Suche:lou donaldson

When saxophonist Lou Donaldson hooked up with the funky drummer Idris Muhammad on Alligator Bogaloo it began a run of great groove-oriented albums including Say It Loud with trumpeter Blue Mitchell, organist Charles Earland, and guitarist Jimmy Ponder for a deeply soulful set opening with a cover of James Brown’s ‘Say It Loud (I’m Black and I’m Proud)’. This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Midnight Creeper was the third in a series of stellar soul jazz outings saxophonist Lou Donaldson made for Blue Note in the late-1960s with key players including Hammond B3 organ virtuoso Lonnie Smith, young guitar star George Benson, funky drummer Idris Muhammad, and the bluesy trumpeter Blue Mitchell. 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 tip-on jacket.

Forgotten Man is an album by Lou Donaldson, released in 2023. Forgotten Man includes a.o. the following tracks: “Confirmation”, “Whiskey Drinkin' Woman”, “This Is Happiness”, “Tracy” and more. The album is a Coloured Vinyl, High Quality jazz LP.

"Lou Donaldson had already helmed seven Blue Note sessions by the time he made his undisputed masterpiece Blues Walk in 1958. Joining the saxophonist were Herman Foster on piano, Peck Morrison on bass, Dave Bailey on drums, and Ray Barretto on congas for a six-song set that yielded one of his most memorable themes with the cool struttin’ title track.
This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal."

Fusing hard bop and soul jazz and to create a seriously funky concoction, alto saxist Lou Donaldson’s classic 1967 soul-jazz album gets a vinyl reissue, his 16th and funkiest Blue Note record. Recorded at The Van Gelder Studio, Englewood Cliffs, New Jersey, on 7 April 1967. Featuring the young George Benson on guitar, plus Lonnie Smith on organ, Melvin Lasite on cornet and Leo Morris (AKA Idris Muhammad) on drums. Features the classic title track plus two other superb Donaldson originals (‘The Thang’, ‘Rev Moses’), plus Lonnie Smith’s effervescent ‘Aw Shucks’. A breezy, uplifting funk-fest from start to finish, with good grooves and great solos. The beginning of a long and fruitful partnership between Lou Donaldson and Lonnie Smith. Featuring a classic cover design by Reid Miles and liner notes by Del Shields.

In the pantheon of classic free jazz, Noah Howard's The Black Ark looms large. Recorded at Bell Sound Studios in New York City in 1969 – just prior to the alto saxophonist's relocation to Europe – the album was eventually released in 1972.

The Black Ark exhibits not only the power and imagination of Howard's playing, but also his breadth as a composer and bandleader. Listeners expecting unrelenting blasts of "energy music" might be surprised to find a cohesion atypical of free jazz; amidst the wild, impassioned solos, Howard weaves in Latin rhythms and fat-bottomed grooves.

The first side, consisting of "Domiabra" and “Ole Negro,” sets the album's tone. Both tracks sound as if they could have appeared on some of Blue Note's proto-spiritual jazz, groove-heavy releases – evoking the likes of Lou Donaldson or Horace Silver – before ceding the floor to the horn players' anarchic firepower.

As John Corbett writes in the liner notes, "Two players stand out. Bassist Norris Jones – who would soon consolidate his name into a one-word reversed amalgamation/permutation of the two, Sirone – is given ample room, largely unaccompanied; his corporal approach foreshadows later work with the Revolutionary Ensemble. But the secret weapon on The Black Ark is Arthur Doyle. Straight from basement rehearsal sessions with Milford Graves, whose ensemble he had joined and who remained a favorite of the drummer for decades, Doyle is a human flamethrower."

Trumpeter Earl Cross' guttural, vocal effects complement Doyle's take-no-prisoners approach, while the estimable combination of Muhammad Ali (Rashied's brother) on drums and Juma Sultan on congas adds an ever-shifting propulsion. The septet is rounded out by the enigmatic pianist Leslie Waldron, who anchors the group with imaginative accompaniment and occasional boppish flourishes.

Every bit worthy of its reputation as an "out-jazz" holy grail, The Black Ark only sounds better with age. It remains the ideal record to convert the remaining free-jazz skeptics.

A Night at Birdland Volume 2 continues the energy of the first volume, capturing the essence of hard bop in its emergence. Recorded in 1954, it highlights the quintet led by Art Blakey, featuring Clifford Brown, Lou Donaldson, Horace Silver, and Curly Russell. This second volume delivers vibrant performances such as “Wee-Dot” and “Quicksilver”, where Brown and Silver’s virtuosity particularly shines. Blakey, through his rhythmic power, drives each track with unmatched intensity, foreshadowing the spirit of the Jazz Messengers.

