Search:blues

In 1981, Pizza, Alain Bashung's third album, propelled him into the forefront of French rock. Recorded in Troyes on May 22, Live 1981 is the unprecedented testimony of this artist at the very top. Punk merges with reggae and collide with the rockabilly guitars of the Stray Cats. Flanked by KGDD, Bashung revisits the titles of Pizza, Roulette Russe and Roman-photos. Live 1981 is completed by two additional titles captured in Melun during the same tour: “Milliards de nuits dans le frigo" and "Elsass Blues". A seminal live album.Reviews and Ads – R2 and London Macadam

To avoid the “Quésaco?” on the sleeve of Piano Dazibao, François Tusques explains everything: A wall mural on which the Red Guard expressed their opinions during the Chinese proletarian cultural revolution. So much for the “Dazibao”, very good; but the piano in all that?

The piano, François Tusques was self-taught and his work was influenced by Jelly Roll Morton and Earl Hines before discovering Thelonious Monk, Bud Powell and then... free jazz. In Paris in 1965, Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France, named... Free Jazz.

In 1967, Tusques again served up Le Nouveau Jazz, this time in the company of Barney Wilen (and Guérin, Jenny-Clark, Romano). Three years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: Piano Dazibao and Dazibao N°2.

Under the influence of Mao and Lewis Carroll, the free spirit roamed and composed seven tracks which are not so much free as libertarian. As an homage to some friends (Don Cherry, Sunny Murray, Archie Shepp, Clifford Thornton but also Colette Magny, Michel Le Bris or the Théâtre du Chêne Noir), the pianist played cascading bouquets of notes, free-form wanderings, blues-ambushed dances, growls, discords, a fatal requiem... A cherished freedom, songs of hope and demands, François Tusques offers the most unrelenting of independent records.

Climate - atmosphere is what we say. Soul with beautiful expression, is what they say in the modern jazz scene in the US. It's a necessary component for good jazz, as well as for swing. But to achieve an organic atmosphere which is therefore vital and alive, a relationship of intentions and views, and a congeniality of thoughts are needed. When Tommasi was in Rome for a few days and had Santucci and Scoppa listen to the latest pieces he had composed, the three musicians ideas, aspirations, and agreement in taste appeared to exist right off the bat, and the idea to do an album together was born almost instantly.

Now, with all things said and done, a certain climate seems to have been achieved, with no lack of a swing enriched with heat and energy. The two horn players, who up until now have played and recorded with a band from Rome, the Modern Jazz gang, have really and fully understood the spirit of the pieces written by Tommasi, and even if it's the first time they have met with the trio of the pianist from Trieste, they demonstrate that they have merged and combined into one, more than anyone had hoped for. The album was recorded by forging ahead and overcoming various obstacles like that of a geographical distance that they were not used to (the horn players reside in Rome, and the others in Turin, Bologna, and Lucca); but now that the project has been achieved rehashing the difficulties that they had to get past in order to finish the piece is no longer important (and nor is it well wished for).

The California based Tito Jackson is supported on his debut Blues album 'Under Your Spell', now in 180 Gram, cream coloured limited quantity vinyl, by an array of superlative special guests, including George Benson, Joe Bonamassa, Marlon Jackson, Eddie Levert, Kenny Neal, Bobby Rush and Stevie Wonder, who all add their special talents to the proceedings

"Love One Another" is the perfect antidote for today's times of doubt and trepidation, as the vocals of Tito, along with Marlon Jackson, Bobby Rush and Kenny Neal soar above the musical bed of melodies that feature the sweet sound of Stevie Wonder's signature harmonica style.

Song-writing duo and Hall of Famers Kenny Gamble and Leon Huff, who penned worldwide hits for The Jacksons and the O'Jays, came out of retirement to write "All In The Family Blues" for Tito. The track features Hall Of Fame legend, Eddie Levert.

As a friend and admirer of BB King, Tito plays tribute in his cover of King's classic, "Rock Me Baby" honored with BB's daughter Claudette King joining in. Tito Jackson's innate abilities as a singer, songwriter, guitarist, producer and arranger shine through brilliantly, creating a spectacular record that is destined for airplay and rave reviews in a number of formats. Continuing on the path set for Jackson when he broke into the music business as a member of the legendary Jackson 5, Tito continues to grow as a musician and performer.

UK Independent Record Stores Only Tracks: Checkered Flag / Smash Up On Highway One / Stack My Money / Drip Drop / The Cat With 9 Wives / Turn You On, Turn Me On / Rockabilly Riot / Off Your Rocker / Who Cares? / Rockabilly Banjo

Donny Hathaway (arr, voc, keyb, b); Johnny Board (ts); Clifford Davis (as); Robert A. Lewis (tp); King Curtis, Phil Upchurch (g, b); Louis Satterfield (b) Ric Powell (perc, dr); Morris Jennings (dr) & The Vashonettes (voc) u. a.

