quête:blue

Deep in Northern Spain, there is a rave scene exploding all over again partly driven by DJ Duo Cado & Jinx. Hailing from the outer suburbs of Barcelona these days spend their days in the studio re-imagining rave classics and building them in their own magical way. The Rave Generation e.p. Is DJ Friendly with intro's and Outro's on all 4 tracks. They have used all the original samples that got banned or removed back in the 90's to build 4 dancefloor monsters for DJ's only. Their intention and motivation for their music is to bring the euphoric sound of the 90's kicking and screaming into 2025. Already playing to sold out events in Northern Spain Cado and Jinx are names to look out for.

[b] A2 Omelet Rice; Bass – Marty Holoubek; Clarinet – 小林未侑; Guitar – 國田大輔*; Percussion – 石若 駿*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[c] A3 Day By Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[e] A5 Ambition; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[g] A7 Motivation; Bass – Marty Holoubek; Clarinet – 小林未侑; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Flute – 片山士駿; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[j] A10 Monologue; Bass – Marty Holoubek; Cello – 向井 航*, 篠崎由紀*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[l] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[n] B1 Next Step; Bass – Marty Holoubek; Drums – 菅野知明*; Electric Piano – 上原ひろみ*; Guitar – 國田大輔*; Percussion – 石若 駿*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[o] B2 Challenge; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Trumpet – 伊藤 駿*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[p] B3 Kick Off; Bass – Marty Holoubek; Drums – 菅野知明*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Trombone – 三原万里子; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[s] B6 Recollection; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[t] B7 No Way Out; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 國田大輔*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[u] C1 New Day; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[v] C2 Reunion; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Drums – 伊吹文裕*; Flute – 野津雄太; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

[x] C4 Faith; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Piano – 上原ひろみ*; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[y] C5 Nostalgia; Bass – Marty Holoubek; Piano – 上原ひろみ*; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴
[z] C6 What It Takes; Bass – Marty Holoubek; Cello – 向井 航*, 下島万乃; Conductor – 挾間美帆*; Guitar – 井上 銘*; Oboe – 神農広樹; Viola – 中 恵菜*, 古屋聡見; Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴


[xc] Violin [1st] – 田中笑美子, 田村直貴, 西江辰郎; Violin [2nd] – ビルマン聡平*, 松崎千鶴

Matthew Bower's Total released 'Sky Blue Void' in 1994 through Freek, recorded the same year as previous NOHL reissue Skullflower's "Last Shot at Heaven." "Sky Blue Void" is the zoner of zoners, as heavenly and crushing as the rapturous cover art suggests. Release yourself to the void.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Serge Chaloff - Blue Serge
Als einer der ersten Baritonsaxofonisten des Bebop verblüffte Serge Chaloff, (1923-1957) die Jazzwelt mit seiner bemerkenswerten Fingerfertigkeit und seinem zutiefst emotionalen Spiel. Da er jedoch nur sieben Alben unter seinem Namen aufnahm und bereits mit 33 Jahren verrstarb, ist er weitgehend in Vergessenheit geraten. “Blue Serge” von 1956 ist laut Penguin Guide To Jazz sein bestes Album: “Chaloffs Meisterwerk ist kraftvoll und bewegend zugleich, nicht weil man weiß, dass er dem Tod so nahe war, sondern wegen der unsentimentalen Stringenz seines Spiels.

BLUE NOTE TONE POET EDITION: produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern remastert, RTI-Pressung (180g), stabiles Tip-on-Sleeve, wattierte Innenhülle.

Andrew Hill - Andrew!!!
Der Pianist und Komponist Andrew Hill stürmte die Jazzszene mit einem Ausbruch an Kreativität. In nur acht Monaten, zwischen November 1963 und Juni 1964, nahm er für Blue Note fünf bemerkenswerte Alben in unterschiedlichen Besetzungen (vom Trio bis zum Sextett) und mit durchweg eigenen Kompositionen auf. Das letzte dieser Alben war “Andrew!!!”, über das AllMusic schrieb: “Die Musik hat oft eine schwebende, hypnotische Qualität, die Hills Dissonanzen, ungewöhnliche Voicings und komplexe Arrangements noch fesselnder macht als sonst.”

Seit 2020 vereinen Sea Fever Kunstfertigkeit, Handwerk und Bühnenerfahrung der beiden New Order-Mitglieder Tom Chapman und Phil Cunningham mit dem Johnny Marr-Bassisten Iwan Gronow (ex-Haven), Sängerin Beth Cassidy (Section 25) und Schlagzeuger Elliot Barlow (Brix, The Extricated). Ermutigt durch kollektive Widerstandskraft kündigt die Band aus Manchester ihr neues Album "Surface Sound" an, Nachfolger ihres 2021er Debüts "Folding Lines". Der britische Musikblog Louder Than War beschreibt Sea Fever als "eine Band aus Manchester, die eine wunderbare Mischung aus fast westküstenartigen Sixties-Psych-Melodien und -Harmonien mit einem Post-Factory-Electropop-Kern spielt".

Repress.

"62 years ago, the famous film directed by Norman Taurog, “Blue Hawaii,” was released. The film’s soundtrack includes memorable songs like “Can’t Help Falling in Love” and “Blue Hawaii,” which helped popularize Hawaiian music worldwide. This catchy and sunny soundtrack perfectly captures the tropical atmosphere of the film and remains a timeless favorite among Elvis fans and 60s music enthusiasts. To celebrate this cinematic and musical landmark, here is an exclusive limited-edition Shaped Picture-Disc vinyl!"

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records’ soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows’ recent effort “Is There Love In Outer Space? “July Blue Skies” glides on a slightly more raw and mystical plane.

Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album’s opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs “Sky Train Baby” propels the listener on a locomotive ride through the star systems while “Venus of Barsoon” with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory.

The album’s B-side opens with “Ikuchi,” where Tenor’s always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime “Summer Of Synesthesia” and the demonic “Tsicroxe” both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

Der in Süd-London geborene und mittlerweile in Atlanta lebende Puma Blue - das Pseudonym von Jacob Allen - veröffentlicht sein Überraschungsalbum 'antichamber'. Es markiert eine klangliche Wende für Puma Blue, da er sich von der vollen Band abwendet und ganz auf obskure elektronische Texturen und akustische Instrumente setzt. Während sein bisheriges Material irgendwo zwischen Trip-Hop, Jazz und Electronica schwebte, hat 'antichamber' einen rohen und direkteren Ansatz beim Songwriting. Hauptsächlich getragen von der sanften Stimme Allens und akustischen Gitarren zeigt sich 'antichamber' verletzlich und von überwältigender Schönheit.

