Search:da t mc

• Following on from the highly successful first two editions
of Dance Masters featuring the classics mixes from
maestros Shep Pettibone and Arthur Baker the spotlight
turns to another remix legend, John Luongo.
• Boston born, John is one of the truly legendary DJ's and
remixers of the Disco era. John got his break at Epic by
overdubbing percussion from salt shakers and spoons
onto a promo and then passing them back the tape. This
resulted in him being flown to New York, and put in a
studio (of his choice) to mix and produce Melba Moore`s
“You Stepped Into My Life”. From this point everything he
touched was a hit. He went onto remix Disco classics by
Jackie Moore – “This Time Baby”, Dan Hartman “Vertigo
/ Relight My Fire” and Patti Labelle “Music Is My Way Of
Life”.

• John, however was not afraid of remixing artists that
didn’t fit into the disco genre and this attitude is borne out
by the tracklisting of this compilation on which Gladys
Knight and The Pips rub shoulders with ZZ Top and Billy
Idol, and Baltimora appears alongside Bill Nelson and ILevel.
• “…if you played this whole thing, just put it on and
didn’t tell anyone it was me, they’d say ‘boy, what a great
group of songs this is!’” - John Luongo
• The collection is housed in a beautiful lift-off-lid box, with
a 16 page booklet featuring foreword by Arthur Baker, an
in-depth essay written by Alexis Petridis (Rock and Pop
reviewer for The Guardian) and complete with rare photos
from John’s personal collection plus a limited signed insert.

• All tracks remastered by Nick Robbins at Sound
Mastering.
• A 43-track 4CD edition is also available, along with a 2LP
vinyl edition featuring 16 highlights.

Having gathered up praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Gilles Peterson, Huey Morgan, The Guardian, Jazzwise and more, for his lauded ‘Crisis & Opportunity’, drummer and composer Myele Manzanza returns with the fourth instalment of his series, titled ‘Meditations’.

On ‘Meditations’, we see Myele revert to a purely acoustic line-up, channeling a focused and razor-sharp return to his Jazz roots. Showcasing an incredible level of musicianship between three musicians at the top of their game - including Matthew Sheens (Ross McHenry, John Patitucci) on piano and Matt Penman (Joshua Redman, SFJAZZ Collective) on double bass - the trio exchange motifs over the length of 7 tracks.

Opening proceedings with frenetic rhythmic improvisation, complimented by melancholic and cinematic layers of sound, ‘Crayford’s Room’ is a tribute to Myele’s musical mentor back in New Zealand. Remembering his time as a student in Wellington, Myele shows his deep connection to his origins, manifesting itself as lament on ‘Winter’ and ‘Homesick’. Introducing hypnotic, contemplative melodies take centre stage on ‘Something Old Something New’ (the first single to be released from the project)’ It maintains a sense of tension and intrigue throughout, and intensity rises to a crescendo sending sonic particles sprawling into space.

Intuitive, darker and deeply contemplative, Myele shares his innermost thoughts on ‘Crisis and Opportunities Vol.4 - Meditations’. He divulges:

‘The personal angst and existential frustration I was going through across 2020 - 2022 I believe is well reflected here. The album is deeply informed by the musicianship and sound of my trio, Matthew Sheens on piano and Matt Penman on double bass. Knowing that musicians of their calibre were going to be involved gave me licence to go further in my writing, deploying odd time signatures, sharing the melody roles across the piano and the bass, and delving deeper into the nuances of what the acoustic piano / bass / drums trio can do. The compositions present a challenge even to the best musicians, and I knew that it was essential to have a team on this level to really move the music beyond an academic exercise and draw out the emotion and colour from the material.’

Step into the captivating world of Melody Fields as they release their transformative albums, "1901" and "1991." With a marbled musical background, these albums are crafted with the precision of a brushstroke by the likes of Pablo Picasso or Gustav Klimt. Each track is carefully composed, drawing inspiration from manic behavior, fixated obsessions, and the pursuit of something greater. Melody Fields explores themes of spirituality, faith, trust, and conviction in various forms, often leading to addiction or madness. During the pandemic, Melody Fields accumulated hours of material, embracing the freedom to experiment with drum machines and synthesizers in one session, and exploring oriental instruments in another. The result is a sonic tapestry that defies conventions and pushes boundaries. The primary album, "1901," can be described as a rock album with psychedelic influences. It features repetitive guitar riffs, distorted soundscapes, and mesmerizing three-part harmony vocals. As they traverse these musical landscapes, Melody Fields is joined by guest musicians from esteemed bands such as Goat and Holy Wave, adding an extra layer of sonic brilliance. The album culminates with the captivating track "Mayday," a haunting composition written by the legendary Klaus Dinger from Neu! In contrast, "1991" is a concept album that evolved from late-night jam sessions, experimental sounds, and danceable music. It presents four remixes, including contributions from Goat and Al Lover, breathing new life into the original composition “Jesus” from “1901”. Notably, "1991" includes the thought-provoking composition "Diary of a Young Man," written by Daniel Treacy from Television Personalities, which invites introspection and reflection. Melody Fields' "1901-1991" presents a sonic journey through time, combining elements of rock, psychedelia, and experimentalism. These albums showcase the band's dedication to musical craftsmanship and their willingness to embrace diverse influences. Prepare to be immersed in their sonic universe, where boundaries are shattered, and creativity knows no limits.

