quête:trio

Limited 300 only LP pressed on 'deep space black' vinyl. Housed in a gloss finished outer sleeve with black polylined inner bag and download code. Non-Returnable.

For fans of Up-Tight, Les Rallizes Denudes, Acid Mothers Temple, and deep psych rock.

Introducing TOMOYUKI TRIO, a blistering Japanese/UK psych-rock power trio featuring Tomoyuki Aoki, Mike Vest & Dave Sneddon.

Tomoyuki Aoki is the founding member and lead guitarist of the legendary Japanese psychedelic rock band UP-TIGHT, who’ve been active and since 1992 building up a cult following worldwide.

This debut collaboration between Tomoyuki Aoki & Mike Vest (of Blown Out, Bong, Modoki, Artifacts & Uranium, Drunk In Hell etc) greets two titans of guitar feedback and blissful ‘improvised every-time’ leads.

Experimental ultra-delayed vocals, shimmer over downer minor chord basslines, leaving room for Aoki’s guitar devastations.

This is introverted mournful psychedelic rock music, yet it still grooves all the way to it's inevitable oblivion.

Charlie Hunter’s 1995 Blue Note debut Bing Bing Bing! was a groove-heavy tour-de-force that announced the arrival of a virtuosic new guitarist on the scene. Hunter’s unique concept on his 8-string guitar allowed him to lay down a bass line and play chords as well as a melodic line at the same time, producing music that was at once impressive and irrepressible. With his powerful trio featuring tenor saxophonist Dave Ellis and drummer Jay Lane plus contributions from trombonist Jeff Cressman, Ben Goldberg, pedal steel guitarist David Phillips, and percussionist Scott Roberts, Hunter delivered a 10-song set of propulsive originals including “Greasy Granny” and “Fistful of Haggis” plus an unforgettable cover of Nirvana’s “Come As You Are.” Hunter would go on to record six more excellent albums for Blue Note, and also gain notice for playing on D’Angelo’s 2000 neo-soul masterpiece Voodoo.

Limited edition classic LP, reissued on 180g vinyl, audiophile pressing
One of the best albums by the ill-fated trio of Bill Evans with bassist Scott LaFaro and drummer Paul Motian.

Penguin Guide To Jazz review:
"All the Vanguard music is informed by an extra sense of discovery, as ifthe musicians were suddenly aware of what they were on to and werecelebrating the achievement.

This is music which continues to provokemarvel and endless
study." - Richard Cook & Brian Morton

The supremely swinging pianist Sonny Clark hit the Blue Note scene in 1957 with a burst of creativity recording three albums in three months including the sublime Sonny Clark Trio, a six-song set of bebop themes and standards featuring bassist Paul Chambers and drummer Philly Joe Jones.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Those two prior releases were voted #4 and #5 best albums of the year, respectively, in the annual Francis Davis Jazz Poll of over 150 jazz critics. In two 4 1/2 Star reviews, Downbeat called Mesmerism "wonderfully simple, yet breathtakingly deep" and Off- Off Broadway (featuring saxophonist Greg Osby) "music robust enough to have you believe the energy generated by the group is its own discrete force."While the new release features the same musicians as on Mesmerism - Sorey on drums, pianist Aaron Diehl and bassist Matt Brewer - the result could not be more different.

Das Tingvall Trio feiert 2023 sein zwanzigjähriges Bandjubiläum. Besonders bemerkenswert ist, dass das Trio seit der Gründung bis zum vorliegenden neunten Album, BIRDS, immer in der gleichen Besetzung agiert. Neben dem Pianisten und Namensgeber Martin Tingvall am Piano sind dies Omar Rodriguez Calvo am Kontrabass und Jürgen Spiegel, der für Drums und Percussion verantwortlich zeichnet. Und die Drei in Hamburg ansässigen Musiker haben es geschafft, in diesen vielen Jahren eine Erfolgsgeschichte zu schreiben, die ihresgleichen sucht: mehrere ECHO JAZZ Preise als Ensemble und Live-Act des Jahres, insgesamt sechs JAZZ Awards in Gold, zwei Impala Awards für internationale Verkäufe, eine ganze Serie von No.1 Jazz Chart Alben und viermalige hohe Platzierungen in den Deutschen Top 100 Album Charts - im deutschen Jazz durchaus als herausragend zu bezeichnen. Mit BIRDS erreicht diese Entwicklung nun ihren vorläufigen Höhepunkt.
Wie immer ist Martin Tingvall für alle Kompositionen verantwortlich, die Stücke wurden aber vom Trio gemeinsam in Proben und Konzerten zur Aufnahmereife in Arrangement und Spiel erarbeitet. Und natürlich findet man auf dem Album wieder Titel mit Ohrwurmcharakter, wie etwa 'Woodpecker', 'Hummingbird' oder 'Air Guitar'. Wunderbare Balladen wie 'The Day After' mit einem gestrichenen Kontrabass von Omar Rodriguez Calvo, wechseln sich ab mit Stücken wie 'Africa', das sich in seiner Leichtigkeit sofort in die Gehörgänge schraubt. 'SOS', der Hilferuf, unserer Erde endlich eine Überlebensperspektive zu geben, bietet virtuosen Tingvall Trio Sound und eine berührende Komposition. Mit seinem Solo - Stück 'Call For Peace' steuert Martin Tingvall abschließend einen besonders introvertierten Moment bei.

