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A few years back I had this dream: I was walking through vast grasslands
towards a solitary hill
On top of the hill was a movie house. On the marquee: History of Jazz.I kept
thinking about it. What was in the movie house? What happened before? What
followed? Why was I going there? Why "History of Jazz"? To reach some kind of
insight, I began a film script, extending the dream tenfold. The script morphed
into a novella-sized book, a series of songs, and finally, a "mind-movie" podcast,
forming this labyrinthine, multi- medium story – equal parts dream, film and
waking life. Figuring out how to transcend the traditional parameters of the album
to create a more panoramic story- vision is something I've been unconsciously
trying to do for some time. I've been pushing against the edges – toying with
narrative, characters and visuals with Easterween and Niagara, a weird children's
book Daydreams for Night – but the scope of life behind Rialto felt too
irrepressible and expansive to be boxed in an album. The book and podcast have
kicked open the doors – allowing the album to lead or serve where it should.In
Rialto's extended narrative, Klaus (loner, insomniac) is working a stint as a driver
for a small town writer's festival. Following a series of unsettling paranormal
events, he finds himself agreeing to a strange request - to deliver a film reel in
time for its premiere at a secluded movie house - the Rialto. The journey leads
him through a circuit of strangely located, oracular movie houses, screening a mix
of dreams, fantasies, memories and prophecies - numinous films of personal
revelation. Inhabiting the movie houses are underworld characters and spirits
with ambiguous motivations, some helping and some hindering Klaus's quest. It's
a Dantesque, deep cleanse pilgrimage to untangle bitterness and trauma,
rediscover a lost clairvoyance, ancestry, and ultimately, the medicinal source of
eternal youth. A metaphysical noir. A hyperstition.Rialto's album stars seven
singer-artists playing characters alongside mine: Tamara Lindeman (The Weather
Station), Daniel Knox, Thom Gill (Owen Pallet, Beverly Glenn- Copeland), Ryan
Driver (Jennifer Castle), Felicity Williams (Bahamas), Robin Dann (Bernice) and
Martin Tielli (Rheostatics). All Toronto- based like me except Daniel (Chicago).
Performed by the Venuti String Quartet with arrangements by Andrew Downing.
Produced by Jean Martin (Tanya Tagaq). It's my 13th album and fourth on Tin
Angel - previous releases on Tin Angel: Miracle In The Night (2019), Small Town
Water Tower (2016), and Niagara (2014). Each of Rialto's eight podcast episodes
features a chapter from the book performed by a cast of twenty five - made up
almost entirely of musicians – including the speaking voices of the
aforementioned singers, as well as Meg Remy (U.S. Girls), Claudia Dey, Veda Hille,
Devon Sproule, Luka Kuplowsky and others. Rialto is available as a 101-page eBook (illustrations by David Ouimet) on Sud de Valeur Press. Premiere
performances begin fourth quarter 2021. Happy Rialto listening, reading,
watching, dreaming...

Reissue of George Duke's classic 1975 jazz-funk-fusion album 'The Aura
Will Prevail'
With its intensive quartet, this 1975 recording again mirrors how far Duke, by his
own admission, had moved away from the "smug and overly serious jazz
musician" and towards a master of fusion, eager to experiment and add a note of
humour to the music. With Santana drummer Leon "Ndugu" Chancler, bassist
Alphonso "Slim" Johnson, and the Brazilian percussion magician Airto Moriera,
Duke designed stunning scenarios in sound which once more reveals him to be
one of the synthesizer pioneers.
He paints a fantastic morning atmosphere in Dawn; in Floop the Loop Duke
conjures animated, funky tone poems. There is a change of scene as Duke takes
up the role of soulful singer on the smooth ballads For Love and Fools. His
onetime collaboration with the Mothers of Invention rubs off on Duke's
adaptations of Echnidna's Arf and Uncle Remus, and a touch of samba is added
to the relaxed tropical magic of Malibu.

In many ways, this trio recording is a milestone in the career of this young
Californian
Duke unveils more of his early experiments with the ARP synthesizer, as well as a
new creativity on such more conventional keyboards, as the Wurlitzer, Fender
Rhodes, and the clavinet. As a result, Faces in Reflection is characterized by a
wide variety of tonal hues. The journey moves from the explosive The Opening on
to the tender- tinged Capricorn, which Duke had snatched from the Cannonball
Adderley repertoire. Adderley had been the second major player he had worked
with during that early period; Frank Zappa was the first. Two impressionistic solo
intermezzi segue into the funky fusion escapade Psychosomatic Dung, with
superb interplay between drummer Ndugu and bassist John Heard. The title
piece's secretive synth lines are the moments of calm before Duke's passionate
love affair with Brazil on the B side. The most surprising excursion on this side is
the vibrant and rhythmically intricate adaptation of Milton Nascimentos' Maria
Três Filhos, counterbalanced by the synth laboratory of North Beach. Duke
himself cherished the recordings; he stated that, "This was the first LP that really
said what I wanted to say."