Magenta-Canary Yellow-Black A Side/B Side Colourway
Pushing every boundary to a breaking point, GRIDIRON will go to any extreme and then some. They follow quite possibly the most unpredictable playbook in the game. The band might flood the zone with a corpsepaint-smearing death metal barrage only to double back around for a victory lap narrated by blinged-out and braggadocios bars. Their hybridization of metal, hardcore, and hip-hop wouldn’t be out of place at either OZZfest 1997 or Rolling Loud 2027. It’s why the quintet—Matthew Karll vocals, Will Kaelin [guitar, vocals], Xavier Wilson [guitar], Lennon Livesay [bass], and Tyler Mullen [drums]—have bulldozed their own path as a phenomenon with millions of streams and acclaim from Stereogum, Brooklyn Vegan, NO ECHO, and more. GRIDIRON was born out of a series of COVID-era marathon Call of Duty sessions, which led to writing and recording together. Their musical pedigree spoke for itself with Will also in Never Ending Game, Xavier in Simulakra, and Tyler and Lennon in Scarab. Given their individual experiences, the guys instantly locked into a creative groove. Following the Loyalty At All Costs EP [2020] and Worldwide Brotherhood EP [2021], they dropped their first full-length, No Good At Goodbyes [2022]. The title track reeled in over 851K Spotify streams followed by “25-8” with 560K Spotify streams. Along the way, they also shared stages with everyone from Missing Link to Trapped Under Ice. Now, GRIDIRON continue to smash through walls on their second full-length offering and Blue Grape Music debut, Poetry From Pain.












[k] 11. Still Playin' For Keeps (Big Umbrella Remix) [feat. Daniel Son, Pro Dillinger, Jay Royale]
[l] 12. Heavy Metal Money (Seen It All Before) [feat. Big Body Bes]

Seit 2020 vereinen Sea Fever Kunstfertigkeit, Handwerk und Bühnenerfahrung der beiden New Order-Mitglieder Tom Chapman und Phil Cunningham mit dem Johnny Marr-Bassisten Iwan Gronow (ex-Haven), Sängerin Beth Cassidy (Section 25) und Schlagzeuger Elliot Barlow (Brix, The Extricated). Ermutigt durch kollektive Widerstandskraft kündigt die Band aus Manchester ihr neues Album "Surface Sound" an, Nachfolger ihres 2021er Debüts "Folding Lines". Der britische Musikblog Louder Than War beschreibt Sea Fever als "eine Band aus Manchester, die eine wunderbare Mischung aus fast westküstenartigen Sixties-Psych-Melodien und -Harmonien mit einem Post-Factory-Electropop-Kern spielt".

As life twists and turns, we find ourselves carefully navigating the maze. For those who seek solace in music, refuge is often found in the corners of sound, in search of peace. Reflex Blue returns with the second release on his personal imprint, bringing his signature wonky brand of house music. From raccoon-inspired grooves to bleepy after-hours moments, The Twisted Maze offers an intimate glimpse into the busy mind of Blue.

Nachdem er im April 1960 als Sideman auf Jimmy Smiths Soul-Jazz-Zwillingsklassikern “Midnight Special” und “Back At The Chicken Shack” einen starken Eindruck hinterlassen hatte, gab Blue-Note-Chef Alfred Lion Stanley Turrentine im Juni die Chance, sein erstes Album als Leader für das Label aufzunehmen. “Look Out!” verkündete die Ankunft eines zutiefst gefühlvollen neuen Saxofonisten, der sein Herz und seine Seele in jede gespielte Note goss.

Outtakes is a retrospective album featuring nine previously unreleased tracks
from Micke Bjorklof & Blue Strip - This unique collection contains songs,
recorded over the years but for various reasons, were left off past albums,
capture the band's evolving sound and dedication to blues-rock excellence
We usually had a few extra songs when we went into the studio to record the album in
case some of the songs didn't "take off" as expected. Sometimes the direction of
production can also change as the process progresses, which affects the album as a
whole. However, a lot of effort has been put into these songs and they have been
carefully prepared for the album and produced to completion. It is at least justified to
give them another chance to reach listeners, and we felt they deserved a platform of
their own. Although the songs are from different eras, I think they formed a very good
and balanced whole" says Micke Bjorklof.
Spanning from the early 2000s to the present, Outtakes showcases the shifting styles
and influences of one of Finland's most celebrated blues-rock bands. Outtakes is not
only a collection of rare tracks but also a kind of time travel through the arc of the
band's musical and sonic evolution from the early 2000s to the present day. Each
song reflects the shifting moods, styles, and influences the band has embraced over
the years, capturing the essence of one of Finland's most celebrated blues-rock bands
over 30-year journey in the blues-rock scene.

The East Sussex three piece take a sidestep to their country punk debut. The revamped sound is gritty and raw, with basslines that rumble with unfiltered intensity and drums that drive each track with pounding, relentless energy. The dark twang elements have not disappeared but if you break the surface you will find a restless undercurrent of electronic rhythms, adding complexity and tension. Andrew J Davies’ baritone vocals help answer the question you never knew you needed to ask. What would Lee Hazlewood guesting on a Leftfield track sound like?

Anfang der 1960er Jahre hatte der Tenorsaxofonist Hank Mobley, der sonst oft im Schatten von John Coltrane und Sonny Rollins stand, einen wahren Höhenflug. Scheinbar mühelos schüttelte er ein HardBop-Meisterwerk nach dem anderen aus dem Ärmel. Eines dieser Alben war “Roll Call”, auf dem er seinen Erfindungsreichtum, seinen Spielwitz und seine einzigartige rhythmische Fingerfertigkeit vollendet zur Geltung brachte.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

Doris Brendel & Lee Dunham take an unexpected yet electrifying turn into the world of Blues with their latest album, Big Blue Sky. Known for her powerhouse vocals and genre-defying style, Brendel—who recently won the HRH Prog Angel Award 2024—delivers 13 beautifully crafted Blues tracks that blend raw emotion, soulful melodies, and top-tier musicianship. Featuring a stellar lineup, including Sam Brown (Hammond), Sam Blue (vocals), and Sam White (drums), Big Blue Sky is a masterclass in Blues with a contemporary twist. From classic blues ballads (‘Under the Covers’, ‘Red Letter Blues’) to the humour-infused ‘Slow Wi-Fi Weekend’ and soul-stirring duets (‘Is This the Last Time’), the album is a fresh and dynamic take on the genre. Produced by Lee Dunham, Big Blue Sky is available digitally, on CD, and on vinyl (featuring a special 9-track selection). Doris Brendel has performed with some of rock’s greats, including Fish (Marillion), Wishbone Ash, and Nils Lofgren, and was even invited to tour with Pink Floyd. With Big Blue Sky, she proves once again that she refuses to be boxed into a single genre, bringing her signature husky, bluesy vocals to a project that is both timeless and innovative.