A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

Superb 45 featuring two Hammond-led instrumentals. The A-side is taken from The Guy HamperTrio's second long player due out on Hangman Records. The B-side is exclusive to this release. 'Man in the Mouth of a Cave' - I have painted St. Cuthbert's Cave, Northumberland on many occasions and decided that it was imperative that I write a great jazz /beat theme all about it. (Important info: After Viking raids monks from Lindisfarne wandered the north-east carrying the body of St. Cuthbert. Legend has it that they took refuge in 'St. Cuthbert's Cave.') I wrote the song with my friend Jamie Taylor in mind to have his way with it, which he does to thunderous applause - I should imagine. '107 Sleepless' is a tune I wrote in the early 1980s when me and Mick Hampshire would stay up the entire weekend writing songs for our group The Milkshakes. (We lived at 107 Rochester Street, Chatham.) About 3am Sunday morning we would be flagging and sitting there senseless. I would play this jazz riff over and over for some unknown reason. Meanwhile it should make a nice theme tune to some yet to be written HBO series and make me a millionaire - I should imagine. GUY HAMPER - APRIL 2023

To celebrate Wes Montgomery’s centennial on March 6, Verve and UMe are releasing an Acoustic Sounds edition of Smokin’ At The Half Note –essential listening for anyone who wants to hear why Wes’ live shows were considered the pinnacle of his brilliant and incredibly influential guitar playing. He never played with more drive and confidence than he does here, supported every step of the way by a genuinely smokin' Wynton Kelly.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Never one to pull inventive punches, Left Coast electronic music producer Dave Aju reassembled this notorious cast of characters for a remarkably fitting album package made during one of the most strange times our world has ever faced in the throes of the COVID-19 pandemic. While things were essentially shutdown, reopened, cycle-repeat worldwide, and every other species in mother nature's kingdom temporarily rejoiced while humans remained still in their caves, Aju and The Invisible Art Trio, his formidable if not-seen-in-a-minute musical team behind such underground anthems as "Be Like the Sun", went to work in the final days of the glorious G-Son studios in Atwater Village LA to record this LP.

Indeed, the same four/five walls and vocal booth that saw the Beastie's iconic Check Your Head and Hello Nasty come to life, became the birthplace of Glossolalia, Aju's fifth studio album and appropriately impressive seven-song set. As always, myriad musical styles and influences are strung together and boldly combined here, to the degree that drawing comparisons or attempting genre references feels futile. There are, however, clear visceral expressions of political provocation, hope and anger, fear and joy laid over twisted yet dedicated grooves in a lockdown era where Aju's imaginary collective dance floor feels in the temporary absence thereof and bizarro sixth-world unification strategy of recording every song's lyrics in complete non-languages aka total gibberish, feels right at home. Even the vocal guests join in the literal chant here, granting us diverse spell-casting and sensual nonsensical lyrical lines over tech-funk mother lodes, before closing the otherworldly proceedings with a powerful grand finale tribute to the US of A's proud boys-in-blue in the wake of George Floyd's very public assassination.

Equal parts timely anti-establishment and uplifting call-to-action, Glossolalia serves as a decidedly coarse yet crucial reminder of the possibilities in collaborative and devoted noise-making, booty-shaking, and alternative world-building during greater global disarray - beyond stylistic, nationalistic, and linguistic dividing lines. An overtly universal and unifying message liberating us from any fixed cultural identities and thus differences, to instead just focus on how the music delivers and we physically respond, together, as the foundation. Perhaps also an inspired response to the talking heads in every corner of the world's media, spewing useless and politically-tainted mouth data at us amidst these turbulent times.