Von den vielen Kirchenchor-Karrieren der schwarzen Musik ist die von Donny Hathaway eine der steilsten. Dabei mag der Rang 49 von 100 der besten Stimmen aller Zeiten, die ihm das Lauscherteam des Rolling-Stone-Magazins bescherte, zahlenmäßig abstrakt wirken. Doch bereits die ersten Takte des Starters »Voices Inside« versprechen ein Programm, in dem instrumentale wie menschliche Stimmen gleichberechtigt zu Wort kommen: So beeindrucken satt klingende und durchsichtig gestaffelte Bläsersätze, die sich von dezent bis brassy in Szene setzen.

Mit pfeffrigen Clavinet-Salven gewürzt bricht sich Hathaways Seelensound harmonisch frisch geschlagene Blues-Bahnen (»I Believe To My Soul«), erhebt sich in leidenschaftlichen Tönen (»Misty«) und ackert sich durch perkussiv trockenes und fröhliches Durcheinander im Titel »Sugar Lee«. Jedes Arrangement schöpft aus dem Vollen des exzellenten Musikerpersonals und bleibt für sich einzigartig. Weich abgefedertes und wohlklingendes Miteinander (»Tryin' Times«) wirkt ebenso natürlich wie gebetartiger Gospel (»Thank You Master For My Soul«), der zum Gotteslob Höhenflüge in freie Jazzharmonien wagt.

Zum guten Schluss wieder Hathaways bis ins hohe Register geschmeidig schwebender Solo-Gesang, dessen kurzer Titel »A Dream« treffend für das gesamte Album steht.

Diese Speakers Corner Produktion wurde unter Verwendung von analogem Masterband und Mastering 100% rein analog gefertigt. Alle Lizenzen und GEMA-Beiträge wurden abgeführt.

In November 2020, with the entire world locked down at home, Amir
Bresler was itching to create - He'd spent years onstage, but never
released a full solo album

A friend's invitation brought him to a rural village outside Tel Aviv, and the move lit a spark: Bresler set up shop in the village's local auditorium named 'The House of Arches', and planned single-day sessions with different combinations of Tel Aviv's finest, including keyboardist/ producer Rejoicer, Yemen Blues frontman Ravid
Kahalani, bassist Gilad Abro, pianist Nomok and trumpeter Sefi Zisling. For nearly a week, crews of friends drove north and dug into psychedelic jazz and funk, all built upon Bresler's polyrhythmic beats. They captured spontaneous bursts of energy ' free-form jams in the morning reigned into tight, mesmerizing grooves in the afternoon. Those six compositions ' each recorded live in one day ' make up
House of Arches, Amir Bresler's first solo LP, out on Raw Tapes, with grooves as deep as the Mediterranean where it was conceived.

Rhythm Rhyme Revolution are back with another cracking double A side 45 - sounding even more seasoned than the trilogy of exemplary albums that they have released.

A side: ‘SupaDupaStank’ has the interweaving sax of Jake Telfson and the majestic mouth organ of multi-instrumentalist Gareth Tasker erupting through the layers of the groove ridden arrangement like consistent currents of electricity, highly charged and full of energy. Barrie Sharpe and Betty Steeles add their vocal interjections towards the end in a glorious kind of marginal coherence. It reminds me of the prime of Eric Burdon’s War.

B side: ‘Deal With It’ is an outstanding piece of music. Surprisingly Jazzy - rarely heard of within Sharpe’s musical repertoire. The slinky vocals of Betty Steeles add a sweeter dimension to the overall sound. This one is more hard-hitting and moody - with Gareth’s simmering bass over a slow burning groove. All tied together with Jakes jazz sax lick throughout the track. The words of Emrys Baird (Blues & Soul)
Sharpe and co are essentially reasserting how masterly group improvisation rooted in intent social commentary feels fresh and at times provocative. They consistently release subtle groove inflected dance music of the highest order and show no signs of letting up. (The words of Emrys Baird – ‘Blues & Soul’)

Originally released in 2002 in partnership with NME to celebrate their 50th anniversary and 50 years since NME printed the first ever singles chart in the UK. 1 Love saw the cream of British artists come together to pick their favourite number one to cover. Having appeared on the 1995 HELP album, Oasis continued their support of War Child with an acoustic rendition of Slade’s Christmas classic ‘Merry Xmas Everybody’. Stereophonics chose ‘Nothing Compares 2 U’ with Kelly Jones’s gravelly vocal complementing this stripped back version of the track written by Prince, performed by The Family and taken to number one by Sinead O’Connor in 1990.

Stone-cold classic – the ultimate Studio One tune and the ultimate rhythm & blues/soul to reggae cut as Dawn Penn vamps on Bo Diddley, Willie Cobbs. Floor-shaking, speaker-busting SEMINAL tune!
The original Studio One CLASSIC Dawn Penn's soaring hypnotic vocal cut 'No, No, No' first time ever on 12"!

Super loud and with a killer dub version on the flip!