Little Blue, the latest album from Nashville artist Kristina Murray was recorded with producers Misa Arriaga and Rachael Moore. The collection grapples with loneliness, desperation, and existential crises through a series of cinematic snapshots of small-town burnouts and last call lovers. Murray is a country artist in the truest sense, a genuine craftswoman with a keen eye and ear for the little details that bring her working-class characters to life, and her delivery is timeless, blurring the lines between the old school honky-tonk, swampy Americana, and R&B-infused southern rock she grew up on in her home state of Georgia. If Murray sounds like a seasoned vet on Little Blue, that’s because she is. While the album marks her Normaltown debut, Murray’s spent the last decade since moving to Nashville paying her dues in an endless series of dive bars and juke joints, and the result is an electrifying introduction to an artist only just beginning to get the kind of wider recognition her talent has long warranted. “I’ve been to some pretty low places these last ten years,” Kristina Murray confesses. “Faced a lot of heartbreak and loss and grief, but you have to learn to live with those things if you’re going to survive. You have to persevere.” That spirit of perseverance forms the bedrock of Little Blue.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

Die Jazzwelt darf sich freuen, dass Blue Note Records das außergewöhnliche Talent von Trompeter Brandon Woody erkannt hat. Der junge, in Baltimore geborene und ansässige Künstler hat in den letzten Jahren in der US-Jazzwelt aufhorchen lassen. „Brandon ist einer der seltenen Künstler, der sowohl eine lebendige Vision als auch die Fähigkeit und das Wissen besitzt, diese umzusetzen“, sagt Blue-NotePräsident Don Was.

Der vielseitige Musiker hat trotz seiner jungen Jahre bereits einen ganz individuellen Sound zwischen Modern Jazz und souligen Elementen entwickelt, der an seinen großen Kollegen Freddie Hubbard erinnert. Um sich herum hat er eine herausragende Band versammelt und für sein Debütalbum sechs mitreißende Eigenkompositionen aufgenommen. „For The Love Of It All“ bezeichnet er als Hommage an die Kraft der Liebe. Die Besetzung besteht aus Troy Long (Klavier, Orgel, Rhodes, Keyboards), Quincy Phillips (Schlagzeug) und Michael Saunders (Bass), sowie den Special Guests Imani Grace (Gesang) und Vittorio Stropoli (Aux-Synthesizer).

Wild And Clear And Blue is the second full-length album from I'm with Her, featuring multi-Grammy-Award-winners Sara Watkins, Sarah Jarosz, and Aoife O'Donovan. Before coming together these artists co-founded seminal bands (Nickel Creek and Crooked Still) and since have collectively contributed to critically acclaimed albums from esteemed artists including Yo-Yo Ma, The Civil Wars, Kris Kristofferson, John Mayer, Alison Krauss, John Prine, and many others. Produced by Josh Kaufman (Bonny Light Horseman) at Outlier Inn in Woodridge, NY and The Clubhouse in Rhinebeck, NY, Wild And Clear And Blue delivers a warmly textured sound that features a throughline of maternal wisdom which comes from artists who are first and foremost mothers, daughters, sisters, and friends

REPRESS!

Gatefold with session photos. Hype sticker = The Classic 1959 Jazz Album. Also featuring John Coltrane, Bill Evans Cannonball Adderly

Barbara Moore was a British singer, composer and arranger, best known for her work in the 1960s and 1970s, especially in jazz, pop and easy-listening music. She gained recognition as a session vocalist and arranger, working with artists and bands such as Jimi Hendrix and Dudley Moore. Barbara was a prominent figure in the UK’s music industry during the height of the "library music" era, where composers created music for television, film and radio.
One of her most notable works was her arrangement and vocal work for the *Vocal Shades and Tones* album, which became iconic in the world of library music. Her compositions, like "Hot Heels" and "Steam Heat," are renowned for their catchy, funky, and soulful elements, often featuring groovy bass lines, smooth vocals, and jazzy arrangements.

Barbara Moore’s work continues to be appreciated by fans of vintage and retro music, and her compositions have appeared in various films, television shows, and commercials, adding to her legacy as a significant contributor to the UK's music scene.

RAWAX presents A&A aka Anton Kubikov & Artem Rudakov - Blue Transfer Box EP
This beautiful warm and groovy, Detroit influenced piece of art

Leo Parker war einer der ersten Baritonsaxofonisten, die sich auf das glatte Parkett des Bebop wagten. Nachdem seine glanzvolle Karriere Mitte der 1950er Jahre durch exzessiven Drogenkonsum einen Einbruch erlitten hatte, gelang ihm 1961 bei Blue Note ein leider tragisch kurzes Comeback. Auf “Rollin’ With Leo” begeisterte er mit swingenden Eigenkompositionen. Nur vier Monate nach den Aufnahmen starb er im Alter von 36 Jahren an einem Herzinfarkt.

Nachdem Grachan Moncur III bei Blue-Note-Aufnahmen von Jackie McLean und Herbie Hancock auf sich aufmerksam gemacht hatte, produzierte Alfred Lion für das Label zwei Soloalben des versierten AvantgardePosaunisten. Auf “Some Other Stuff” ist er mit einem besonders abenteuerlustigen Ensemble zu erleben, dem gleich drei Musiker angehörten, die seinerzeit im legendären zweiten Quintett von Miles Davis spielten.

Embark on a funky synth-drenched journey as the cosmic count Jimi Tenor reunites with Timmion Records' soul architects Cold Diamond & Mink for yet another album. When placed side by side with the fellows' recent effort "Is There Love In Outer Space? "July Blue Skies" glides on a slightly more raw and mystical plane. Crafted over fiery sessions between Tenor and Cold Diamond & Mink, this vinyl release offers six soul-grasping tracks ranging from mellow groove to soundtrack funk. The album's opening title song kicks off with an extended analog synth intro which eventually develops into a sweet romantic invocation, painting a sonic canvas reminiscent of a boundless summer sky. The most vocal tune of this quite instrumental set of songs "Sky Train Baby" propels the listener on a locomotive ride through the star systems while "Venus of Barsoon" with its drum breaks and fuzz sounds blast you straight into sci fi movie funk territory. The album's B-side opens with "Ikuchi," where Tenor's always trusted flute and tenor sax take the spotlight over the slinky library beats. Closing the album we discover two single releases, the sublime "Summer Of Synesthesia" and the demonic "Tsicroxe" both completely worthy to hear sequenced inside this album as well. This album might be just the Spring jam that you needed in your life.

The 20th installment of Saddle Creek’s Document series features Dean Johnson, the Seattle-based singer/songwriter whose heartfelt storytelling and undeniable charm have been quietly building a devoted fanbase across the globe.

For years regulars at Al’s Tavern might murmur to each other about Dean Johnson behind the bar. There were nudges and whispers that he might just be the best songwriter in town. They spoke of his talent like a family secret –Seattle folklore. How many times, and for how many years, did Dean elusively reply to some variation of the question, “When will there be a record?”

In May of 2023, there finally was. Nothing For Me, Please, Dean Johnson’s debut album, was released on his 50th birthday.

Calling him a “hidden gem” doesn’t quite fit, because there’s nothing hidden about him—he shines in plain sight. It was only a matter of time before people stopped to take notice.