VERVE ACOUSTIC SOUNDS SERIE: Stereo, komplett analog von Ryan K. Smith bei Sterling Sound von den Originalbändern gemastert, QPR-Pressung (180 g), stabiles Tip-On-Gatefold (Stoughton Printing),
wattierte Innenhülle.
Wes Montgomery war einer der ganz großen Pioniere der elektrischen Jazzgitarre. Zur Feier seines 100.
Geburtstags wird am 6. März 2023 eines seiner besten Alben auf Vinyl wiederveröffentlicht: “Smokin’ At The Half Note”. Co-Leader war bei den rauchend heißen Aufnahmen, die je zur Hälfte live und im
Studio eingespielt wurden, der Pianist Wynton Kelly, der von seinen bestens eingespielten Trio-Partnern Paul Chambers und Jimmy Cobb flankiert wurde. Pat Metheny nannte “Smokin’ At The Half Note” vor
ein paar Jahren “das absolut beste Jazzgitarrenalbum, das je gemacht wurde”.

There’s writing on the wall that speaks of time immemorial, where symbols exist on the edge of language and abstraction.

It’s upon this precipice that Dominic James Marshall makes his mark, at the helm and on the keys of Cave Art - a slate of scintillating digital sounds, spontaneously arranged, etched in wax. The project is a thoughtful and inventive response to a long tradition of musical sampling.

Familiarity is a vessel through which Marshall channels a fierce artistry and selection is at the heart of what moves it. The trio build upon what makes beat music burrow into us so deeply, maxing out their offerings of giant synths, splintering chords and impactful beats to soul-shifting degrees.

Marshall plunges into the uncanny valley and frolics in it, inventing a fresh path for the genre with irreverent wit and divine grace.

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

The Beat Bronco Organ Trio are back with 10 heavy-weight instrumental tracks of the finest quality. "Another Shape of Essential Sounds" sees the Madrid trio stick to their winning formula: sublime Hammond organ grooves, nifty guitar work and dynamic drums combine to produce a rich, uplifting, and vintage sound. Straight to the point, no fillers, and no messing around with the longest cut just over 4 mins, these are irresistible, foot-tapping tunes which sound as good on the dance floor as at a dinner party.

Those djs who are always looking for tracks no one else is playing are going to be superhappy with this 45.
100% dance floor dynamite!
It does not get any better than this.

Mr. B is the album recorded in 1983 by Chet Baker and is considered one of the best from that period. Baker plays compositions from “Dolphin Dance” (Herbie Hancock), “Strollin” (Horace Silver) and “In Your Own Sweet Way” (Dave Brubeck). The sadness of the songs is felt throughout, in a lazy sometimes slow and sluggish tempo. The album includes two bonus tracks “White Blues” and “Father X-mas” and band members include Michel Graillier (piano) and Ricardo Del Fra (bass).

Mr. B is available as a limited edition of 1000 individually numbered copies on translucent red coloured vinyl. The album sleeve contains liner notes by Wim van Eyle.

• 180 GRAM AUDIOPHILE VINYL
• SLEEVE PRINTED ON HEAVY CARDBOARD WITH LINEN LAMINATE FINISH, CONTAINING LINER NOTES BY WIM VAN EYLE
• CHET BAKER PLAYS COMPOSITIONS FROM HERBIE HANCOCK “DOLPHIN DANCE”, HORACE SILVER
“STROLLIN”, DAVE BRUBECK “IN YOUR OWN SWEET WAY” PLUS 2 BONUS TRACKS “WHITE BLUES” AND “FATHER X-MAS”
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON TRANSLUCENT RED COLOURED VINYL

Die Fähigkeit des Bobo Stenson Trios, weitreichende Idiome und ein breit gefächertes Repertoire im Rahmen seines eigenständigen Ausdrucks zu umfassen, ist inzwischen so etwas wie ein Markenzeichen der Gruppe geworden und brachte The New York Times zu der Aussage, der Pianist mache ”erhabene KlaviertrioPlatten, ohne jemals zu viel zu spielen.

Es pulsiert, bewegt sich in Wellen mit langen improvisierten
Phrasen; es ist lebendig”. Das erfahrene Trio zeigt sich auf Sphere als besonders eingespielte Einheit und bewegt sich auf zugleich subtile und eigenwillige Weise durch eine Reihe von Eigenkompositionen
sowie Melodien, die von diversen skandinavischen Komponisten stammen.