Reissue of George Duke's classic 1975 jazz-funk-fusion album 'Feel'
This album with the strange psychedelic sci-fi cover draws a tighter circle around
Duke's fusion language. The keyboard master ventures deep into his synthesizer
laboratory. Their textures become a more essential component of his pieces,
attaining orchestral dimensions, as evidenced in the opener, Funny Funk, with its
smacking, squishing tongue- in- cheek dialogue between the synths. A virtuoso
layering of the keyboards is also central to Cora Joberge, and on Rashid, Duke's
electronic orchestra explodes over the stormy drums of Leon "Ndugu" Chancler.
Duke shows himself to be a singer with a soulful sound. Shortly before this
recording he had shelved his trombone so that he could communicate more
directly with the audience, as can be heard in the hymnal, dreamlike title piece.
The guest list of players make for an especially exciting concoction. No less than
Duke's playing companion Frank Zappa, under the cryptic pseudonym Obdewl'l X,
performs some adventuresome guitar passages on Love and Old Slippers. On the
California- sunshine pop samba, Yana Aminah, we have a surprise visit by
Brazilian Flora Purim, wife of percussionist Airto Moreira, who opens up his bag
of tricks on The Once Over, and plays on three more tracks.

Reissue of George Duke's classic 1973 jazz-funk-fusion album 'The Inner
Source'
In 1971 George Duke, having just recently done his time with the Mothers of
Invention, was engaged by the Cannonball Adderley Quintet. Beginning in April of
that year, Duke made two recordings over a short timespan that on their release
in 1973 as a double LP (against the desire of the artists, by the way), would be a
major statement.
On Chapter One of his fusion autobiography, "Solus", Duke, along with the
skeleton crew of bassist John Heard and drummer Dick Berk, tries out the new
compositional philosophy he had absorbed from his work with Adderley. On
Chapter two, "The Inner Source" " Duke lives it up as he shows off his exuberant
experimental synth side and also begins to vary the line-up here as some tracjs
are reinforced with Latin percussion, incisive horn and reed instruments or with
Duke on his first instrument, the trombone. As a curiosity, two basses compete
with each other on "Twenty Five".

Reissue of Ella Fitzgerald's 1969 album of funky big-band cover versions,
conducted by and featuring Tommy Flanagan on piano
Ella Fitzgerald singing Eric Clapton's "Sunshine of Your Love", or the Beatles' "Hey
Jude"? Something of a revelation for those who know Fitzgerald as purely a jazz
singer. Ella's pristine clarity of earlier years, now tinged with a throaty worldliness,
is a perfect foil to her choices from the world of rock and pop. It also adds new
depth to such standards as "Give Me the Simple Life", "Old Devil Moon", and Burt
Bachrach's "A House is Not a Home".
Recorded "live", the album is divided into a big band set and Ella with her longtime accompaniment, the Tommy Flanagan trio. Pianist Flanagan is simply one of
the all-time greats. After listening to this, how can you not be a fan of Ella's?
Includes the original liner notes from Norman Granz, who produced this record.

Reissue of George Duke's classic 1975 jazz-funk-fusion album 'I Love The
Blues'
On the fourth album of his fusion cycle, George Duke substantially expanded the
number of his colleagues. As before, drummer Leon "Ndugu" Chancler beats as
the heart of the rhythm section, and the Brazilian couple, Airto and Flora are again
on board. The ten tracks perform a stylistic balancing act. The jittery funk of
"Chariot" and the smooth ballad "Someday" show off Duke's soulful vocal flair.
Flora Purim crowns the complex "Look Into Her Eyes" with her spheric sound as
she and guitarist George Johnson take care of business on this stratospheric
piece with its bluesy electric shuffle. With two high- voltage guitarists (Daryl
Stuermer and Byron Miller), "That's What She Said" points to the tie between rock
and funk. The most eye- opening outing occurs with star guitarist Lee Ritenour
stomping on "Rokkinrowl, I Don't Know", and its Hendrix parody. "Sister Sirene"
shows that, naturally, the typical dreamy Duke instrumentals are not left off the
album. An almost animistic soundscape is woven into the fabric of "Mashavu",
and "Giant Child Within Us - Ego" is a small fusion suite encompassing the
spectrum from the classical to the Zappaesque finale. The title piece is indeed a
blues, dished out pure and simple - a far cry from the sounds of the preceding
piece with its mountains of synthesizers. Rather, the sultry delta heat, the
acoustic simplicity and raw truth of the song prevail - the blues.