Dean’s music feels like a conversation with an old friend—warm, honest, and deeply human. His songs bridge the past and present, weaving modern sensibilities with a timeless appeal. With razor-sharp wit and an uncanny ability to make you laugh and cry in the same breath, Dean’s songwriting reminds us why music matters, offering proof that a song can be more than the sum of it’s parts. Hear just a phrase of his melody, catch even a moment of the sobering depth in his voice, and you’ll feel it—like a letter written, signed, sealed, and delivered just for you.

Go see him live, and you’ll understand. That’s how he won us over—one song, one story, one unforgettable moment at a time.

"As one of the founders of Philadelphia soul, Harold Melvin & The Blue Notes played & recorded for a few decades, but the musical highlight of their career must have been when Teddy Pendergrass joined ranks between 1972 and 1975. Wake Up Everybody from 1975 is the last album on which you can hear his sultry vocals before he went solo, and it is filled with profound, uplifting & thought provoking songs that in some cases are better known for their covers than for their originals. The song ""Wake Up Everybody"" was a radio hit for John Legend & The Roots, and ""Don’t Leave Me This Way""’ is a disco classic that was made even bigger by Thelma Houston. This 180 gram audiophile vinyl version has a special bonus track: an 11-minute remix of ""Don’t Leave Me This Way"" by inventor of the remix and the 12”: Tom Moulton! Wake Up Everybody is available as a 50th anniversary edition of 750 copies on dark green coloured vinyl."








[h] Don T Leave Me This Way [Tom Moulton Mix]

Als Mitglied der Charles Mingus Band und mit dem George Adams/Don Pullen Quartet profilierte sich Don
Pullen in den 1970er und 1980er Jahren als dynamischer Pianist und vielseitiger Musiker, der gleichermaßen
von Avantgarde, Blues, Gospel, R&B und sogar Funk beeinflusst war. Seine Originalität bewies Pullen auch
auf dem aufregenden Trio-Album “New Beginnings”, mit dem er 1988 seine erfolgreiche Zusammenarbeit
mit Blue Note begann.

Mit dem Album “Life Time”, nach dem er wenig später seine bahnbrechende Fusion-Band benannte, startete
Tony Williams 1964 seine Solokarriere bei Blue Note. Der damals 18-Jährige präsentierte sich darauf nicht
nur als enorm druckvoller Schlagzeuger, sondern auch als erstaunlich gewiefter Komponist. Zwanzig Jahre
später kehrte er zu dem Label zurück, um mit einem modernen, akustischen Hardbop-Quintett auf Alben
wie “Civilization” wieder dort anzuknüpfen.

We shall never apologise for our love for the work of Steve O'Sullivan. His contributions to the world of dub techno are second to none. They are also mad consistent both in style and quality which means they never age. Here he steps up to Lempuyang with his Blue Channel alias alongside Jonas Schachner aka Another Channel for more silky smooth fusions of authentic dub culture and Maurizo-style techno deepness. Watery synths, hissing hi-hats with long trails and dub musings all colour these dynamic grooves. They're cavernous and immersive and frankly irresistible and the sort of tracks that need to be played loud in a dark space. In that context, you'll never want them to end.

The Beatles 1962 – 1966 & The Beatles 1967 – 1970 (2023 Edition) 6LP BLACK

These landmark compilations have introduced generations of fans to the incredible history of the most storied band in music. For its 50th anniversary, the collections have been expanded: ‘Red’ has 12 additional tracks, including for the first time some of George Harrison’s earliest songs and some classic Beatles versions of R&B and rock ‘n’ roll hits that were so influential on the band. ‘Blue’ has 9 additional tracks including “Blackbird” and “Glass Onion” including the last new Beatles song, “Now And Then” for a total of 21 new additions which are all compiled onto the 3rd disc, effectively creating a ‘new’ LP for each set.

Together the 6LP’s contain 75 tracks, 36 of which have new mixes for 2023. The inserts contains new sleeve notes by journalist and author John Harris. For current fans and future generations alike, the new 1962 – 1966 & 1967 - 1970 collections are a joyous celebration of The Beatles’ timeless musical legacy.

"Little Girl Blue, released in 1957, was Nina Simone's first studio recording ever. It was originally issued on the Bethlehem label and features the singer/ pianist backed by bassist Jimmy Bond (who had been a member of the Chet Baker Quartet among other groups) and drummer Albert ""Tootie"" Heath, one of the celebrated Heath brothers (the other two being saxophonist Jimmy Heath, and bassist Percy Heath). Many of the tracks from this LP would become true classics, among them her perennial version of ""My Baby Just Cares For Me"".

THE COMPLETE ALBUM + 3 BONUS TRACKS - 180-GRAM VIRGIN VINYL -
LIMITED EDITION"

Ein Highlight innerhalb der erfolgreichen BLUE NOTE TONE POET SERIE: Kenny Burrells berühmte
Konzertaufnahme - längst ein Live-Klassiker - erstmals komplett mit Bonustracks.
Das 1959 aufgenommene Live-Album gilt unter Jazzgitarristen und Fans des Genres als Klassiker. Laut
dem ehemaligen Police-Gitarristen Andy Summers spielt Kenny Burrell auf “Lover Man” “eines der besten
Jazzgitarrensoli, die je aufgenommen wurden”. Ursprünglich auf einer einzigen LP veröffentlicht, erscheinen
nun erstmals die kompletten Aufnahmen mit sechs bislang unveröffentlichten Bonustracks auf drei LPs und
zwei CDs.
Ausstattung 3-LP: mit rein analogen Produktionsschritten vom Erste-Generation-Masterband bis zur 180gPressung bei Record Technology Incorporated (RTI) in den USA gefertigt, laminiertes Triple-Tip-OnGatefold-Sleeve, wattierte Innenhüllen
Ausstattung 2-CD: Jewelbox, 18-seitiges Booklet
LP und CD enthalten ein Booklet mit bislang unveröffentlichten Fotos von Francis Wolff, einem Essay
von Syd Schwartz und einem Interview, das Blue-Note-Chef Don Was mit dem heute 93-jährigen Kenny
Burrell führte.

Gerald Clayton kehrt mit seinem dritten Blue Note-Album zurück, seinem bislang ungewöhnlichsten Werk.
Auf „Ones & Twos“ spielt Clayton nicht nur Klavier, sondern auch Rhodes, Orgel, Kinderklavier und Synthesizer, seine Kompositionen sind zugleich abstrakt und eingängig, schillernd und groovy, akustisch und
elektrisiert.
„‘Ones & Twos‘ ist von der DJ-Kunst des Schallplatten-Auflegens inspiriert“, sagt Clayton. „Mir schwebte
ein Album vor, bei der die A-Seite gleichzeitig mit der B-Seite abgespielt werden kann.“ Die Erstveröffentlichung von „Ones & Twos“ besteht wie üblich aus Einzeltracks, später dieses Jahr wird Gerald Clayton
in einem zweiten Schritt die überlagerten Tracks veröffentlichen.