Wenn eine internationale Wochenzeitung einen Musiker als »weißen Papst der schwarzen Kunst« betitelt, klingt das verdächtig nach Altersmilde eines Bluesers in den besten Jahren, der die guten schon hinter sich hat. Von wegen! Bei Johnny Winter schlugen die Beurteilungen während seiner Tournee 2011 den Tonfall der frühen Jahre an, als das Blatt "Rolling Stone" den hageren Mississippi-Barden als »schielenden Albino mit langem, fließenden Haar« beschrieb, »der so ziemlich die flüssigste Gitarre spielt, die man jemals gehört hat«.

Ob gewollt oder nicht: man ließ Winter damit ein wenig an dem Rocker-Lorbeer schnuppern, der für den jungen Clapton und Jimi Hendrix reserviert war. Doch Winter lässt hören, dass er nur den Blues wollte, kratzbürstig, um Howlin' Wolfs oder Muddy Waters’ geigenden Höhlengroove zu beschwören, und doch fingerfertig genug an den Saiten, um mit verblüffend geschmeidigem Spiel Tongirlanden herbeizuzaubern, die haarscharf zwischen zwei Taktstriche passen.

Ziemlich cool bleibt Winter, wenn man persönliche Leidenskurven aus seiner Musik herauszulesen versucht: »Wenn ich Blues spiele, geht es mir gut«, diktierte er jüngst einem Journalisten ins Oktavheft. Dass dies auch vor über 40 Jahren schon so war, beweist das Debüt-Album auf beiden Seiten.

Aufnahme: 1969
Produktion: Johnny Winter

Gaetano Battista is back under his Mental Vibe Construction alias for his best work to date. The Italian producer is a House head through and through, bringing together all the ingredients necessary to create a classic Deep House 12". "Blue Jazz" starts the dance with it's hypnotic guitar arpegio and sparse pianos for a stratospheric ballad, pure bliss! A2's "Deeper" is a dubbed out chugger that funks hard and locks you as soon as the bassline comes in. "Red Blues" is another atmospheric jam with a more techno feel a la detroit, robotic and bass heavy. B2 definitely kicks some and shows Gaetano's wide randing abilities with this minimal jacker, which will take care of keeping them hips swaying through the night. Limited Supply, support the underground.

Tubby did three original dub albums, “Dub From The Roots, “The Roots Of Dub” and the third is “Brass Rockers” with Tommy McCook ’pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named “Shalom Dub” you can call Tubby’s too because he mixed the versions as they were off the forty fives.

King Tubby and Producer Bunny “Striker” Lee are intertwined in the birth of Dub Music. After discovering a mistake that made a “serious joke” (more of which later…) they went on to release the first pressings of this new musical genre namely “Dub Music”. Tubby’s vast knowledge of electronics and Bunny’s vast catalogue of rhythms would lay the foundations of what today is taken as a standard…. The Remix / Version cuts to an existing vocal tune.

Osborne “King Tubby” Ruddock was born in Kingston, Jamaican the 28th January 1941 and grew up in the High Holborn Street area of downtown Kingston. He studied electronics at Kingston’s National Technical College and also on two correspondence courses from the USA. When he had qualified, Tubby began repairing radios and other electrical appliances in a shack in the back yard of his mother’s home. His work in the early days included winding transformers and building amplifiers for Kingston’s Sound Systems. Tubby built his first Sound System in 1957 playing jazz and Rhythm and Blues at local weddings and birthday parties His reputation as a man who knew and understood both electronics and music grew steadily and as the sixties drew to a close. Tubby purchased his own basic two track equipment. He installed this alongside his dub cutting machine, a homemade mixing console and his impressive collection of Jazz albums in the back bedroom of his home at 18 Dromilly Avenue which he christened his music room.

Dynamic Sounds upgraded to sixteen track recording in 1972 and Tubby purchased, again with the help of a deal brokered by Bunny Lee. The old four track equipment and the MCI console from their Studio B. The four tracks now gave him far wider scope to work with and he began to create a new musical form where the bass and drum parts were brought up while the faders allowed Tubby to ease the vocal and rhythm in and out of the mix. It was only a matter of time before Tubby’s dub plate experiments began to make it on to vinyl and the first ever long playing King Tubby releases would feature a collection of his mixes to a selection of Striker’s rhythms. So please sit back and enjoy this historic set of sounds. Lovingly restored and with a few extra gems added to the CD editions. These releases were the first to carry the name of King Tubby and the first to credit the great musicians that contributed so much to the rhythms that made these albums possible.

Hope you enjoy the set……

The start of the new "Live At Fabrik Hamburg" series on Jazzline in
cooperation with the legendary venue and NDR Kultur - is this previously
unreleased concert from jazz greats Freddie Hubbard and McCoy Tyner
from 1986
It will be released as a double CD in a three-part digipak and as a triple LP in a
triple gatefold cover that includes detailed Liner notes by Michael Laages. In the
Altonaer Fabrik in 1986, the master trumpeter Freddie Hubbard was a guest in the
trio of one of the most important pianists of contemporary jazz: McCoy Tyner,
whose extremely powerful attack always added percussive power of the most
energetic kind to his virtuoso playing.
McCoy Tyner died in March 2020, the recording from 1986 (he was 58 years old
at the time) show him at the height of the unmistakable jazz expression that
defined him. His piano and the enormous radiance of the Hubbard trumpet (born
in the same year as Tyner in 1938, but died in 2008) are the outstanding
protagonists. But the recording also features bassist Avery Sharpe, born in 1954
and with excellent acoustic and electrical credentials, as well as Louis Hayes, still
today the most indestructible of all modern drummers at well over 80 years of
age. Together they refine the nine titles of this two- hour concert on this truly
remarkable evening of music!