A Night at Birdland Volume 1 is a live album by drummer Art Blakey, recorded in 1954 at the famous Birdland club. This first volume highlights his quintet, featuring Clifford Brown on trumpet, Lou Donaldson on alto saxophone, Horace Silver on piano, and Curly Russell on bass. The album captures the raw energy of emerging hard bop, with intense tracks like “Split Kick” and “A Night in Tunisia.” Blakey asserts his explosive drumming style, foreshadowing the era of the Jazz Messengers.

‘4th DIMENSION’ is the last and probably greatest album ever recorded by Italian piano Maestro Mario Rusca. This monumental music produc"on features tracks in Nonet, Quintet and Trio. Along with the faithful rhythm sec"on composed by Riccardo Fioravan" on bass and Maxx Furian on drums, on this slamming cinema"c jazz album Mario Rusca teamed up with two extraordinary wind players: legendary Flavio Boltro (of Michel Petrucciani Quintet fame) on trumpet and Gabriele Comeglio on sax alto.

As far as the choruses are concerned, Nicole4a Tiberini, Mar"na Rossi and Alice Macchi, from Maestro Rusca’s ensemble music courses at the Civica di Jazz School, provide inspired and swinging backing vocals. The cherry on the cake, the element that gives to ‘4th DIMENSION’ a pulsa"ng and swinging’ drive, is the par"cipa"on on the album of Marco Fadda, one of Italy’s leading percussion players.

This heterogeneous ensemble has shaped, during 5 days of intense studio recordings, an absolute masterpiece full of swinging rhythms along with a few magical in"mate moments. In his 65 years career, Italian piano legend Mario Rusca has shared the stage and recording studios with luminaries such as Chet Baker, Cur"s Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Lee Konitz, Dusko Gojkovic, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy and Tony Sco4 (with whom he formed an indissoluble partnership).

Being accompanied in this album by extraordinary musicians, Rusca chooses to flow in a repertoire that, like in his most recent records for Mono Jazz, bridges between original pieces and revisited standards from the American Jazz Songbook, approached with unprecedented sensi"vity and depth.

The journey of ‘4th DIMENSION’ is an extraordinary cinema"c musical voyage across various styles ranging from Bop, Hard Bop, Cool, Funk and La"n Jazz. ‘4th DIMENSION’ is a perfect follow up to the interna"onally acclaimed Easy Tempo legacy! In these 13 tracks, “il Maestro” embraces and enhances a ‘cinema"c’ component in his music - an a4ribute he has long cul"vated through original soundtracks and library albums recorded for diverse cult Italian labels.

This, as we were saying, is achieved through the addi"on of percussionist Marco Fadda, who introduces a series of rhythmic nuances across several tracks, and of the extraordinary female vocal trio reminiscent of I Cantori Moderni of Alessandro Alessandroni & Edda Dell'Orso, used in the tradi"on of Italian composers of ‘60s and ‘70s film music.

This natural progression reflects Italy's history, where jazz musicians have long been involved in soundtracks and film scoring since the late ‘50s. Italian jazz has integrated this approach into its composi"on and arranging styles, as demonstrated in the first 10 volumes of the Easy Tempo series. A spirit and tradi"on that Rusca's ‘4th DIMENSION’ record con"nues. Listening to some of the tracks on the record evokes the legendary works created for cinema by Piero Umiliani, Piero Piccioni, Lelio Lu4azzi, Armando Trovajoli, Gianni Ferrio and others.

