jazz and rock music, most of us connoisseurs look over to England. Canterbury is not only a place, it is a term to define a whole scene and sound in the field of jazzrock. And this scene spawned some magical names, bands and musicians, being carved into the soul of every woman and man who were engaged in jazz and progressive rock music in the 70s. Now we can only wonder how the call of Canterbury reached Yugoslavia, a then totalitarian eastern bloc state. But as music seems to have wings and does not accept any borders, the inspirations arrived and therefore a great scene of bands was born. Among them Slovenians PREDMESTJE, who were formed in 1975 and disbanded in 1982. 'Brez naslova', originally released in 1977, is the first in a line of four albums and features quite prototypical jazzrock and fusion pieces with a smooth approach, good grooves, really outstanding playing and a magical atmosphere. This type of forward thinking fusion of jazz and rock music shows a tight connection to the style created earlier and around the same time by English acts such as NATIONAL HEALTH, GILGAMESH, SOFT MACHINE or NUCLEUS and even incorporates a few symphonic elements for the good measure. If it was not for the scarce vocal parts that were sung in the band's native tongue, you could think Mike Ratledge, Elton Dean, Pip Pyle and Hugh Hopper aka SOFT MACHINE were playing here at times. A haunting piece of sophisticated jazz rock that deserves to live on in the hearts of the music lovers.

On this again impressive, now third, Release, Daniel Erdmann, Samuel Rohrer, Frank Möbus and Vincent Courtois update their Swiss-French-German story. This band is serendipity. Its spectrum is broad and it focuses on the collective, rather than the self-promoting individual. It is good news that the band has been able to continue to develop its concept logically. At times luxuriously floating, then tremendously gripping again, always alert and artful and full of musical refinement. This concept invites the listener into open spaces, which are filled in a measured and thoughtful manner. The first two CDs had the floating quality of clouds in the title, as a beautiful metaphor for these sounds. In which composition and improvisation balance each other out. Grunge influences, can be heard, as can chamber-music-like cello, ebbing and flowing guitar Morse code, and emancipated percussion as a melody instrument. The saxophone can assume a rhythmic function, but also let loose earthily and, above all, this captivating band never passes the listener by.

Now it is about real utopias and the sound for them. It is not about whether the sound is called jazz, rock, pop or modern classic. This pales into insignificance against pure amazement at this far-reaching yet highly concise music. What counts is the group sound, which develops with amazing depth of focus, becomes ever more coherent, causing moods, nuances and details to lift off in a fresh way, yet without losing touch with reality. The elasticity of this web intertwined with drive and drama is enormous, the band organism has something magical. Rugged impressionism in an unmistakable use of form:

each participant has been celebrated in various contexts as an extraordinary instrumentalist. This music has this as a requirement, without having to exhibit it. In a wondrous way, the music defines the quality of more that only good art can create. It does not need to impose itself, as it is far too confident of its means. "Undreamed of tonal possibilities", commented one critic on the debut in 2011, another heard "unique, delicately compelling music" as "flights of fancy in various forms", as a

"happening", as "enormously varied group interplay. Earthy, rich in detail, rocky, contemporary". The listener is invited "to let their heart be warmed by the cool songs ". This is exactly what it's about.

'Le Emporium De Jazz' is the brilliant brand new jazzy hip-hop album by Funky DL, bringing the most colourful jazz audio over DL's classic and signature hip-hop sound. This collection of 16 previously unreleased and newly revised Funky DL songs has everything jazzy hip-hop lovers will appreciate, from mellow jazzy beats to rhymes delivered with smoothness. The album includes the added extra of DL's classic tribute track 'Ode To Nujabes' as a bonus.