Wie so viele Coming-of-Age-Geschichten mit nachhaltigem Eindruck spielt das neue Album der Brooklyner Band Momma in einem bezaubernden und turbulenten Sommer. "Welcome To My Blue Sky" wurde mit der gesamten Band live im Studio aufgenommen und von Bandkollege Aron Kobayashi Ritch produziert. Mit Hilfe des Drummers Preston Fulks gelangen Momma 12 kraftvolle Songs, die die rohe Dringlichkeit des Rock mit den eindringlichen Melodien und straffen Arrangements des Pop kombinieren – eine Dynamik, die aus ihrem Engagement entstand, das direkteste Ventil für ihren emotionalen Ausdruck zu finden. Jeder Track ist zugleich geteilte Erinnerung, gemeinschaftlicher Erguss und fesselnder Reisebericht voller Selbstbewusstsein und Sensibilität. Das Ergebnis ist ein mutiger Sprung nach vorne für eine der kreativsten, kompromisslosesten und einzigartigsten Stimmen im Indie-Rock.

Das neue Album 'Back for Me' ist eine Schatztruhe mit weniger bekannten Perlen bekannter Künstler (Bill Withers, Ray LaMontagne, Allen Toussaint, Doyle Bramhall II, Tracy Nelson), produziert von Janiva Magness' langjährigem Mitarbeiter Dave Darling. Auf dem Album sind die erstklassigen Gitarristen Joe Bonamassa, Sue Foley und Jesse Dayton zu hören, die ihren jeweiligen Gastauftritten ihren Stempel aufdrücken. 'Back For Me' ist ein Kraftpaket, das vom Chicago-via-Texas-Stück 'Masterpiece' bis zum schmerzenden Gospel-Soul-Funk von Bill Withers' 'The Same Love That Made Me Laugh' reicht. Es geht um Herzschmerz und Liebeskummer, aber auch um Selbsterkenntnis und Verantwortungsbewusstsein und die Stärke und Kraft, die daraus entsteht. Janiva Magness hat acht Blues Music Awards gewonnen, darunter den begehrten B.B. King Entertainer of the Year Award, und wurde 2016 für einen Contemporary Blues Album Grammy nominiert.

Nicht nur mit Jazz setzt Blue Note Records seit Jahren Zeichen. Neu auf dem US-Label ist jetzt auch die
Londoner Sängerin, Songwriterin und Gitarristin Maya Delilah, frisch von Spotify zum „Artist To Watch
2025“ ernannt, das sichere Zeichen eines aufgehenden Sterns.
Die 24-Jährige besuchte die renommierte BRIT School, zu deren Absolventen auch Adele und Amy Winehouse gehörten. Während des Lockdowns veröffentlichte sie im Social Media lässige Musikclips mit Gitarre
und hat inzwischen auf TikTok 600.000 und Instagram 310.000 Follower, darunter prominente Fans wie
Shawn Mendes und James Bay.
Seit Maya bei Blue Note unter Vertrag ist, hat sie eine Reihe fabelhafter Singles veröffentlicht, die 12
Songs ihres in London und LA aufgenommenen Debütalbums sind von akustischem Soul-Pop-Feeling durchdrungen, enthalten aber auch satte Country-, Blues- und Gospel-Anklänge, sowie eine Portion Funk. Eine
Musikerin von der man ganz sicher noch viel hören wird.

Neu bei Blue Note Records ist mit Saxofonist Branford Marsalis einer der bedeutendsten Jazzkünstler
unserer Zeit. Neben seinen Alben unter eigenem Namen hat er mit Jazz-Legenden wie Miles Davis und
Dizzy Gillespie gespielt sowie wichtige Pop-Alben mitgeprägt. Speziell seine Zusammenarbeit mit Sting ist
legendär.
Marsalis’ Blue-Note-Debüt „Belonging“ ist nicht nur, wie man es von dem Künstler kennt, ein meisterhaftes Modern-Jazz-Album geworden, sondern auch eine echte Überraschung: zusammen mit seinem
Quartett hat er eine vollständige Neuinterpretation von Keith Jarretts gleichnamigem ECM-Album von
1974 aufgenommen.
„Belonging“ ist Branford Marsalis‘ erste Neuveröffentlichung seit 2019 mit seinem Quartett mit Pianist
Joey Calderazzo, Bassist Eric Revis und Schlagzeuger Justin Faulkner. Die vier Musiker beweisen mit „Belonging“, wie die Auseinandersetzung mit einem bewunderten Werk und die Freiheit des Jazz ein neues,
ebenso eindrucksvolles Werk schaffen können.

Reinventing himself as a vocalist on his new album 'Silver Blue', Pomrad fuses 80s fusion funk, raw electro-dance, and 90s rave grooves to craft his unique style of cosmic crooners. For Fans of Prince, Hudson Mohawke and Herbie Hancock.

Drawing inspiration from a wide range of genres, the record pays homage to the iconic African American productions of the '80s-such as Prince, One Way, the Gap Band, and Whitney Houston-while also nodding to UK-styled genres like Street Soul (The Antipode), '90s R&B (Is It True) or even grotesque 2-step (Sad Dancer).

Throughout the album, layered synth textures from instruments like the Yamaha DX7, RolandD-50, Simmons SD-5, and Korg Opsix create otherworldly atmospheres (Silver Blue), as tracks swing from the playful funk naivety of an '80s TV show intro (How It Feels) to corny synth ballads (Sweet Dear Lucky) or happy clapping turned hardstyle (Suzy Got Lost).

Pomrad wrote the songs over the past few years in his home studio in the Antwerp area. After a seven-year hiatus, following his collaboration with Onra, he returns as a fearless singer and storyteller with a distinctly Belgian surrealist flair.

2025 marks 40 years since Ricky Ross met Dougie Vipond and they started to form Deacon Blue, the songs on "The Great Western Road" reflect the journey the band has taken and remain honest to the age and experience they all share. Ricky Ross: "It"s just the next part of the adventure and it"s as exciting now as it was back in 1988". The joyous lead single "Late "88" fondly remembers the care-free excitement of those early days. The "Great Western Road" was recorded at the legendary Rockfield Studios, Ricky Ross and (Deacon Blue guitarist and long term collaborator) Gregor Philp return to production duties, having last produced the bands" Top 5 charting and their last full length album, 2020"s "City Of Love". This album was recorded by Matt Butler, who first worked with the band on their debut, "Raintown".

"When the Distance is Blue" is Macie Stewart"s International Anthem debut. The Chicago-based multi-instrumentalist, composer, and improviser describes the collection as "a love letter to the moments we spend in-between" - a letter realized via an intentional return to piano, her first instrument and the origin of her creative expression. Here Stewart creates a striking and cinematic work through collages of prepared piano, field recordings, and string quartet compositions, one that gives shape to a transient universe all its own while tracing the line of her musical past, full circle.