Mario Rusca is most probably the biggest living Italian jazzman. His major influences are Duke Ellingtons composing abilities and Hampton Hawes' brilliant sound. He immersed himself in the harmonic inventions of the incredible pianists of the 60s and 70s: from Bud Powell to Bobby Timmons, Wynton Kelly and Bill Evans. Mario Rusca has been the house pianist of Capolinea, the most important Italian jazz club of the 70s and 80s. He went on to perform in important national and international settings-representing Italy in the "Piano Solo'' category of the "International Festival of Varsavia" and participating with his quintet at the "International Festival of Montreal". He has collaborated with a multitude of prestigious names: Chet Baker, Tony Scott, Curtis Fuller, Gerry Mulligan, Lou Donaldson, Art Farmer, Bob Berg, Lee Konitz, Dusko Gojkovic, Al Gray, Kay Winding, as well as Stefano Bagnoli, Enrico Rava, Tullio De Piscopo, Kenny Clarke, Stan Getz, Jimmy Owens, Toots Thielemans, Gianni Basso, Pepper Adams, Steve Lacy, Steve Grossman, Franco Ambrosetti, Woody Shaw, and Eddie "Lockjaw" Davis. With Gerry Mulligan, in particular, he toured in 1976 and with Lee Konitz, he recorded Wheres The Blues? at the end of the 90s. In this regard, Suspension in 1975 with Tullio De Piscopo and Recreations in 1976 with the phenomenal Larry Nocella playing saxophone are still very beautiful and modern recordings. As Mario says, "In jazz, you choose the companions that you can dialogue the most with.there needs to be an interplay, there needs a...a way of feeling, which is why you choose musicians because they feel like you, or, if nothing else, they follow you". The chemistry between the three of them is perfectly aligned, synergistic. Tonys drums and Riccardos bass create a soft and essential rhythmic tapestry that never hinder the creative prowess of the band leader. Here Mario Rusca is interpreting the most dynamic jazz standards. Blues for Gwen by McCoy Tyner, Blues Walk by Lou Donaldson, Blue Minor by Sonny Clark, Turnaround by Ornette Coleman, Bass Blues by John Coltrane or even Super Jet by Tadd Dameron. You cant help but imagine yourself on top of a convertible, smiling and carefree, while they travel through the soloist progressions of Turnaround and Super Jet. We need to underline the four originals included in this recording: Blue Dream (for Allerim), Tempo Blues, Double Horn e Monochrome Blues, extremely suggestive compositions, rich of intuitions and which well exhibit Mario Rusca composition skills and his ability to play the blues. MONOCHROME BLUES is a winning trio album which will deeply please the most demanding jazz hears. The musicians Mario Rusca (piano) Riccardo Fioravanti (bass) Tony Arco (drums)

Continuing Mr Bongo’s series exploring the wealth of material released through the record labels of Sonny Lester, 1977’s Funk Reaction finds Hammond B3 organ virtuoso Lonnie Smith at his most dancefloor-friendly. Dripping with groove and swagger, this album skates between jazz-funk, cosmic disco radiance, beat-laden slow-jams and conscious psychedelic soul.

Having played with the likes of George Benson and Lou Donaldson in the ‘60s, alongside releasing a string of albums on Columbia and Blue Note, Funk Reaction sees Smith move into late ‘70s disco-funk-tinged territory.

Originally released on Sonny Lester's Groove Merchant Records successor, Lester Radio Corporation, the album feels more like a collaborative band-orientated project as opposed to a solo artist outing. Featuring some elite session players of the time, including Steve Gadd on drums, guitarist Lance Quinn and bassist Bob Babbitt, the album is tied together expertly by songwriter, arranger and conductor Brad Baker.

It’s worth the price tag alone for the superb disco-funk nugget 'Funk Reaction’. Other highlights include the only Lonnie Smith penned track on the album 'All In My Mind', that shines with a beautiful Stevie Wonder-esque quality and the slick guitar-led floater 'When The Night Is Right’, written by and featuring guitarist Richie Hohenburger. Elsewhere, ‘For The Love Of It’ and the Brad Babbitt written ‘Babbitt's Other Song’ serve up classic jazz funk flavours, both featuring stellar tenor saxophone from Eddie Daniels.

As a whole, the album is a superb example of Lonnie Smith’s ability to merge jazz with elements of funk, soul, disco and beyond, experimenting with ideas whilst broadening the scope of both his audience and appeal. Fans of The Blackbyrds, the CTI / Kudu stable and ‘70s George Benson will dig this!