ENVY OF NONE IS THE NEW BAND & DEBUT ALBUM FROM ALEX
LIFESON (RUSH), ANDY CURRAN (CONEY HATCH), ALFIO ANNIBALINI &
SINGER MAIAH WYNNE
The ambient, cinematic darkness that the collective creates evokes a
powerful atmosphere that will excite superfans & new audiences alike
Lifeson & Curran's long-time friendship was the catalyst for the band's inception -
but Envy Of None is not defined by its members resumes - they aren't Rush or
Coney Hatch & far more than the sum of its collective parts.
Above the beautiful cacophony of guitars, synths, bass & drums sits the fragile
melodies of 24- year old vocalist Maiah Wynne - the newest name in Envy Of
None's impressive personnel. Hearing Mariah's voice intertwined with the music
will bring back memories of when you heard Shirley Manson of Garbage or Amy
Lee of Evanescence for the first time. Wynne brings charm & beauty to these
recordings in spades - with floating hooks & emotive lyrics transcending the
oftentimes textural aesthetic.
The Storm Thorgerson- esque visuals that grace the cover may remind fans of
Lifeson's earlier work - Andy Curran explains: "the Hypnosis style artwork of
albums like Pink Floyd & Led Zeppelin & others were so eye catching, surreal &
attention grabbing & we wanted to scratch that itch. We were instantly drawn to
Lebanese photographer Eli Rezkallah at Plastik's photography & design work. We
fell in love with a bunch of his work - we had a hard time choosing something
because he had so many great images". However, the 70s prog/ Rush
comparisons may end with the artwork - the music that this ensemble creates
treads new ground with each track throughout their 42- minute debut, from
industrial/electronic influences to post-progressive soundscapes. Envy Of None
create a sound that will haunt, comfort & ignite.
"If you can picture maybe Massive Attack with a little bit of some electronic stuff
with Nine Inch Nails influences, with this beautiful, fragile, sweet voice & some
very, very dark heavy sounds" - Andy Curran (Envy Of None)

Music Heads by Radio Trip is and remains one of the most far out releases we have ever had on Jalapeno Records.

In the Noughties, the label was approached with some incredible music by the super talented Mixmonster and Schoolmaster, founding members of the Israeli jazz funk band 'The Apples'. Produced under their 'Radio Trip' moniker, the album was a glorious cut & paste journey into sound, with overtones of musique concrete, brought to life by their fascination with vinyl culture, turntablism and sampling.

Their source material knows no bounds and draws from a diverse palette. Traditional middle eastern meets blues, jazz meets rock, hip hop meets psychedelic, and more all come together into one blossoming, cheerful trip, where the cultures of the world collide.

At the time, music piracy was in its heyday and the vinyl market was supposedly in a death spiral, so it was only released on CD and digital.

Now released for the first time on a very limited vinyl LP run, this gem of an album may be one of those moments you discover a touch of genius in a world where formulaic music is churned out with no soul in it's bones.

Joe Tatton, keyboard player with UK/US funk/soul jazz kings The New Mastersounds, releases this new 7 inch single in March 2022 and this time there is a lovely double A-side 7" physical vinyl option. Two tracks that showcase Joe's skills as a pianist and vocalist and confirm his talent for writing quality original compositions.

"Timeline" is Joe's spotlight on today's social media obsessed society delivered in the style of his musical hero Mose Allison. The latter was the legendary Mississippi born/New York based jazz/blues musician and singer whose wry and intelligent lyrics married to amazing original music shone a light on society and the world from the mid-1950s until his death in 2015. Mose was a huge influence on musicians like Georgie Fame, Van Morrison and Ben Sidran and was and still is one of Joe Tatton's favourite musicians of all time. This song is the title track for Joe's debut solo album due for release later this year on Rodina Music.

"Stomp" is a slow bluesy instrumental funk burner that has a New Orleans swagger about it and features Joe's grand piano solo followed by JTQ band member Gareth Lockrane cutting loose on the flute. If you like music by Allen Toussaint, Ramsay Lewis and Herbie Mann, you'll be feeling this one.

Joe Tatton has been a member of The New Mastersounds now for 16 years now and has recorded over a dozen albums and many singles with them playing organ, piano and keyboard. Annually, he tours 8-9 months a year with the band, mainly in the USA but also across Europe and Japan too. Prior to joining The New Mastersounds, Joe held down the keyboard role with UK jazz-funk kings The Haggis Horns appearing on their first two albums "Hot Damn!" and "Keep On Movin". He's also featured on piano/keyboards on the worldwide hit single "Put Your Records On" by Corinne Bailey Rae.