Der schwedische Pianist hat in jahrzehntelanger Zusammenarbeit mit ECM und Manfred Eicher – der, wie Bobo sagt, ”die besten
Qualitäten der Musiker hervorhebt” und die Platte produziert hat – eine einzigartige Mischung aus verschiedenen musikalischen Strömungen entwickelt und verfeinert. Die Mitstreiter des Pianisten, Anders Jormin am Bass und Schlagzeuger Jon Fält, die den Bandleader seit Cantando (2008) begleiten, sind mehr als ideale musikalische Partner für Bobos sanften Anschlag und unendliches Verlangen nach Zusammenspiel. Bobo: ”Wir spielen nie ’von der Stange’. Die Dinge kristallisieren sich aus dem Moment heraus und
wir passen uns dem an. Das ist die Quintessenz.
Das macht die Freude des Zusammenspiels aus; nie das Gleiche zweimal zu machen, und mit Entschlossenheit.”

In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz’s great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader JOHN HICKS (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Juilliard School. After playing with a number of different artists during the early ’60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early ’70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary IDRIS MUHAMMAD (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have CURTIS LUNDY (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass strokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

With ‘Wille’, their second album, the Vincent Meissner
Trio show that young, complex, crisp piano trio jazz
does not have to come from the USA, England or
Scandinavia, like many famous current
representatives.

Totally contemporary music with heart and brain,
whether in the form of original compositions or reconstructions of Whitney Houston, Louis Cole or The
Beatles.

What the Vincent Meissner Trio are able to do above
all is to convince with its fundamental honesty and
authenticity. Yes, the trio is being proactive in
determining how it wants to present its art, and also its
members as individuals. “It’s nice to have people
listening to us,” says Vincent Meissner, with the live
experiences of the last few months very much in mind.
He understands his pieces as a framework to be filled,
as a space to be walked through as a group together.
It is all about conveying impressions of the present
beyond words, about evoking emotional experiences
which go beyond the tangible moment in a way that is
completely natural. ‘Wille’ is an important step forward
for the Vincent Meissner Trio, and it will already make
listeners want more. This band are well on their way

Das Emil Brandqvist Trio ist mittlerweile eine feste Größe im europäischen Jazz Circuit und erfreut sich mit jedem Album größerer Popularität, bis auf Position 3 führte zum Beispiel die Reise in den deutschen Jazz Charts. Traumwandlerisch bewegen sich der Göteborger Schlagzeuger und Komponist Emil Brandqvist und seine seit sechs Alben konstanten Trio Partner Max Thornberg am Kontrabass und Tuomas A.Turunen am Piano durch ebenso poetische wie bildhafte Soundwelten, man kann mit Fug und Recht konstatieren, dass dieses Trio zu den wenigen in Europa gehört, die einen ganz eigenen und vom Publikum euphorisch gefeierten Sound gefunden haben.
Das neue Album "Layers Of Life" gerät zweifellos zum Höhepunkt ihres bisherigen Schaffens. Gleich dreizehn neue Songs aus der Feder von Emil Brandqvist überzeugen mit filigranen, hochkomplexen und doch so eingängig daherkommenden Arrangements, bei einem der zentralen Stücke des Albums, "Solitude" war als Co-Autor auch der finnische Pianist Tuomas A. Turunen beteiligt. Schon eine gute Tradition ist es, dass Brandqvist auch das Sjöströmska String Quartet für einige Songs ins Studio gebeten hat, um das Trio Format zu einem Breitwandsound zu erweitern. Daneben sind auch Maija Kauhanen (Kantele,Voice und Harmonium) und sein Bruder Martin Brandqvist, der punktuell mit Flöte, Klarinette und Bass Klarinette ergänzt, zur Verfeinerung der Klangwelten eingeladen worden. Emil Brandqvist selbst lässt es sich nicht nehmen, besondere Akzente durch die Verwendung eines Moog Synthesizers zu setzen.
Erstmals werden sämtliche Songs spielzeitbedingt auch auf einer Doppel - LP erscheinen und so die komplette musikalische Reise auf 180g Vinyl abbilden. Das Emil Brandqvist Trio wird im April / Mai und dann auch nochmal in Oktober / November für Konzerte durch Europa reisen.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Midnight Sugar is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

On “Midnight Sugar” the Tsuyoshi Yamamoto Trio plays two of Tsuyoshi’s own blues improvisations followed by jazz ballads that became standards for the Trio. The combination of these titles is nothing but exceptional.