Kinky Friedman's final record (he passed away on June 27, 2024) Poet of Motel 6 is a moving collection of ten songs about love and loss. From his tribute to Billy Joe Shaver, The Poet of Motel 6, to his paean to the late, notorious mystery woman, Miranda Grosvenor, in “Whitney Walton Has Flown Away,” Kinky plumbs the depths of love and mortality on his final album. Joined by Texas royalty like Jimmie Dale Gilmore, Rick Trevino, Amy Nelson, Rodney Crowell, and produced by fellow Rolling Thunder Revue alumni David Mansfield, this record truly lays bare the heart of this Texas bard.

The Austin, TX-based singer-songwriter—whose decades-long career has seen six full-length studio albums, three EPs, countless collaborations, and an illustrious supergroup project in Glorietta—spent a season of rest away from his focus on writing songs. In the wake of the end of a long relationship, he wanted to prioritize processing his grief as a human, not as an artist bleeding on the page. “I love all the records I’ve made in the past. But in making them, there was always the thought in the back of my mind of where and what it could get me. I made both creative and business decisions with a goal in mind... a goal that often never came. This time it was all about just the joy of making it, about having fun with it.”

Way back in 1962 all roads led to Dartford in Kent when a coming together of influences would result in the formation of the world’s greatest rock and roll band,The Rolling Stones...
Mick Jagger the singer and Keith Richards lead guitarist were both fans of early rockers Chuck Berry and Bo Diddley, whilst rhythm guitarist and harmonica player Brian Jones and pianist Ian Stewart would be immersed in the Blues that were coming from Chicago,the same influences would bring the original bassist Dick Taylor and drummer Tony Chapman to the party.

2-LP GATEFOLD SPECIAL EDITION - 180-GRAM VIRGIN VINYL - “KIND OF BLUE - THE MONO & STEREO VERSIONS” - LIMITED EDITION

The complete iconic 1959 Miles Davis album Kind of Blue, one of the most influential LPs in modern jazz, featuring Miles Davis on trumpet, John Coltrane on tenor sax, Cannonball Adderley on alto sax, Bill Evans and Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. It is presented here both in its original Stereo and Mono versions

Nels Cline, Gitarrist der US-Independent-Rockband Wilco, den der Rolling Stone in seiner Liste der “100
Greatest Guitarists of All Time” führt, ist in seinem „zweiten Leben“ Jazz-Gitarrist, und das seit 2016 auf
dem weltweit renommiertesten Label des Genres: Blue Note Records. Sein viertes in einer Reihe stilistisch unterschiedlicher Blue-Note-Alben hat er jetzt nach seinem neuesten Ensemble „Consentrik Quartet“
benannt - mit Ingrid Laubrock (Saxofone), Chris Lightcap (Bass) & Tom Rainey (Drums) - dessen Debü-
taufnahme dies ist.
„Consentrik Quartet“ ist Nels Clines bis dato stilistisch vielseitigstes Blue-Note-Werk, auf dem es ihm
gelingt, swingenden Modern Jazz und Avantgarde, Virtuosität und Coolness zu verbinden.

This new 45 RPM single is the lastest from Pyramid Blue, a group known for their Ethio-jazz fusion.

This time, the Spanish band has teamed up with Habiba Chaouf, an Arab singer rooted in Spain's flamenco scene, who lends her beautiful vocals to the A-side. The song blends Arab melodies with deep afro-funk rhythms. Habiba's soulful vocals elevate the track, which reflects on the emotional journey of longing, uncertainty, and the search for change. "Amal" (meaning "Hope" in Arabic) reminds us of the power of hope as both a guiding light and a source of inner strength, even in the face of doubt and longing.

On the B-side, La Esperanza (Hope), Pyramid Blue delivers a hypnotic, instrumental journey, featuring a bold horn section and a guitar riff that evokes the feeling of crossing a vast desert—an atmospheric, cinematic soundscape that could easily score a film.

A side is a full side tune in the vein of Whiston Road Hardfloor spirit ! At the end of the side you'll get a kicking perfect locked groove.

The flip bring 2 Melly's bangers...

A western tradition !

Reissue des 1979er Solodebütalbums des grandiosen Blues-Mundharmonika-Spielers Sugar Blue aka James Whiting aus Harlem, NYC. Sugar Blue arbeitete mit zahlreichen Musikerkollegen (Louisiana Red, Bob Dylan, Stan Getz, Ray Charles, Frank Zappa) zusammen, seine berühmteste Kooperation dürften aber die Rolling Stones-Alben "Some Girls" (1978) & "Emotional Rescue" (1980) sein, darunter der Überfliegerhit "Miss You", den er später solo coverte. Sugar Blue war mit einem Beitrag auf der Compilation "Blues Explosion" (1985) und als Studiomusiker auf Willie Dixons Album "Hidden Charms" (1998) vertreten - beide Werke gewannen einen Grammy. 1997 begleitete er Prince auf dessen Love-4-One-Another-Charities-Tour.

Das dritte Album von Pale Blue Eyes ist eine Beschwörung neuer Horizonte, das cremige Devon wird gegen das Synth-Zentrum Sheffield getauscht. "New Place" erscheint nach einer wundervollen Tour mit Slowdive durch 12 europäische Länder und vielen Veränderungen im Leben von Sänger/Gitarrist Matt Board und Schlagzeugerin/Synth-Queen Lucy Board, die den Kern der Band bilden. Es gibt neue Sounds, aber auch einen markanten Krautrock-Einfluss, neben weiteren Lieblingsstimmungen und -aromen der Band, auf die auch zwei Mitglieder der PBE-Livebegleitung, Tom Sharkett (auch Gitarrist bei W.H. Lung) und Lewis Johnson-Kellett, einwirkten. "New Place" spiegelt das Ende einer Ära und einen willkommenen Neuanfang an einem neuen Ort wider.

Der charismatische italo-französische Sänger, Gitarrist und Mundharmonika-Virtuose lässt sich für seine
Alben gerne Zeit. Auch auf sein jetzt erscheinendes drittes Blue-Note-Werk haben die Fans lange gewartet.
Auf intuitive Weise vereint Charles Pasi Elemente verschiedenster Genres, ohne dabei jemals beliebig zu
werden. Dass er dabei ein begnadeter Sänger und Mundharmonikaspieler ist, der Pop- und Blues-Songs
mit einem Spritzer Jazz beherrscht, gibt seiner Musik die richtige Würze, um neben den Fans auch Musikerkollegen von Archie Shepp bis Maceo Parker zu begeistern. Auch ein Konzert von Charles Pasi sollte
man sich nie entgehen lassen.
Sein neues Album „Adamas“ ist wieder ein facettenreiches, emotionsgeladenes Album geworden, gespeist
aus den Erfahrungen der letzten Jahre, in denen es markante persönliche Verluste in seinem Leben gab.
Als Single gab es vorab den Titel „Addict“ zu hören, trotz des dunklen Themas Abhängigkeit ein luftiger
Gitarrentrack mit lässigen Vocals und starker Hookline. Die restlichen Songs des Albums halten mit diesem
ersten neuen Lebenszeichen locker mit.