Over the years he has played live sets with Maceo Parker and Fred Wesley as well as Art Neville, George Porter Jr and Zigaboo Modeliste of The Meters. He's always maintained his own trio under his own name as a side project, releasing singles and EPs via ATA Records (UK) and Color Red Music (USA).
A few years ago, he needed to find the time and place to record them. So in 2020, between New Mastersounds gigs, he managed to book a few days at a studio near Nashville USA, "The Rockhouse", run by Grammy winning engineer Kevin Mckendree. He hooked up with a couple of Nashville session musicians, Steve Mackie (double bass - longtime Dolly Parton bassist) and Kenneth Blevins (drums), and put down all his original songs and also a cover of Mose Allison's "Ever since the world ended", the first single released last year

Now comes the second double A-side single and a further taste of what's in store from Joe and the band later this year when the "Timeline" album drops later in the year. However this time, there's a lovely little black vinyl offering for all the record lovers out there. Just a small first pressing which will no doubt sell out very quickly so people need to jump on it super fast. Once they're gone, they're gone.
"Time line / Stomp" double A-Side single by the Joe Tatton Trio. Released worldwide on Rodina Music - March 31st March 31st 2022.

Calexico's Joey Burns and John Convertino return in 2022 with their luminous 10th studio album, El Mirador; a hopeful, kaleidoscopic beacon of rock, bluesy ruminations and Latin American sounds, to be released on April 8.

Convening at longtime bandmate Sergio Mendoza's home studio in Tucson, Arizona, the ensemble recorded throughout the summer of 2021, crafting one of their most riveting and whimsical productions to date. Convertino, who now resides in El Paso, and Burns, who relocated to Boise in 2020, channeled cherished memories of Southwestern landscapes and joyful barrio melting pots into an evocative love letter to the desert borderlands that nourished them for over 20 years.

The progressive metal band Queensrÿche broke into the mainstream with their acclaimed 1988 album Operation: Mindcrime. The album featured the first charting hits of the band, “Eyes of a Stranger” and “I Don’t Believe in Love”. Operation: Mindcrime was certified Platinum by the RIAA not long after its release. The album follows the story of Nikki, a drug addict who becomes disillusioned with the corrupt society of his time and reluctantly becomes involved with a revolutionary group as an assassin of political leaders.

Its sequel, Operation: Mindcrime II was released in 2006 and contained the singles “I’m American” and “The Hands”. It picked up the story where the original left off, with Nikki out of prison and seeking revenge for the killing of his beloved former prostitute turned nun, Sister Mary.
In support of the album, the band went on tour and performed the two albums in their entirety for three consecutive nights in October 2006 at The Moore Theatre in Seattle.

For the very first time, the live album Mindcrime At The Moore is now available on vinyl. The 4LP set is available as a limited edition of 3500 individually numbered copies on translucent red, solid white & black marbled vinyl and contains an insert.

HOROJO Trio is the soul-rocking rhythm and blues trio that won Best
Band at the 2020 International Blues Challenge in Memphis Drummer Jamie Holmes, singer/keyboardist Jeff Rogers and guitarist/singer JWJones (who also won Best Guitarist at International Blues Challenge 2020) have individually helped to create music that reached the Top 10 Billboard Blues Charts, was nominated for JUNO Awards, and have performed in live music venues internationally. Set The Record is their debut album.

The trio came together in a chance jam session that was so inspired, it left both the audience and the trio wanting more. Even before their first gig, the blues music media called them a "blues super- group". The band have performed at several top blues festivals and venues including a high profile spot on the stage of the Legendary Rhythm & Blues Cruise in January 2022.

180g Coloured Vinyl Series Contains New Specially Prepared Liner Notes By Penguin Guide To Jazz Writer Brian Morton And By Paris’
Prestigious Jazz Magazine. Quincy Jones Big Band Bossa Nova + 2 Bonus Tracks (Yellow Vinyl) “Almost every track here is a small classic that you’re bound to have heard somewhere, without realising what it was. “Manha de Carnaval”, Luiz Bonf‘s peerless melody, is another that surfaces constantly in movies and behind commercials. Likewise, Jobim’s “One Note Samba”, which varies the metre and changes the pace most effectively. Jones recognised that he had something that could change the metre and flavour of almost any piece. “On the Street Where You Live” loses its slightly plonking sentimentality and turns into a celebration of community. “A Taste of Honey” acquires a new and exotic quality.” Penguin Guide to Jazz “There are few albums more enchanting than this one, which finds the perfect balance, among other things, to make everything swing, and to make us dance better. And you’ll be amazed to hear the voices of Roland Kirk, Paul Gonsalves, Jim Hall and Clark Terry. Yes, all of them are here.” Jazz Magazine Personnel: featuring Clark Terry (trumpet) Phil Woods (alto sax), Paul Gonsalves (tenor sax), Rahsaan Roland Kirk (Stritch, alto sax), Lalo Schifrin (piano), Jim Hall (guitar), Chris White (bass), Rudy Collins (drums), Jos Paula, Carlos “Bala” G
mez, Jack Del R o (percussion), Quincy Jones (conductor). Recorded in New York, August 13 & September 4-12, 1962. *BONUS TRACKS: Quincy Jones and His Orchestra. Similar personnel as Big Band Bossa Nova, also including Rahsaan Roland Kirk (flute, tenor sax, Stritch). New York, June 15, 1962. Original session produced by Quincy Jones. Originally issued in 1962 on the Mercury single 72012