With her very own musical language, pianist Julia Kadel has become a
regular talking point in jazz circles, releasing her first two records on Blue
Note/Universal she and her trio were nominated in 2015 for the
prestigious German Music Award Echo Jazz as "Newcomer of the year"
and Julia Kadel as "Female instrumentalist of the year"
Julia Kadel's variable competitions, her imaginative playing and the band's
striking improvisations became more courageous over time. On 'Kaskaden' they
have now reached a new dimension of detail and intensity. More determined than
ever, the trio balances the fine line between harmony and atonality, intuition and
reflection, poetry and austerity.The live qualities of the trio, which was founded in
2011, its subtle interaction and intuitive understanding encouraged the trio to
produce the new album under live conditions - especially as it took place in the
legendary MPS studio in Villingen (Black Forest, Germany). Its history dates back
to 1958, great jazz pianists such as Oscar Peterson, George Shearing, Monty
Alexander and Bill Evans once recorded here. With the Bösendorfer Grand
Imperial grand piano - once acquired for Friedrich Gulda - in the center
surrounded by classic analogue technology, Kaskaden was captured to tape oneto- one. This influenced not only the charismatic sound but also the special
atmosphere that characterises the album.
Furthermore, the location of the recording not only came as a surprise but
probably also as a small sensation to every fan of MPS as the Julia Kadel Trio is
the first MPS act after over 35 years recording again in the historic studios; the
popular German magazine Der Spiegel reported about it.

The beauty of the sound: clear, transparent, precise, a work of art - and
that includes both the actual recording, and the subsequent production -
something that was already an essential difference in clarinettist,
composer and sound researcher, Rolf Kühn's musical concept
The pieces were recorded on separate sound tracks, in a stereo technique that
lends a visual sense to the music. In fact, there is a cinematic feel as sounds
project on the mind's eye. For this special, sensual production, Kühn has gathered
his Berlin trio around him - his "working band" with Christian Lillinger (drums),
Ronny Graupe (guitar) and Johannes Fink (bass). Their previous studio
recordings have had a sense of freedom about them that has indicated the
direction in which these musicians are heading. Theirs is a concentrated,
compact play that has moved further and further away from the delineation
between notated and improvised music. Duo and group improvisations flow
across the interstices between the sketched-out musical islands. On 'Stereo' Rolf
Kühn goes even one step further; he condenses the compositions, providing
accurate and concise sound ideas. The sound of 'Stereo' is reminiscent of the
Blue Note aesthetics of the 1960s, when the stereo sound was something
outrageously new and greatly enhanced the tonal possibilities of the recordings.

To celebrate the 35th Anniversary of the debut album "Hipsway" PNFG
will remaster and repackage this frankly outstanding debut album in
gatefold glory
Originally released in 1986, the album spent 23 weeks in the UK charts, spawned
the hit single "The Honeythief" and should have been hit singles "Ask The Lord"
and "Long White Car" whilst also contributing "Tinder" to a long- running lager
commercial.The album will be remastered for vinyl by Paul McGeechan (Love &
Money) and will feature extensive new liner notes.

Wounded Bird by Flying Norwegians is the best Norwegian country rock
album to ever have been made - An album that is so convincingly good, in
every conceivable way, that it was almost released by A&M Records
But it's also an album that serves as a classic example in which everything that
can go wrong, does go wrong. And at the worst possible time..

Liverpool duo Hannah Merrick and Craig Whittle, aka King Hannah have announced their debut LP I’m Not Sorry, I Was Just Being Me for February 25 via City Slang. The announcement is accompanied by the release of the new single “All Being Fine”. Originally inspired by Smog and noisy, lo-fi 90s bands, the track pulls the listener in immediately with its upbeat on the outside, sinister on the inside atmospherics, coming across like the aural equivalent of the opening of David Lynch’s classic film “Blue Velvet” - the bloody finger lying in the lush green grass. The video’s sun-drenched visual, directed by Whittle, is a perfect pairing, showcasing the band at their best: enigmatic, mysterious, but blackly humorous with it.