Das dritte Album von Pale Blue Eyes ist eine Beschwörung neuer Horizonte, das cremige Devon wird gegen das Synth-Zentrum Sheffield getauscht. "New Place" erscheint nach einer wundervollen Tour mit Slowdive durch 12 europäische Länder und vielen Veränderungen im Leben von Sänger/Gitarrist Matt Board und Schlagzeugerin/Synth-Queen Lucy Board, die den Kern der Band bilden. Es gibt neue Sounds, aber auch einen markanten Krautrock-Einfluss, neben weiteren Lieblingsstimmungen und -aromen der Band, auf die auch zwei Mitglieder der PBE-Livebegleitung, Tom Sharkett (auch Gitarrist bei W.H. Lung) und Lewis Johnson-Kellett, einwirkten. "New Place" spiegelt das Ende einer Ära und einen willkommenen Neuanfang an einem neuen Ort wider.

Following his contribution to FUSE’s Various Artist release last summer with the standout ‘Life’s A Bleep’, Melbourne-born, Berlin-based DJ/producer Reflex Blue returns to Enzo Siragusa’s renowned imprint with his first full EP on the label, ‘Fragments’.

His fusion of deep, sub-heavy house, heavily influenced by turn-of-the-90s UK tech house and forward-thinking electronic spheres, has welcomed releases on labels such as Limousine Dream, Kalahari Oyster Cult, and Craigie Knowes, while making appearances at the likes of Slapfunk, S.A.S.H. and more.

Now, with ‘Fragments’, he takes his sonic explorations to FUSE once more, delivering a high-energy selection primed for dancefloor impact. ‘Ruff City Dub’ brings heavyweight low-ends, shimmering textures, and UKG touches to kick things off , setting the tone for the EP’s dynamic and versatile feel. ‘Tightening The Screw’ follows with crisp drum programming and hypnotic, off-kilter synth work, offering a clever balance of wonk and precision. On the B-side, ‘Love 2 Rhythm’ oozes funk and fluidity with its rolling percussion, soulful vocals and rubbery bass licks, while ‘Freakin’ In The Neighbourhood’ merges influences from rave, electro and more with a modern, high-energy twist for a no-nonsense, late hours hitter.

A second outing by French modular enthusiasts Atomic moog on the Delsin Cameron series. On Blue Scale they present four more works of their quirky noodle experiments. It represents their irresistible grooves in optima forma, while keeping it wonky and alive. 'Blue Scale' and 'Landing Point' got that steady and never ending after-hours flow while 'Data 100f' and 'Impulse' are mesmerizing deep dives exploring a more broken side of the pair.

Portland-based ambient architect and far afield sound technician Graintable, aka James Cooke returns with his debut outing on Music To Watch Seeds Grow By and his fourth in the R$N stable; 'Blue Flax'. Following his acclaimed and sold out cassette releases 'Herons', 'Universal Ash' and ‘The Rain In The Trees’ on Ransom Note Records, this new collection sees Cooke delving deeper into the intersection of natural processes and liminal organic electronics.

'Blue Flax', the resilient flowering plant celebrated for its delicate blue blooms and medicinal applications, is native to the Pacific Northwest - the region Cooke calls home. This plant has long grown on the ancestral lands of the Wasco, Klickitat, Warm Springs, Cayuse, and Umatilla tribes. Its connection to this landscape underscores the album’s themes, weaving together ten intricate ambient pieces that reflect the plant's dual nature of part healer, part object of wonder. Recorded during the transitional hours of dawn and dusk in his Portland studio, Cooke’s soundscapes capture both the meditative aspects of watching plants grow and the gradual transformation of organic matter into usable forms. The centrepiece of the album Cerulian FIelds, reminds of the early morning light, those inspiring hours before the rest of the world wakes and the first shoots break through the soil into the new dawn. It’s a beautiful crystallisation of what is Cooke’s most comprehensive collection of meditative compositions to date.

For fans of: Steve Roach, Alessandro Cortini, Suzanne Ciani, Davis Galvin

Early support including: Courtesy, Laurent Garnier, Massimiliano Pagliara, DJ Harvey, Domenic Capello

Synapson's latest album, Blue Jeans, is described as timeless and irreplaceable, much like a beloved pair of jeans that only gets better with age. The album is crafted with care, featuring diverse collaborations that resonate with a wide audience, reflecting the duo's commitment to inclusivity and unity. Celebrating their 15-year career, Blue Jeans represents a milestone in Synapson's journey, highlighting their evolution and enduring impact on the music world. This album stands as a tribute to their dedication to music and their fans, poised to become another classic in their storied career.

Nach ihrem zweiten Sieg in Folge als ”Jazz Group of the Year” bei der DownBeat-Leserumfrage kehren
ARTEMIS mit ihrem dritten Blue-Note-Album zurück, als Quintett-Besetzung unter Leitung der Pianistin
und musikalischen Leiterin Renee Rosnes. NPR Music bezeichnete die Band als ”Femme Fatale Supergroup”, was nicht verwundert bei der herausragenden Besetzung mit Trompeterin Ingrid Jensen, Saxophonistin Nicole Glover, Bassistin Noriko Ueda und Schlagzeugerin Allison Miller.
Als Inspiration für Klang und Repertoire von ”ARBORESQUE” nennt die Band diesmal die Natur und
ihre Wirkung auf uns Menschen. Die acht Tracks des Albums, bestehend aus je einer Originalkomposition der Bandmitglieder sowie neuen Arrangements von Stücken von Wayne Shorter, Burt Bacharach und
Donald Brown, klingend dementsprechend harmonisch und organisch, geben den fünf Musikerinnen viel
Spielraum für ebenso elegante wie herausfordernde Improvisationen

Nicht einmal ein Jahr war Sonny Rollins bei Blue Note unter Vertrag. Doch in dieser kurzen Zeit gelang es
ihm, drei exzellente Studioalben und ein atemberaubendes Live-Album für das Label aufzunehmen. Sein
im Dezember 1956 eingespieltes Blue-Note-Debüt mit dem schlichten Titel ”Volume 1” war ein klassisches
Rollins-Hardbop-Album. Das Repertoire bestand aus vier weniger bekannten Kompositionen des Tenorsaxofonisten, in denen er jedoch mit gewohnt atemberaubenden Soli brillierte. Und wie so oft überraschte
Sonny mit einer eigenwilligen Interpretation einer Broadway-Musical-Nummer

In den frühen 1960er Jahren übte Paris eine magische Anziehungskraft auf amerikanische Jazzmusiker aus.
Zu den Stars, die sich dort vorübergehend niederließen, zählten u.a. der Tenorsaxofonist Dexter Gordon,
der Pianist Bud Powell und der Schlagzeuger Kenny Clarke. Auf diesem Album von 1963, das oft als
Dexters bestes bezeichnet wird, interpretieren die drei zusammen mit dem großen französischen Bassisten
Pierre Michelot traumhafte Bebop-Klassiker und Balladen.