A curious happenstance in 1966 triggered the partnership between MPS head Hans Georg
Brunner-Schwer and George Duke. Brunner-Schwer was in San Francisco to record the Art
van Damme Quintet. After finishing the recording session one evening, he and his team
strolled over to a club called the Jazz Workshop. Les McCann was supposed to be playing, but
this particular day was his day off. Instead, a 20 year old pianist, still involved in his studies,
was performing with his quartet. The music's freshness so enthralled the German that he set
up a recording session on the spot. This encounter between George Duke and Hans Georg
Brunner-Schwer in sunny California was both accidental and noteworthy. It turned out to be
the jazzy prologue to future events: five years later the American began his fusion-infused
sessions for the man from Germany's Black Forest. These sessions are the theme of this box
set with its seven LPs. Some 40 to 45 years after their initial releases, these albums still count
as a fascinating and essential part of George Duke's life's-work and canon of the genre.

A1. Au-Right
A2. Love Reborn
A3. Peace
A4. My Soul
B1. Feels So Good
B2. Manya
B3. Sweet Bite
B4. The Followers
C1. The Inner Source
C2. Life
C3. Some Time Ago
C4. So There You Go
D1. Solus
D2. Nigerian Numberuma
D3. Twenty-Five
D4. Always Constant

A1. The Opening
A2. Capricorn
A3. Piano Solo No. 1 + 2
A4. Psychocomatic Dung
A5. Faces In Reflection No. 1
B1. Maria Tres Filhos
B2. North Beach
B3. Da Somba
B4. Faces In Reflection No. 2

A1. Funny Funk
A2. Love
A3. The Once Over
A4. Feel
B1. Cora Joberge
B2. Old Slippers
B3. Tzina ( Theme From The Opera 'Tzina')
B4. Yana Aminah
B5. Rashid
B6. Statement

A1. Chariot
A2. Look Into Her Eyes
A3. Sister Serene
A4. That's What She Said
A5. Mashavu
A6. Rokkinrowl, I don't Know
B1. Prepare Yourself
B2. Giantchild Within Us - Ego
B3. Someday
B4. I Love The Blues, She Heard My Cry

A1. Dawn
A2. For Love
A3. Foosh
A4. Floop De Loop
B1. Malibu
B2. Fools
B3. Echidna's Arf
B4. Uncle Remus
B5. The Aura

A1. Don't Be Shy
A2. Seeing You
A3. Back To Where We Never Left
A4. What The...
A5. Tryin' & Cryin'
B1. I C'n Hear That
B2. After The Love
B3.Tzina (Excerpts From Act II Scene II)
B4. Liberated Fantasies

Born in 1934, Cedar Walton grew up in Dallas, Texas before moving to New York. He became a giant in the jazz world through his explosive style on an array of keyboard instruments.
He played on a recording of John Coltrane's classic 'Giant Steps', opening his account at RCA Records with a rendition of 'Blue Trane' (Blue Train), his two mid 70s albums for the label 'Mobius' and 'Beyond Mobius' appearing here on CD for the first time.
As Cedar journeyed through the decades his love of jazz and virtuosity on all variety of keyboards kept him on the forefront of change, the time of these albums being the heyday of the jazz fusion era. It was the work he did here that brought the funk to his music through an ensemble of musicians calling themselves Mobius, going to infinity and beyond having also recorded at Muse then after RCA making two albums for Columbia.
The repertoire across 'Mobius' and 'Beyond Mobius' stretches the boundaries of jazz interpretations from the challenge of the aforementioned John Coltrane workout to the fun and frivolity of a Bee Gees creation, while defining Cedar Walton to jazz fusion fans as a composer and keyboard stylist on superb moments like 'The Girl With The Discotheque Eyes' and 'Lonely Cathedral'.

Fourplay is the debut album of the contemporary Jazz quartet Fourplay which was released in 1991. The album has sold over 1,000,000 copies in the United States and has thus been certified Platinum. Their album charted at the
#1 position on the Billboard Contemporary Jazz Charts for an unprecedented 33 weeks.
Fourplay is the super quartet composed of keyboardist Bob James, guitarist Lee Ritenour, bassist Nathan East and drummer Harvey Mason. The style is a soulful blend of Jazz, R&B, and Pop with an emphasis on original compositions by each band member. El DeBarge lends his seductive vocals to the Marvin Gaye classic 'After The Dance' to round out this musical masterpiece.