b a2 | Boogie Bossa Nova Aka Boogie Stop Shuffle

Album - 3 singles - vinyl “Make all the uncertainty and adventure of growing up sound like the best days of your life” - UPSET “A ripper that channels sounds from all throughout punk history” - Brooklyn Vegan "On a take-no-prisoners assault" - Tom Robinson, BBC 6music “California compacted into three rowdy minutes” - The Rodeo “Scorching slacker pop” - CLASH Reminders approach punk rock from where they know it best: a forgotten seaside town. Formed on the Isle of Wight in 2017, the band cut their teeth writing songs about teenage lust and suburban boredom, gaining attention after they independently released Water Sports and Major Cities. Fresh-faced and excited, the then-teenagers coined their sound 'beach punk'; a tongue-in-cheek ode to their hometown that they stand by today. 
 Firmly solidifying their identity as breakneck but bubblegum, a pop-tinged punk band, Reminders work to introduce themselves to anybody willing to listen. After an unexpected hiatus during COVID which delayed the release of their album, the band are now raring and ready to go with their new label home at Venn and forthcoming tour dates. 
 Already championed at radio by BBC Radio 1, BBC 6Music and BBC Introducing, as well as landing placements on esteemed Spotify and Apple Music editorial playlists alike, they were labelled 'scorching slacker pop' by the influential CLASH Magazine, dubbed 'About to Break' by UPSET Magazine, and have already shared stages with rock legends and pop stars Liam Gallagher, The Killers, and Camila Cabello. Debut album Best Of Beach Punk released 1st April 2022

Svante Sjohlom has been a major player on the Scandinavian blues/folk scene for 15 years

His first album was released in 2008 and Before It Breaks iis a welcome follow up. Roots music for fans of Ry Cooder and Taj Mahal.

1987 LP Ernie Wilkins and his 'Almost Big Band' led by tenor saxophonist, composer and arranger Wilkins and featuring pianist Kenny Drew, drummer Ed Thigpen and trombonist/vocalist Richard Boone Ernie Wilkins (1919 - 1999) made phenomenal contribution to the big band music in the last five decades by composing and arranging for such major big bands as those led by Earl Hines, Count Basie, Dizzy Gillespie, Tommy Dorsey, Harry James and Clark Terry.
Wilkins moved to Copenhagen in 1979 and in 1980 launched his own Almost Big Band which consists of top musicians from Europe and USA.

"Under leadership of Ernie Wilkins music never becomes a mere parade of soloists. He builds up a piece and gives it a form of unity...Listeners will keep finding fresh surprises." - Albrekt von Konow, Orkester Journalen

For fans of - St. Paul & The Broken Bones, Mayor Hawthorn, Nathaniel Ratelif. Oliver James is a time capsule. Raised in a family of musicians and a man who has been performing live since he was a child, Oliver comes to his love of soul music in a most honest and authentic way. Growing up listening to gospel, blues, and R&B from the classic early Stax era, his influences as a musician, songwriter, and producer are clear. After a stint working as a songwriter for Rick Hall, Mr. James is now set to start his own career. Producing, editing, mixing, and performing completely to tape, Oliver makes his mark with his debut single "One And Only" on Colemine Records

HOMEGROWN returns with a special 7" release of "SERIOUS DRUG" & "TOUCHY TOUCHY" by WILDCOOKIE aka RED ASTAIRE & ANTHONY MILLS. "SERIOUS DRUG" is an addictive vibe of Afro-Cuban & Blues while "TOUCHY TOUCHY" is a more classy touch of jazz vibes.

Big Joe Williams is seen by many as the ultimate incarnation of the Delta Country Blues player, and several of his songs have become standards in the Blues canon. Known for being rough on his guitars, it's one of the reasons for the ongoing tinkering that led to the construction of his first nine string instrument. This fine studio album was released in 1962 on the Folkways Label after being recorded the year before. It contains King Highway Blues, a slow and at times almost spoken track. Where as Somebody's Been Foolin' is fairly driven along by Ransom Knowling's Bass. In 1968 Downbeat Magazine, simply stated that "Big Joe Williams' Blues is a beautiful experience". Listen to this album and you'll agree.

This compilation album collects Decca tracks from
1942 onwards and covers Jordan's golden period;
featuring 11 Number 1's and 5 charting in the top 10.
Louis Jordan has left a real lasting legacy, as without
his ground breaking musical journey in the 40's & 50's,
we can genuinely say that none of the music we knew
and loved thereafter may have happened. Can't say
that about many artists, can you?