The Yamamoto Trio’s Midnight Sugar was recorded March 1, 1974 at Aoi Studio, Tokyo. It earned the Best Engineering Award and Jazz Disc Award of Swing Journal in 1974. It is Yamamoto’s unmistakable skill and his jazz feeling which adds that certain touch of liveliness and spontaneity and makes Midnight Sugar a unique experience. This Piano Trio will mesmerize you with this great collection of standards, superb musicianship and awesome sonics. You are sure to listen to this one over and over.

Mastered by Tohru Kotetsu and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Misty is one of the most sought-after titles from the acclaimed Three Blind Mice catalog.

Touring with the Micky Curtis Band, Tsuyoshi Yamamoto had the chance to explore several international experiences that he would later use on his 1974 album, Misty, as he worked with this band in France, England, and Switzerland.

The Yamamoto Trio’s Misty is a Stoned Cold Killer! A1 Reference Material!!! Misty earned both the “Best Engineering” Award and Jazz Disc Award of Swing Journal in 1974. Recorded at Aoi Studio, Tokyo, on August 7, 1974. Tsuyoshi Yamamoto is highly musical and his expressions natural, neither overly technical nor serious, his performance is relaxed and melodious.

Mastered by Kevin Gray and pressed at RTI, this 45rpm LP will live up to and surpass your most demanding judgments. Blow Up is one of the most sough-after titles from the acclaimed Three Blind Mice catalogue.

Isao Suzuki’s Blow-Up is virtuosity and class all rolled up into one. A great combination of upbeat blues and mellow grooves! The album was awarded “Jazz of Japan” Award and the Jazz Disc Award of “Swing Journal” in 1973.

Diese luxuriöse 3-LP erweitert das bahnbrechende Werk des Vince Guaraldi Trios, zu dem auch der Grammy®-gekrönte Hit ”Cast Your Fate to the Wind” gehört, erweitert um 16 Bonustracks, darunter
alternative Takes und bisher unveröffentlichte Musik und neue Linernotes.
Die Aufnahmen wurden von Plangent Processes übertragen und von Paul Blakemore neu gemastert. Die Sammlung enthält außerdem
neue, ausführliche Liner Notes des Jazz-Autors Andrew Gilbert (San Francisco Chronicle, San Jose Mercury News, KQED Arts).

Auch ohne sein Lied ”Cast Your Fate to the Wind”, ein echter und allzu seltener Instrumentalhit, war Guaraldis Album ”Jazz Impressions of Black Orpheus” von 1962 ein Meilenstein, der ein Trio mit einem
einzigartig verführerischen Sound vorstellte. Die Kombination aus geschliffener Lyrik, rhythmischer Subtilität und exquisiter dynamischer Kalibrierung zeichnete es aus, aber die Wirkung der Gruppe ergab sich auch aus ihrem Repertoire.

Guaraldi war nicht der erste amerikanische Jazzkünstler, der sich mit dem brasilianischen Liedgut auseinandersetzte.
Aber Jazz Impressions war ein früher Vorbote der allgegenwärtigen, beispiellosen und dauerhaften Übernahme des Bossa Nova (was auf Portugiesisch ”neue Sache” oder ”neue Welle” bedeutet) durch die Jazzszene.

ZEHRA is proud to present the debut album ISTEHLAL by the MOHAMAD ZATARI TRIO, consisting of musicians from Syria, Iran & India. The trio merges traditional Middle Eastern sounds with contemporary vibes incl. interpretations of Hossein Alizadeh & Riad Al-Sunbati classics.

In a contemporary globalised world where music has lost its borders and is fighting a constant – yet particular – stream of Western commodification, the Mohamad Zatari Trio stands out as an original cultural artefact, aiming at transcending the boundaries between different music worlds.
Founded in 2019 the ensemble had its first public appearance in 2020 at the Outernational Virtual Festival. Comprising the performers Sara Eslami (Iran) on tar, Avadhut Kasinadhuni (India / Romania) on tabla and Mohamad Zatari (Syria) on oud.
Their debut ISTEHLAL plunges into its own aesthetics, politics and sound intricacies and represents the combined efforts of three musicians hailing from different, yet deeply rooted cultures. Over the course of eleven songs, the album transcends stylistic, ideologic and
geographic boundaries and reflects on the human condition in an interconnected and interrelated technological world. The repertoire includes not only original compositions in different stylistics
but also rearranged traditional pieces by influential composers Riad Al Sunbati (Egypt) and Hossein Alizadeh (Iran).
The Mohamad Zatari Trio introduces itself as a strong new voice within a new generation of young musicians that carry the musical heritage of great masters like Ravi Shankar, Nusrat Fateh Ali Khan or Zakir Hussain with a fresh and contemporary approach.