Liverpool duo Hannah Merrick and Craig Whittle, aka King Hannah have announced their debut LP I’m Not Sorry, I Was Just Being Me for February 25 via City Slang. The announcement is accompanied by the release of the new single “All Being Fine”. Originally inspired by Smog and noisy, lo-fi 90s bands, the track pulls the listener in immediately with its upbeat on the outside, sinister on the inside atmospherics, coming across like the aural equivalent of the opening of David Lynch’s classic film “Blue Velvet” - the bloody finger lying in the lush green grass. The video’s sun-drenched visual, directed by Whittle, is a perfect pairing, showcasing the band at their best: enigmatic, mysterious, but blackly humorous with it.

Back in stock! The second of two electric-blues albums released on Chess Records and Cadet Concept imprint in the late 60s, Muddy Waters' After the Rain has achieved cult-like status amongst blues fans in the years since his death in 1983.

After taking a backlash from critics with first attempt at adopting psychedelic influences on Electric Mud, Muddy made adjustments for the follow-up, despite keeping a majority of the same session players.

This time, he toned down the psychedelic elements and put them in balance with his classic Chicago blues sound, and the results yield some vintage tracks that glow with fuzzy guitars and bass:
“I Am the Blues,” “Ramblin' Mind,” “Bottom of the Sea,” and “Blues Trouble.”

After being out of print for years, Get On Down is proud to present this rare classic from Muddy Waters pulled from the original masters and presented on vinyl.

So auch am 2. Weihnachtstag 2019 im „Gruenspan“ in St. Pauli anlässlich des 25jährigen Bandjubiläums.

Sobald OHRENFEINDT die Bühne entern, wird aus allen Rohren gefeuert. Der Kiez-Dreier macht keine Gefangenen. Wer bisher lediglich ihre Studioalben kennt, wird sich wundern, was für eine Schippe die Jungs live nochmal obendrauf packen.

Zwei Stunden volle Pulle Riff-Rock-Hits aus einem Vierteljahrhundert. Drei bis in die Haar- bzw. Bartspitzen motivierte Roggenrohl-Vollblüter ohne Netz und doppelten Boden. Da ist nix gedoppelt, da kommt kein Ton aus der Dose, selbst der Schweiß ist echt.

Zwei Stunden pures Adrenalin, ungeschönt und rau.

CRIMEAPPLE readies another classic by way of his newest album, ’Sancocho,’ with advance single “Throw the Rice” dropping on 11/5. With go-to producer Buck Dudley back in the chair for this track, CRIMEAPPLE invites RLX and Primo Profit to share the mic atop the dark, trippy production and dirty, slamming drums. Upcoming album includes production from Ignorancia Sophisticada, Michaelangelo, Zoomo, Good Food, Brown13, Teyo, and Futurewaves.

Acclaimed L.A. rapper Blu has crafted a remarkable discography, partnering with a series of exceptional producers to deliver cohesive collections showcasing his vivid lyricism and effortless flows. Now, Blu is turning to talented SoCal beatsmith Sirplus, a protégé of famed producer Exile who has worked with the likes of Planet Asia, Edo G, MED, Cali Agents, and more. "Sirplus is my guy," says Blu. "He is the newest member of the Dirty Science crew, and I could tell he had talent and skill. I knew I had to work with him." Now available worldwide, "For Sale" is a new EP from Blu entirely produced by Sirplus, featuring appearances by Nolan The Ninja, Johaz of Dag Savage, Scienze, Noveliss, and more.

Back in stock! Repress of RSD20 release. DOUBLE LP HOUSED IN A GATEFOLD JACKET 2ND LP CONTAINS TRACKS NEVER BEFORE RELEASED ON VINYL!

Mingus Ah Um, the artist’s 1959 debut for Columbia is one of the most consequential albums in jazz or any other genre. The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. “Goodbye Pork Pie Hat”, “Boogie Stomp Shuffle”, “Open Letter To The Duke”…the release is packed with classics and is a best-selling release to this day. For Record Store Day 2020 Get On Down presents Ah Um Redux, the full Ah Um record as you know and love it with a second LP featuring alternate takes from the session previously unreleased on vinyl.