Run DMC haben 1992 (fast) alles hinter sich gelassen, um einen zeitgemäßeren Sound zu kreieren. Dies gelang mit der Unterstützung von Produzent Jermaine Dupri und den Featurings Q Tip (A Tribe Called Quest), Naughty By Nature, Pete Rock usw... Erhältlich als Doppel-LP auf weissem Vinyl im Gatefold

In den Jahren 1961 und 1962 hätte sich der Gitarrist Grant Green eigentlich auch gleich in Rudy Van Gelders Tonstudio in Englewood Cliffs als Untermieter einquartieren können. Denn in diesem Zeitraum war er dort an mehr als zwei Dutzend Einspielungen für Blue Note Records beteiligt. Die eine Hälfte machte er unter eigenem Namen, die andere Hälfte als Sideman von Größen wie Stanley Turrentine, Lou Donaldson, Hank Mobley, Ike Quebec, Horace Parlan und Baby Face Willette.
Um den Markt nicht zu übersättigen, sah sich Alfred Lion dazu gezwungen, einige von Greens Aufnahmen zu archivieren. Fünf von ihnen erschienen erstmals in den 1980ern. Darunter auch das im Januar 1962 entstandene Album “Nigeria”, das zu den unterbewerteten Juwelen des Gitarristen gehört. Zu erleben ist Grant Green auf ihm mit einer wirklich erstklassigen Band und einem ebenso exzellenten Repertoire (mit dem Sonny-Rollins-Klassiker “Airegin” und vier zeitlosen Standards).
BLUE NOTE TONE POET EDITION: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles deluxe tip-on jacket, wattierte Innenhülle.

The incomparable trumpeter Clifford Brown recorded two leader sessions for Blue Note in 1953—a co-led quintet date with Lou Donaldson and his own sextet date—that were compiled on the 12" LP Memorial Album (BLP 1526) shortly after his tragic death in 1956. Brownie’s star burns bright from the blistering ‘Cherokee’ to the stunning ballad ‘Easy Living’. This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

Er gilt als einer der herausragenden Drummer seiner Generation und ist auch als Multi-Instrumentalist und Songwriter eine absolute Ausnahmeerscheinung: Gregory Hutchinson. Er ist für seine Arbeiten mit unzähligen Stars bekannt, darunter Betty Carter, Red Rodney, Roy
Hargrove, Joshua Redman, Dianne Reeves, Lou Donaldson, Wynton Marsalis, John Scofield, Diana Krall und Harry Connick Jr, um nur einige zu nennen.

Hutchinson wurde in Brooklyn, New York geboren, wo er umgeben von Musik aufwuchs, vom geliebten Soul und R&B seiner Mutter bis hin zum Reggae seines Vaters - ebenfalls ein Schlagzeuger - und den explosiven Klängen des klassischen Hip-Hop , die ab den späten
1970er-Jahren die Straßen von New York City füllten.

Sein neues Album "Da Bang" koproduziert mit K arriem Riggins hat all diese unterschiedlichen Prägungen zu einem einzigartigen Ganzen verschmolzen. Im Herzen dieses Albums steht die überbordende Energie Brooklyns , angereichert mit Einflüssen verschiedenster
Genres und getragen von sehr persönlichen Lyrics.

Hutchinson geht in seinem Songwriting mit genau der Vielseitigkeit, Dynamik und Vorstellungskraft zu Werke, für die er seit vielen Jahren bekannt ist. Seine Eigenkompositionen decken dabei das gesamte
Farbspektrum ab.

Mit Karriem Riggins, PJ, Christian Scott, Soweto Kinch, Nicholas Pyton, Kurt Rosenwinkel, Sy Smith, Leona Berlin u.a.

Another essential 45 from the 5 Boroughs of NYC, with Da Youngstas "Pass The Mic" making its first ever appearance on 7" with the original sample source on the flip. This should have mass appeal!

Texas born guitarist Melvin Sparks is one of the godfathers of Acid Jazz. He first came to prominence in the bands of Jack McDuff and Lou Donaldson, providing an essential element in their funky groove-based classics of the late 60s. He then became part of the Prestige Records funk team, under the tutelage of producer Bob Porter. He made his debut LP “Sparks”, for the label in 1970, alongside Idris Muhammad, Leon Spencer and Houston Person. Two further exciting albums appeared on the label with “Spark Plug” and “Akilah” and over a dozen side-man appearances.

When Porter left to set up Eastbound Records in Detroit - as part of Westbound Records - Sparks followed, recording his label debut "Texas Twister” in 1973. The following year, after Porter left, he recorded the album that became “’75” with some of the label’s top session players, including members of Funkadelic and vocalist Jimmy D Scott, who sang on ‘I Got To Have You’ and ‘If You Want My Love’. The nine tracks featured a slicker sound, that mirrored the contemporary soul jazz of the time and included club classics like 'Get Ya Some' and 'Get Down With The Get Down’.