Cahl Sel returns with the Blue EP, a second 4-track release for Reflective Records. These tracks have their origins in live hardware sets, performed around Nor Cal and now honed in the studio.

The title track "Blue" sets the tone with a hypnotic house cut, followed by a blissed-out JX-3P workout on A2 "Focus". The B-Side opens on a deeper, more techno-inspired “Panoptic”, with a bleepy SH-101 pulse and haunting FM melody. The final track closes out the EP with an introspective ambient vignette, “Wishbone”.

Mit seinem ersten Blue-Note-Album ”Blues In Trinty” erweiterte der aus Jamaika stammende und damals
in England lebende Trompeter Dizzy Reece seine Fangemeinde um so berühmte Kollegen wie Miles Davis
und Sonny Rollins. Und Art Blakey wollte ihn und den britischen Tenorsaxofonisten Tubby Hayes, der
hier ebenfalls zu hören ist, sofort für seine Jazz Messengers verpflichten. Das Album, auf dem auch zwei
prominente Gäste aus den USA mitwirkten, gilt noch heute als absoluter Bop-Klassiker.

Mastered by Matthew Lutthans at The Mastering Lab from a new 30 ips quarter-inch stereo master tape transferred from the original 3-track session tapes. Plated and pressed at Quality Record Pressings for flawless production and superior fidelity! Stoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finish.

Miles Davis's Kind of Blue was the number-one jazz album in history. It totaled five songs. There are four more songs from that same historic group, recorded in the same time period and at the same studio. And here they are. These songs deserve to stand on their own with artwork to highlight the quality of the music and that matches the time period of the recording. This is a rare opportunity to have a smash follow-up to what many consider the greatest jazz record ever!

Through the years, these four remarkable performances — all from a single recording session in 1958 and all exemplary of the sound of Miles Davis' legend-loaded sextet of that year — have not been served well. They have been largely treated as add-ons for other compilations. Now, for the first time, Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Prssings, has deservedly given these tracks a stellar stand-alone release for jazz fans to savor!

The once-in-a-generation lineup that recorded these tunes is the very same that would be immortalized for the enduring classic they would record almost a year later, Kind of Blue. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.

Undervalued since their recording, the tunes on this album reflect historial and musical significance. They offer early glimpses into the modal jazz that Kind of Blue would bring to the forefront. Using modes common in modern classical music, rather than the chords of popular songs, Miles had begun to experiment with the new approach on the Milestones recording sessions previously.

Analogue Productions is proud to present Birth of the Blue in an exclusive first-of-its-kind stand-alone release that reflects our reputation for meticulous production, capturing authentic sound with clarity, depth and fidelity that exceeds the audiophile standard.

For this release, we started with the original 3-track recording session tapes that were mixed down to a brand-new 30 ips quarter-inch stereo master tape by senior mastering engineer Vic Anesini at Battery Studios. From that stereo master tape, Matthew Lutthans at The Mastering Lab cut the lacquers at 33 1/3 RPM utilizing the legendary Doug Sax's custom all-tube system and cutting lathe. The lacquers were plated and pressed on 180-gram vinyl at Quality Record Pressings. Lastly, the Stoughton Printing tip-on gatefold jacket with a deluxe scuff-resistant matte finish is the highest quality available. The artwork has an incredible spot-on look to a 1959 Columbia records release!

Features:


• Pioneering Ensemble: Captured the same rare and short-lived alignment of jazz legends including Miles Davis, John Coltrane, Cannonball Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb, as heard on the historic Kind of Blue.


• Innovative Sound: The session represented a crucial transition in jazz, blending elements of hard bop with early modal jazz influences, showcasing the ensemble's experimentation and forward-thinking approach.


• Undervalued Legacy: Despite its historical and musical significance, the session's recordings have been historically overlooked, often relegated to being add-ons in compilations rather than recognized as standalone masterpieces.


• Modal Jazz Precursor: Offered early glimpses into the modal jazz that would later be fully realized in Davis's groundbreaking album "Kind of Blue," laying the groundwork for future jazz innovation.


• Impact on Artists: Served as a critical point of development and confidence for the musicians involved, particularly Bill Evans, who noted the significant impact of this experience on his own identity and style.


• Historical Context: Occurred at a peak moment in Miles Davis's career, following his signing with Columbia Records and his critical and commercial successes with albums such as ‘Round About Midnight and Miles Ahead.


• Revealed backstory: Extensive liner notes by the Grammy Award-winning author Ashley Kahn, who also penned the estential book, Kind Of Blue — The Making Of The Miles Davis Masterpiece

2019 feiert das Blue-Note-Label seinen 80. Geburtstag. Unter den Aktivitäten des Jahres findet sich
auch eine für Vinyl-Fans besonders interessante: die "Tone Poet Audiophile Vinyl Reissue Series".
Man nennt ihn den 'Klangpoeten': Joe Harley, Mitbegründer und Koproduzent des renommierten
amerikanischen Vinyl-Labels und Mail-Orders 'Music Matters'. Zum Jubiläum wurde er jetzt von Blue
Note beauftragt, ausgesuchte Alben für eine exklusiven LP-Edition zusammenstellen. Diese rein
analogen Reissues werden von den originalen Masterbändern von Kevin Gray (Cohearent Audio) neu
gemastert und bei Record Technology Incorporated (RTI) in 180g-Vinyl gepresst. Die Originalcover
werden als hochwertige, schwere Tip-on-Sleeves faksimiliert. Zu den von Joe Harley handverlesenen
Aufnahmen werden für ihre Aufnahmequalität berühmte Blue-Note-Klassiker, aber auch
herausragende aktuelle Einspielungen gehören.
Die ersten beiden Alben der Serie sind besondere "Blue-Note-Leckerli": Wayne Shorters 'Etcetera'
und Chick Coreas 'Now He Sings, Now He Sobs'.
Ausstattung: 180g-Pressung, neues Remaster von den Analogbändern, keine digitalen
Fertigungsschritte, schwere Tip-on-Hüllen

Blue Marble Vinyl. Screaming Blue Murder is the third studio album by British heavy metal band, Girlschool. It was released on Bronze Records in 1982, and featured one line-up change in bassist Ghislaine ,Gil` Weston, formerly of The Killjoys, replacing the recently departed founding member Enid Williams. Nigel Gray, who had previously worked with The Police, produced the album. Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.

Blue Marble Vinyl. Screaming Blue Murder is the third studio album by British heavy metal band, Girlschool. It was released on Bronze Records in 1982, and featured one line-up change in bassist Ghislaine ,Gil` Weston, formerly of The Killjoys, replacing the recently departed founding member Enid Williams. Nigel Gray, who had previously worked with The Police, produced the album. Frequently associated with contemporaries Motörhead, they are the longest-running all-female rock band, still active after more than 40 years. During their career they travelled the world, playing in many rock and metal festivals and co-headlining with or supporting important hard rock and heavy metal bands. They maintain a worldwide cult following, and are an inspiration for many female rock musicians.