Die Grailknights melden sich mit ihrem sechsten Studioalbum 'MUSCLE BOUND FOR GLORY' zurück!
12 Tracks versprechen Superherometal der Extraklasse. Auf ihrem Album bringen die Knights kraftvollen Power Metal, kombiniert mit energetischen Retrosynthis, epischen Chören und cineastischen Klanggewalten, zu Gehör. Musik, welche für massiven Muskelaufbau sorgt, ganz ohne Steroide. Stimmliche Unterstützung gibt es von niemand geringerem als Thomas Laszlo Winkler, ehemaliger Frontmann der Power-Metal-Band Gloryhammer, und von Ben Metzner, Frontmann der Mittelalter-Rock-Band Feuerschwanz. Wer sich dieses muskulöse Metal-Workout nicht entgehen lassen möchte, kommt nicht drum herum 'Muscle Bound for Glory' auf den Plattenteller zu legen und sich live mit den Grailknights auf die Suche nach dem heiligen Gral zu begeben.

Napalm's 2000 album now re-released on Red Vinyl

Der Klassiker "The Savage Poetry" bekommt zum 20 jährigen Jubiläum noch einmal eine Neuauflage mit komplettem Remastering und ist erstmals als Vinyl erhältlich.

Gut 20 Jahre nach Veröffentlichung des viel beachteten vierten Edguy-Albums "Savage Poetry" (ursprünglich 2000 erschienen) kommt nun eine neue Version - als Digipak und erstmals als Vinyl (in verschiedenen Farben).

Das Warten hat ein Ende! 30 Jahre nach Bandgründung melden sich die Diamond Dogs, Schwedens Boogie-Rock-Legende, mit einem neuen Studioalbum zurück. 'Slap Bang Blue Rendezvous' ist eine Doppel-Album mit insgesamt 24 Songs, das von Tomas Skogsberg produziert und gemischt wurde. Skogsberg beschreibt es wie folgt: 'This is my masterpiece, my White Album'! Musikalisch bieten die schwedischen Rock 'n' Roller ihre spezielle Mischung aus UK-Glam und Blue-Eyed-Soul der frühen 70er Jahre. Klingt wie The Faces, Slade, Mott The Hoople, Kinks oder Rolling Stones!

Das Warten hat ein Ende! 30 Jahre nach Bandgründung melden sich die Diamond Dogs, Schwedens Boogie-Rock-Legende, mit einem neuen Studioalbum zurück. 'Slap Bang Blue Rendezvous' ist eine Doppel-Album mit insgesamt 24 Songs, das von Tomas Skogsberg produziert und gemischt wurde. Skogsberg beschreibt es wie folgt: 'This is my masterpiece, my White Album'! Musikalisch bieten die schwedischen Rock 'n' Roller ihre spezielle Mischung aus UK-Glam und Blue-Eyed-Soul der frühen 70er Jahre. Klingt wie The Faces, Slade, Mott The Hoople, Kinks oder Rolling Stones!

Magic spells, time-traveling futurists, sword-bearing horse riders, mountain-residing sorcerers, possessed journeyman,

ominous warnings: Demons and Wizards lives up to its title as a collection of fantasy-based narratives rooted in dreamy,

gothic-minded arrangements. Universally recognized as the finest effort of Uriah Heep's four-decade-plus career, the 1972

LP also perseveres as a prog-rock landmark that influenced countless of bands ranging from Metallica to Styx. And now, it

sounds better than ever on this extremely cool green-vinyl gatefold pressing from Wax Cathedral.

The first album on which founding members Mick Box, Ken Hensley, and David Byron are joined by staple drummer Lee

Kerslake, Demons and Wizards captivates by way of taut songwriting and instrumental execution. Rather than function

as the primary attraction, make-believe lyrical themes augment a formidable assembly of folk-derived melodies, sharp

medleys, and powerful hooks. Acoustic guitars weave webs of finite textures through which crackling, church-like organ

passages and space-conscious bass lines maneuver. Songs come across with an ethereal, powerful feel.

Glowing with old-fashioned tube-amp warmth, concise and punchy fare like 'The Wizard,' 'Traveler In Time,' and the hit

'Easy Livin'' touch upon garage-rock basics. Epics such as 'Circle of Hands' and 'Paradise/The Spell'—a multi-part sonic

excursion whose choral grace and spiritual glide evoke distant lands, misty cloud forests, and peaceful eternities—cling to

a sensitivity underscored by deft piano touches. No wonder Uriah Heep spent the remainder of its lifespan trying to again

capture such a balance.

A unique slice of 60s British art-rock from one of the most intriguing acts of the movement. Contains an unusual reading of Pharoah Sanders’ “Japan,”

A unique slice of 60s British art-rock from one of the most intriguing acts of the movement. Contains an unusual reading of Pharoah Sanders’ “Japan,”