Sparks began recording one more album for the label which languished in the vaults for decades and then mostly concentrated on session work before he was rediscovered by the acid jazz scene in the late 80s, and was brought over to Europe to tour as part of the BGP All-Stars and this late revival saw him record five further albums.

This is the first vinyl reissue of this album since 1975.

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

Who did Aretha Franklin not want to miss out on when she recorded
her most inspiring albums in the early Seventies? Who gave Steely
Dan the beat? Who did Isaac Hayes, Donny Hathaway, BB King,
‘Sweet’ Lou Donaldson and Joe Cocker give the chair behind the
drums? No drummer has seen the inside of a studio as often as
Bernard ‘Pretty’ Purdie.
 Not for nothing do colleagues attribute the ‘funkiest soul beat on the
scene’ to the drummer, and consequently, Purdie has never relied on
the genre of jazz alone, but rather curiously looked beyond the
borders. Sessions with The Rolling Stones, James Brown, Jimi
Hendrix or Tom Jones are no problem for him, whose precise and
sensitive playing is synonymous with drive and groove. This is
probably one of the reasons why his rhythms are still sampled by
many DJs today.
 Released on CD back in 1996 and 1997 (and now out of print), the
two ‘Soul to Jazz’ recordings have a cult factor today and sound as
fresh as they did back then. Now both albums are released together
for the first time as a 3LP set.
 These recordings are peppered with lots of prominent star guests
from jazz and soul, from Eddie Harris, Michael Brecker and Nils
Landgren to Hank Crawford, Stanley Turrentine and Cornell Dupree.
 Purdie’s ‘Soul to Jazz’ project takes two different approaches: The
first part focuses on the renowned WDR Big Band led by Gil
Goldstein. Soul classics such as Stevie Wonder’s ‘Superstition’,
‘When a Man Loves a Woman’, Eddie Harris’s ‘Freedom Jazz Dance’
and Lee Morgan’s famous groove tune, ‘Sidewinder’, are interpreted
in large scale sound. One discovery of these recordings amidst all the
renowned guest soloists is the New York-born singer, Martin Moss.
 The great success of this first album, released under ‘Soul to Jazz’,
led to ‘Soul to Jazz II’, a more intimate record, but one that picks up
where the first recording left off, by exploring similar themes. Again,
Purdie has called together a notable band of kindred spirits, including
saxophonists Hank Crawford (BB King, Ike and Tina Turner, Ray
Charles), Stanley Turrentine (Jimmy Smith, Shirley Scott) and Vincent
Herring, as well as guitarist Cornell Dupree (King Curtis) to pianists
Benny Green and Junior Mance.
 Bernard Purdie’s ‘Soul to Jazz’ is a timeless classic and a blueprint of
the soul jazz genre in all its facets. Above all, it is a portrait of one of
the most influential and best drummers in the world, who made jazz
groove with his inimitable funky soul beat

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.

Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.

If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.

He's recorded and toured with the likes of Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.

The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.

"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.

One of the most active bebop trumpeters, Kenny Dorham started in the big bands of Mercer, Ellington, Lionel Hampton, Billy Eckstine and Dizzy Gillespie and eventually landed in the Charlie Parker Quintet. In addition, he was a charter member of Art Blakey’s Jazz Messengers, recorded as a sideman with Thelonious Monk and Sonny Rollins and replaced Clifford Brown in the Max Roach Quintet. Throughout his career he can be heard playing trumpet on various recordings with Lou Donaldson, Sonny Stitt, Fats Navarro, Kenny Clarke, Mary Lou Williams and many more musical legends.

“Quiet Kenny” is a jazz masterpiece. Recorded by the great Rudy Van Gelder with a group of musicians playing at the top of their game, this title continues to be one of the most collectible Jazz LPs due to its high demand and short supply.


PLAYERS:

Kenny Dorham, trumpet
Tommy Flanagan, piano
Paul Chambers, bass
Art Taylor, drums

Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This Dutch record label has specialized in bebop, although it also did a sub-series of releases of Dixieland, Swing and Classical recordings. As of today, Timeless Records has, together with its three sub-labels, released over 900 albums. Notable releases include Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner's Bon Voyage, Lou Donaldson's Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet, Chet Baker, Bill Evans, Art Blakey's Jazz Messengers and many more.

To celebrate the legacy of Wim Wigt's Timeless Records, Music On Vinyl is releasing a 45th anniversary jazz series. The series features albums that are part of the Timeless Records legacy and will be released throughout 2021/2022. To kick off this series, Pharoah Sanders' Africa is released on the 19th of November 2021.