At the beginning of the eighties reggae music became increasingly in tune with what was happening in Kingston’s dance halls… probably more so than at any time since the sound system operators had started to make their own shuffle and boogie recordings in the late fifties. The international audience and the critics were too busy looking for a new Bob Marley to appreciate what was happening downtown and failed to acknowledge that this was a return to the real, raw roots of the music. Brash, confident, young record producers who were totally in tune with the youth audience stepped forward and seized the moment…

Oswald ‘Ossie’ Thomas began his apprenticeship in the music business at the age of fourteen and served his time as a record salesman for Bunny ‘Striker’ Lee and Winston ‘Niney The Observer’ Holness before moving on to Miss Sonia Pottinger’s Tip Top Records.

“I ended up working in three record stores on Orange Street from 1976 to 1981… Yeah man! Me deh ‘pon me bicycle till I buy my motorcycle! Them days records were coming out left, right and centre… every day!” Ossie Thomas

It was during his time with Miss Pottinger that Ossie began to produce records for himself and in 1979 Ossie and Phillip Morgan began the Black Solidarity label based deep in the Kingston ghetto on Delamere Avenue. Phillip initially inspired Ossie to start the label and soon Triston Palma, Phillip Frazer and “a youth named Gary Robertson” joined in although Gary later left for Canada.

The Soul Syndicate rehearsed in the Delamere Avenue area and Tony Chin gave Ossie a cut of a rhythm that he used for Triston Palma’s ‘A Class Girl’… the label’s inaugural release. The record was a sizeable success and paved the way for hit after hit after hit on Black Solidarity. Ossie worked with just about everybody who was anybody during this critical period of the music’s development including vocalists Robert Ffrench, Little John, Sugar Minott, Frankie Paul and most notably Triston Palma.

“But Delamere must be considered as a music street sheltering as it does such artists as Junior Byles, Don Angelo, Triston Palma, Phillip Frazer and producer Ossie of the Black Solidarity label…” Beth Lesser
And the man who had made his name in the business selling other people’s records now became one of the most important and influential record producers of the era.
With grateful thanks to: Paul Coote, Nick Hodgson & Hasse Huss

Ahead of the release of his much awaited debut album « blablablue » , Belgian singer-songwriter Delv!s just shares a new single, the dreamy “Human Trumpet”.

It’s no secret that Belgium owes much of its cultural prestige to its vibrant music scene. Lately, with much of the attention turned to Flanders, the Flemish side of the country is playing host to many exciting, genre-bending projects, including a tremendously innovative rap scene and a lively pool of electro bands walking in the footsteps of pioneers such as Soulwax: A tradition that Delv!s, one of the country’s most exciting newcomers to the soul, blues, disco-funk and pop genres, is set on honouring.

Delv!s is now ready to introduce “blablablue" to the world: a soul album infused with electro, funk and rock sounds, blended with a score of field recording samples; twelve tracks all penned by himself, unveiling a whirlwind of emotions that fuel the singer’s unique voice. The nostalgic brass arrangements and vintage-sounding harmonies may evoke Billie Holiday, Nina Simone or even James Brown at times, but “blablablue” nevertheless triumphs as a current and socially relevant record thanks to its topical commentary and diverse influences. Addressing many of the great issues plaguing the world today, including the sense of urban solitude, this is the first offering by a great artist, a sensitive soul also fluent in the language of love. Something to reflect on, unite us and even comfort us at times when we need it the most.

A masterful mix of timeless American soul with vintage 1970s African samples in a most rewarding way – musical traveler Eamon teams with production duo Likeminds for No Matter The Season, his second album for Now-Again. “I’ve been singing since I was a tike, promoters used to call me ‘the boy wonder’, but with this record it felt new, almost like I was singing every note as if my life depended on it,” says Eamon from his home in Southern California, a far cry from his native Staten Island, New York City. But you wouldn’t know his birthplace from the way he sings, especially on No Matter The Season, where Eamon put a new spin on vintage samples from the Now-Again catalog, crafting beats from various African rhythms such as Amanaz’s Zamrock, the Hygrades Nigerian funk, and Ayalew Mesfin’s Ethiopian tezetas. Shortly after the release of his last Now-Again project, Captive Thoughts, he began working with the production duo on two original compositions that appear on No Matter The Season. But as time went on, he came upon the idea of completing the album by sending the duo samples from the Now-Again catalog to work with. Which were expanded upon with a multitude of live instruments. “There was something special about combing through the African records at Now-Again,” Eamon reflects. “I had never heard the variety of funk and soul that existed in places like Lagos and Addis Ababa, it was like a history lesson in Rhythm & Blues. I was hearing the godfathers of the movement here in the US. I wanted to pay my respect to that lineage. Since singing in my father’s doo-wop group as a kid, I’ve always used music from the past to create and express something new in the present. But to be able to do that across continents and get back to the roots…that was really impactful for me.” Likeminds, helmed by Chris Soper and Jesse Singer, two East Coast transplants to LA who are as comfortable chopping up samples on an MPC as they are playing classic instruments, using vintage microphones, or recording to tape, offer up what could be described as a West Coast spin on the revivalist soul sound championed by Daptone Records. “For sure, the album is soaked in an old school feel, but to still tap into the depths of my soul today is always the end goal,” Eamon states. All but two tracks are based on Now-Again samples, using the classic rhythms as accompaniment to showcase Eamon’s emotional singing style that is still as honest and raw as when he was a 16, singing about heartbreak. The end result, No Matter the Season, is a celebration of the musical relationship between Africa and America and the thrilling soul music that relationship has spawned since the 60s and 70s. “My hope is people know that I’m not leaving anything on the table in this chapter of my career,” Eamon reflects. “Only thing I can do is pour my heart out on every single line. Even though I’m writing and screaming to the heavens about my joy, my pain, my love…these are songs for everyone, everywhere, anytime. You’re gonna walk away feeling something. This is why I titled the album No Matter The Season.”