Mohamad Zatari is a composer and oud player from Aleppo, Syria, currently based in Bucharest, Romania. His artistic effort is devoted to deconstructing stereotypes and blending various musical genres. He has been taught traditional and regional music by Tarek Al-Sayed,
and has a Bachelor in classical composition at the National University of Music Bucharest (2021). His compositions were used for short films as well as educational courses. He performed in various ensembles and groups, in countries such as Syria, Romania, Hungary, Germany, Italy
and Austria.

Sara Eslami is an Iranian composer, tar and setar instrumentalist and improviser. She has a bachelor's in musical Performing at the Tehran University of Arts (2011).


Romanian/Indian Avadhut Kasinadhuni has a Master in Musical Performing / Violin at the National University of Music Bucharest (2022) and started studying tabla intermittently in India with Prof. Kamal Kant (2008) and Prof. Durjay Bhaumik (2017).

Credits:
Recorded by Alexandru Zaharencu at Avanpost media, Bucharest, Romania
on 29th & 30th January 2022
Mixed by Dirk Dresselhaus at ZONE, Berlin, Feb. 2022.
Mastering & lacquer cut by Anne Taegert at D&M.

Limited Edition 180g blue coloured vinyl pressing

Contains the hit single 'Poinciana' and two bonus tracks 'All the Things You Are'
and 'Cherokee'. 'But Not For Me', the first of Ahmad Jamal's Live at the Pershing
Lounge recordings, sold two million copies, reaching No. 1 on the Billboard jazz
chart, where it remained amongst the best sellers for 107 weeks.

For fans of - Booker T & The MGs, James Taylor Quartet, Georgie Fame, Big Boss Man. Groovy Hammond garage rock instrumentals from Billy Childish (Thee Headcoats/CTMF etc) and featuring James Taylor (Prisoners/JTQ) We’re loving this new album by The Guy Hamper Trio! Who’s in the band sunshine? Mainly myself on guitar, Julie on bass, Wolf on drums, and of course Jamie on Hammond. A great bonus is Thee Headcoats with Bruce and Tub guest as rhythm section on a track or two. You and James Taylor go back a long way. Do you remember how you first met? The Prisoners were a young group who played with us (the Milkshakes) in the early 1980s. One day they turned up with an organ player, Jamie. Jamie used to then borrow my Selmer guitar amp to play through. You’ve revisited a few old classics on this album, and given them a true makeover. How would you describe The Guy Hamper Trio’s sound? I guess there must be a derogatory term for it but I might need some help finding it. In the very early days of The James Taylor Quartet (Wolf was their drummer back then), I was in the Natural Born Lovers (A blues group with Big Russ and Sexton Ming). We used to be the support for them. I really liked their sound and I guess The Guy Hamper Trio is not a million miles from that blues-influenced, film soundtrack vibe, man. There you made me say “man”. Next thing you know I will be saying “cool!” Let’s just say it's a wizard sound, Jamie is such a great player. Prior to this album The Guy Hamper Trio’s sole release was the ‘Polygraph Test’ 7” from 2009. Why such a big gap? It takes time for all of us to get all our solders in line. “Get on with it mush! And trifle not, your time is but short!” What inspired the album’s title track All The Poisons In the Mud? It’s actually the title of a novel I’ve been writing, and rewriting, over the past 12 years, and is taken from a quote from I Claudius by Robert Graves - a formative influence on me as a 15 year old. The sleeve art is pretty different to your other recent records, could you tell us a about that? Who designed it? I nominally designed it but the truth is that it's essentially a rip off of a Saul Bass sleeve he did for Duke Ellington. We started mining that seam back in the Milkshakes when Bruce (Brand) did the sleeve for Thee Knights of Trashe. The album closes with a storming cover of Jimi Hendrix’s “Fire”. What do you think Jimi would make of your version? I've been a fan of Jimi since my elder brother brought his records home in the '60s. Jimi was well known to “dig” others work and interpretations and would no doubt smile, narrow his smoky eyes and say “cool man!” and I would no doubt reply "wizard Jimi!" TRACKLISTING 1. All The Poisons in the Mud 2. Come Into My Life 3. Moon of the Popping Trees 4. Girl From '62 5. Full Eclipse of the Sun 6. Sally Sensation 7. 7% Solution 8. Step Out 9. Polygraph Test 10. The Kids are all Square 11. Skinwalker 12. Fire