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz, which has earned him royal status amongst free jazz players, critics and collectors. Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching for a strong groove at the same time. The album is recorded with John Hicks, Curtis Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane, another giant of jazz.

Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz series. The sleeve contains liner notes by Kevin Whitehead.

Record Kicks drops "Solid Ground", the explosive debut album by US band The Grease Traps, recorded at Kelly Finnigan' Transistor Sounds and mixed by Orgone's Sergio Rios.

Recorded between Kelly Finningn's Transistor Sound in San Francisco and Fifty Filth Studio in Oakland and mixed by Orgone' producer Sergio Rios and Kevin O' Dea, Record Kicks is proud to finally present Solid Ground, the long-awaited debut album by US very finest deep funk & soul outfit The Grease Traps. The album is set for worldwide release on November 5 on vinyl, CD and digital format. The band, based in Oakland, CA, is the latest addition to Milan-based Record Kicks roster. Active since 2002, with a 45 released on well-respected funk/soul label, Colemine Records, now, after six years spent working on the album's recording and mixing, they are ready to present their first full-length release Solid Ground on Record Kicks. The album is anticipated by the two killer funk singles "Bird of Paradise" and "More and More" on limited edition 45 vinyl.

As avid record collectors and fans of that old school analog sound, Solid Ground was recorded straight to 8-track tape on a Tascam 388, which also graces the cover art. Half of the tracks were recorded live at Transistor Sound Studio by soul crooner, Kelly Finnigan, and Ian McDonald where both Kelly and their band, Monophonics, have recorded their last few albums. The other half of the tunes were recorded by Kevin and Aaron at Fifty Filth Studio in Oakland, CA where the band also rehearses and mixed by analog-obsessive Orgone producer Sergio Rios. The album's original tunes draw from the Traps' various soul influences ranging from gritty funk ("Bird of Paradise" and "Hungry") to fuzzed-out psychedelic ("Residue") to sweet lowrider soul ("More and More"). The lyrics by lead singer The Gata also don't shy away from pressing issues of the day such as racism in America ("Roots") and finding hope in a world that seems pitted against you (the JB's style "Solid Ground"). The rare funk covers from the album provide a taste of the raw energy one would experience at a Grease Traps live show. The Traps also supplemented their sound with special guests including the Monophonics horns, background vocals from seasoned Bay Area vocalists, Sally Green and Bryan Dyer, as well as strings organized by Kansas City master viola player, Alyssa Bell.

The seed of The Grease Traps formed back in 2000 when keyboardist, Aaron Julin, answered an ad put out by guitarist, Kevin O'Dea, searching for players who were hip to the rare grooves laid down by Blue Note artists such as Grant Green and Lou Donaldson. They quickly formed Groovement, covering those same artists along with other jazz-funk staples. When their sax player and frontman moved away, they switched gears to form the band, Brown Baggin, getting into the harder funk of the JB's, the Meters, Kool & the Gang, and lesser known acts such as Mickey & the Soul Generation. They also started digging into the rare funk compilations put out by Keb Darge, Jazzman Gerald,and labels like Harmless, Ubiquity, Soul Jazz, and Now-Again. Modern day soul and funk outfits such as Breakestra, the Whitefield Brothers, and the Daptone/Soul Fire crews provided additional inspiration.

In 2005, while still playing with Brown Baggin yet fed up with juggling the schedules of seven band members, Aaron and Kevin put out an ad to find a bassist and drummer to jam with as a quartet. The first two cats to show up were bassist, Goopy Rossi, and drummer, Dave Brick. It was clear from the get-go that this rhythm section had great chemistry. Originally intended as a fun side project, the Traps quickly took priority as Brown Baggin dissolved. Performing as an instrumental quartet for a number of years, they eventually expanded their repertoire to include horns as well as that sharp-dressing soul brother, The Gata, on lead vocals. Over the years, they've shared the stage with acts such as Shuggie Otis, Robert Walter, Durand Jones, Monophonics, Neal Francis, and Jungle Fire.