Born in Norfolk, Virginia on 11 February 1935. At the age of 12 Vincent
was given his first guitar by a schoolfriend. There was no generosity
involved in the gift because it wasn’t his friend’s guitar. It belonged to his sister, who was learning how to play. He couldn’t stand the racket she was making so he gave her guitar away. But unwittingly, this cruel act was a crucial moment in Gene’s life as he soon began to entertain with the blues, gospel and country from his porch. ‘Be-Bop-A-Lula’ was to be the first single by Gene Vincent & the Blue Caps. Selling 3 million copies, it opened the door to national fame and untold riches. Followed by the release of the album ‘Bluejean Bop‘ on Capitol Records. He was the ultimate greaser, the genuine article and the authentic voice of his generation.

"_Acid blues punk meets freeform drone raag transcendentalism" JONNY HALIFAX is an untutored aleatoric free blues outsider. His new collection of sound is an instrumental departure into godless raag brut improvisations, layered, manipulated and sculpted into heavily immersive feral sonic collages. Invocations of an hallucinatory apocalyptic near future. Previously the creator of junkshop blues skronk one man band HONKEYFINGER, which then mutated into the gospel fuzz psych of Julian Cope endorsed JONNY HALIFAX & THE HOWLING TRUTH with their ""slitherin' electro -programmed slide guitar driven mung worship", alongside the ambient drone metal noisescapes of DEATHENTEREDINERROR, now THE JONNY HALIFAX INVOCATION channel heavy meditations on the present into an uncompromising free blues transcendentalism that burn raga-shaped holes into your chakra with searing psychedelic intensity. Inspired by Henry Flynt's avant bluegrass experiments fusing country blues with eastern acoustic musical stylings, Spacemen 3's contemporary sitar music, and the monolithic drone doom immersion of Sunn 0))), THE JONNY HALIFAX INVOCATION build hypnotic instrumental soundscapes using lap steel and homemade slide guitars, harmonica and alto sax. Underpinned by layers of acoustic and electronic drone instruments and fed through an arsenal of pedalboard electronics that would make Dave Gilmour weep. The blues are transmogrified, unhinged, reduced and re-imagined as intoxicating, trance-inducing, feedback-drenched noise paintings. AÇID BLÜÜS RÄÄGS Volume 1 plays like a psychedelic western movie soundtrack, frenzied electric lap steel guitar suites play to melting cowboy minds. Flaming tumbleweeds blow in slow motion across wide open concrete vistas. Jodorowsky's El Topo meets Ballard's High Rise in an apocalyptic knife edge disintegrating urban landscape. Shut your eyes and conjure the best nightmares you've never had. The JONNY HALIFAX musical CV also includes studio contributions to releases by Andrew Weatherall's TWO LONE SWORDSMEN, UK metal behemoths ORANGE GOBLIN, hardcore thrash upstarts HECK (formerly BABY GODZILLA), and pan european psych noise titans MELTING HAND.

The New Jersey songwriter might have started out banging on doors, gigging at New York City's blues clubs, and playing piano until her fingers bled. She is winning over the city one show at a time. But lately, the multi-instrumentalist has raced through career milestones at a rocket pace. There was her Blues Blast and
IBMA-nominated 2018 debut album, High and her international breakout on Ruf's 2022 Blues Caravan Revue. Resulting in the starburst of media acclaim, including Henry Yates of Classic Rock, NME and The Guardian, who saluted "a runaway talent you need to keep up with." Now with Ruf's release of the second album, On
My Way, Katie has found another gear. Whether slinging her trusty Gibson SG, hammering the keys, or hollering a storm, these ten original songs, co-written with bassist and slide- guitar maestro Antar Goodwin, announce her as an alchemist who creates gemstones from the base metals of American roots. Recorded at Brooklyn's Degraw Sound studio in May 2021, On My Way is the profoundly personal second album on which Katie gives you her beat-up heart. "A lot of these songs are about letting go," she considers. "And how scary, but ultimately liberating, it can be…."