This group represents the germ of Art Blakey’s Jazz Messengers and marked the path
for the future. Brown, pianist Horace Silver, and alto saxophonist Lou Donaldson were
somewhat established, but skyrocketed to stardom after this band switched personnel.
This was perhaps Blakey’s most acclaimed combo, along with the latter-period bands
featuring Lee Morgan and Wayne Shorter. Three of Silver’s greatest compositions can be
heard here: “Split Kick”, “Quicksilver”, and “Mayreh” (a reharmonization of the standard
“All God’s Children Got Rhythm”).
Clifford’s wonderful ballad playing is showcased on “Once in a While”. This music was
first released in 1954 on three 10” LPs, and then remarketed in 1956 on two 12” LPs,
whose configuration is followed here.
“This recording launches an initial breakthrough for Blakey and modern jazz in general
and defines the way jazz music could be heard for decades thereafter. Everybody must
own copies of all volumes of A Night at Birdland.”

[e] A5. Charles Mingus - II B.S. [Album Version]

Scottish trumpeter Malcolm Strachan is a founder member of top UK funk/jazz-funk band The Haggis Horns as well as being one of the busiest session musicians in the UK today. In a professional career spanning 20 years, he's recorded with the likes of Mark Ronson, Amy WineHouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jesse Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds and Blue Note saxophone legend Lou Donaldson. Now he's finally releasing his first solo album, aptly titled "About Time", on Haggis Records and he's going back to his original roots... Jazz.

The album is a collection of original compositions, all written and arranged by Malcolm, which are firmly rooted in the classic acoustic modern jazz style typified by the great 60's and 70's recordings on the legendary Blue Note Records label. A nice variation of themes and tempos feature throughout the album. From full-on latin vibes to beautiful ballads, soul jazz grooves to cinematic soundtrack flavours, all woven together by a great group of experienced musicians.

Malcolm's core quartet is himself on trumpet/flugelhorn, fellow Haggis Horns members George Cooper (piano) and Erroll Rollins (drums), plus Courtny Tomas on double bass. Featured guests are Atholl Ransome on tenor sax (The Haggis Horns), Rob Mitchell on baritone sax (Abstract Orchestra) and Danny Barley on Trombone. Strings are courtesy of Richard Curran and the percussionist is one of the finest session players in Europe, Karl Vanden Bossche (Incognito, Robert Palmer, Joss Stone, The Gorillaz, Sade, Blur - He and Malcolm met while touring with Mark Ronson)

Malcolm's love of jazz comes from his parents. Aged 7, his jazz musician father gave him a trumpet. From then on, jazz was his life. His musical education came via music teachers, youth jazz orchestras and jazz summer schools but mostly from his dad's record collection listening to Art Blakey and Dizzy Gillespie records and learning to improvise and solo by ear. At 18, he enrolled at Leeds College of Music and quickly immersed himself in the city's vibrant acid jazz, funk and soul scene and from making his recording debut in 1999 with The New Mastersounds, jazz was his musical passion but took a back seat to funk/soul/pop which were the day job. Until now.

Jazz is back. The wait is over. It really is "About Time" for Malcolm Strachan.

+ Bonus 7" 400 ltd!

Christina Aguilera, Donny Hathaway, and Gregory Porter. If you are curious to learn how these three names are connected with Movements Vol.10 then all you got to do is to keep on reading.

Those of you who have been enjoying Tramp Records' Movements series from the very beginning know that this series is not just about funk. It actually covers a wide spectrum of genres: early Rhythm & Blues, Soul-Jazz, Latin-Soul, heavy James Brown-style Funk, and mid-70's pre-Disco. The track listing is, as on all previous volumes, selected in chronological order.

For this, our 10th jubilee album, we go back in time more than 60 years. The Frankie Greer Quartet opens the set with their beautiful composition "Spooky". Just as sweet is "Early in the Morning" by the Bill Beau Trio which was recorded in 1958. What Eunice Haze, Phylis Hendricks and the Eddie Buster Band have in common is the fact that each of them has recorded only one 45rpm single in their musical career.

Johnny Spinosa's "Come On" is a fierce Rhythm 'n Blues monster of the highest order. The same goes for The New Philadelphians. No one would question if "The Mustang" was announced as an unreleased Blue Note recording by Lou Donaldson from 1968. Cleveland Eaton, who became one of the most versatile and best jazz bassists in 1970s, started out with his band The Kats in the late 1960s. "Under the Covers" was arranged by none other than Donny Hathaway (of "The Ghetto" fame) with who he has worked closely together in his early days.

Probably one of the finest and most sought after versions of "Coming Home Baby" out there has been recorded by a german dude and bis band, Ronny Pellers Satin Sound. Another excellent cover version is delivered by The Lido which should leave any latin-jazz fan speechless. "El Mexicano" is an inconspicuous little groover while the next two tunes by Herb Crawford's Jazz Ensemble and The Runningboards are more in the soul-jazz vein. Listen to the dummer on "Louisville Assembly Plant" who goes nuts!

Until he was about 20, Texas-born Melvin Sparks was a rhythm & blues guitarist, backing Jackie Wilson, Curtis Mayfield and Marvin Gaye as a member of The Upsetters. But Sparks gave up his seat on The Upsetters' bus in New York City, where a chance introduction to George Benson led him to a place in soul jazz history. Melvin played and recorded with Lou Donaldson, Leon Spencer, Bernard Purdie, Jack McDuff, Jimmy McGriff, Idris Muhammad, Dr. Lonnie Smith, Charles Earland, Grover Washington Jr., Reuben Wilson and so many more. Even during the quietest years of soul-jazz Melvin stayed relevant through hip-hop and r&b, a quick search at WhoSampled turns up more than 150 samples of his funky chicken scratch. And Melvin's legacy is heard in contemporary soul/funk bands like The New Mastersounds, Soulive and The Greyboy Allstars, all of whom he also guested with several times before his early departure from this realm in 2011.

This release documents Melvin's final band just months before his death. Organist Beau Sasser and drummer Bill Carbone had been working with Sparks for several years, and, despite the power dynamic - they were in their early 30s, Melvin an elder-statesmen of the genre - the unit was sharp, relaxed and performed Melvin's music with a jovial spirit. The trio played the Burlington, VT club Nectar's regularly, but this night featured two "onlys." Per the recommendation of Nectar's agent they used the "Grippo Horns," the only time Sparks used a horn section in the last several years of his life, and they allowed a multitrack recording of the show. Both were strong decisions.

The tracks on this album, lovingly mixed by guitarist, producer and Melvin Sparks fan Eddie Roberts, demonstrate that Melvin played as well in the final months of his life as at any time. Sparks counts "Whip! Whop!" off at what he said The Upsetters called a "showtime tempo," and peppers it, as well as most of the album, with quotes from jazz standards, pop songs and cartoon themes, all woven effortlessly into the bebop-funk dialect he helped create. He unfolds amiable melodies, patiently and methodically, through his several-minute lead on "Breezin'." And Sparks is audibly uplifted by the Grippo Horns helping him perform his 1973 arrangement of "Ain't No Woman" for the first time in decades.

Raw District is Belgian duo Vernon Bara and Massimo DaCosta, Under the Vernon&DaCosta moniker, they have released music on labels such as OM Records, AMA Rec, Robsoul, Aroma, OFF, Icon, Doubledown and many more of the world's finest underground house labels.

They have remixed artists such as Brett Johnson, Fred Everything, Style of Eye, Miguel Migs and JT Donaldson and have garnered a reputation as important international producers and DJs with respect paid by great DJs like Luciano, Ricardo Villalobos, Jamie Jones, Mark Farina and DJ Sneak.

Vernon Bara also makes music as Ultrasone alongside Igor Vicente, which is a more techno orientated project that can count releases on Hot Creation and Supplement Facts to its name.

Ladybird is well known for being the singer of Soldiers Of Twilight and vocalist on one of the most famous Llorca's song My Precious Thing among the tons of project she been working for, One of the best, if not the best, soulful singer in Paris,
And now they can add to their resume that there are the very first new release on the briquerouge reboot, Orchestrated by David Duriez himself, the label is back for a new series of releases and reworks from the back catalogue with brand new top names added to the roster.

On this release you can enjoy top remix works by the likes of Nacho Marco (Ovum / Loudeast / Saw) and the head honcho David Duriez (2020Vision / Ovum / Classic) both on the acid side but in a very different way, A very complete package for the deep house heads as well as proper house djs.
DJ SUPPORT:

Detroit Swindle
Richy Ahmed
Jamie Anderson
Kiko Navarro
Chilli Davis
Inland Knights
Spencer Broughton
Orde Meikle Slam
Jozif
Bryan Zents
Flash Brothers
DJ T
Dubfire
nathan detroit
Hernan Cattaneo
Snooba
Tristan da Cunha basics, redux , 2020
Julian M
Florian Meindl
Sleazy Mcqueen
Dan Ghenacia
Chris Fortier
Jussu Pekka
Peter Gelderblom
Phonogenic
The Henchmen
Nuno Dos Santos
Tiger Stripes
Agoria
Timo Garcia
Ekkohaus