Jazz fusion legend Bob Holz is back with Holz- Stathis: Collaborative. This album features John McLaughlin , Jean Luc Ponty, Darryl Jones, Randy Brecker, Ralphe Armstrong, Brandon Fields, Dean Brown, Billy Steinway, Airto Moreira, Joey Heredia, Alex Acuna, Rob Stathis, Elliot Yamin, Ric Fierabracci, Ada Rovatti, Karen Briggs, Diana Morira, Jamie Glaserand Ben Shepherd.

Tenor saxophonist Ben Webster (born Kansas City, 1909) needs little introduction, Webster is regarded as one of the three foremost swing era tenor saxophonists - the two others being Coleman Hawkins and Lester Young. His ballad playing and sound inspired such later fellow saxophonists as Archie Shepp, Sonny Rollins and John Coltrane. Webster became famous for his unique sound, quick tempos, his solos that contained great virile rhythmic momentum, a rasping timbre and an almost brutal aggressiveness filled with growl, while his ballad playing was breathy, tender and sensual. The list of his collaborations is long, Ben Webster worked, recorded and played with legends from the likes of Art Tatum, Count Basie, Cab Calloway, Roy Eldridge and Dexter Gordon_but a dream came true when he was offered a permanent job in Duke Ellington's orchestra where his personal style matured. Webster stayed with Ellington until 1943, after which he formed his own groups and played with other small ensembles. From 1952 on he spent his time between Los Angeles and New York playing, freelancing and recording with a variety of soloists, among them high-profile singers like Billie Holiday, Ella Fitzgerald, Carmen McRae and Frank Sinatra. Despite excellent reviews of his albums, it was difficult for Webster to find steady work in the US during the early 1960's, and when in 1964 he got offered to play for a month in London he accepted and sailed to England. Webster never returned to the United States. In Europe he found plenty of work, playing residences in Scandinavia, settled in Amsterdam (1966-69) and then in Copenhagen (where he even has a street named after him). He toured frequently, playing in clubs and at big festivals with local bands or with visiting American musicians. Ben Webster suffered a stroke in Amsterdam in September 1973 following a performance in Leiden and died on September 20. Even when his health started to decline during his last years, his playing never did. To the last day Webster played with passion and intensity, delivering weight on every note. Webster is the subject of two renowned documentaries and two extensive biographies have been published about his legacy. Responsible for a plethora of excellent recordings he remains THE best-selling tenor saxophonist in jazz. Ben Webster was one of those unique jazz musicians whose presence came through on every recording (He recorded for prestigious labels including Verve, Impulse!, Prestige, Reprise, Blue Note_and countless others. On the album we are proudly presenting you today (Wayfaring Stranger recorded in 1970 by the NPS Radio network in The Netherlands) you will find mind-blowing high-quality Dutch sessions that were left dormant on a shelf and weren't commercially released for over 30 years! On 'Wayfaring Stranger' the listener is treated to no less than nine sublime tracks that document Webster's trademark relaxed-swinging but imaginative playing style that never gets boring. The album features an all-star line-up from the likes of Rob Langereis (Toots Thielemans), John Engels (Chet Baker, Dizzy Gillespie) and Cees Slinger (Dexter Gordon, Slide Hampton). Expect a 61-year-old Ben Webster in excellent form giving a warm, dusky, gritty yet funky performance where he delivers everything from up-tempo material, 12-bar blues jams to soulful expressive ballads. Webster's quartet is in constant musical dialog with each other, creating a unique back and forth between musicians at the top of their game. Tidal Waves Music now proudly presents the FIRST EVER vinyl release of this fantastic album (originally released as a limited Compact Disc edition back in 2000). This unique record comes as a deluxe 180g DOUBLE vinyl edition (strictly limited to 1000 copies) with obi strip.

Deer Tick’s debut album, ‘War Elephant’, is back (even though it never went anywhere). It is the same stellar album released in 2007 and then reissued by Partisan in 2008. This version of the album finds us returning to the original 2007 illustrated cover. This cover will become the new standard version of the album across all formats. The music and track listing remains the same.

John McCauley III wrote, arranged, played, and recorded the album at the tender age of 21. The album is full of songs wiser and more nuanced than John should have been able to produce according to natural law. The words are deliberate and heartfelt and follow the lead of singer / songwriter heroes of John’s like Townes van Zandt, Neil Young and Richie Valens.

The album concludes with a cover of the 1962 GRAMMY-winning Song Of The Year, ‘What Kind of Fool Am I’, made famous by Sammy Davis, Jr.

It can safely be said that this debut album is a genre defying classic; it’s a hook filled bar room rock album that is as connected to 90’s Seattle catchy gloom as it is to left-of-the-dial late 80’s Minneapolis and 70’s Austin honky tonk.

140g Heavy Metal Grey (gun metal grey) coloured double LP with an etching on side D, housed in a single sleeve jacket with printed insert.

Original release press included reviews from Pitchfork and The Line of Best Fit plus support from Billboard, Brooklyn Vegan, All Music and American Songwriter.

Founded in 2016, Belleville Boogie is a DJ collective inspired by the vibrant energy of Belleville's nightlife. The collective’s soul feeds on bringing people to bounce on an eclectic curation of vinyl. Belleville Boogie’s debut release is the brainchild of Lemon McWright and Jan Decent.

Born from the depths of lockdown, "Le Pacifique" is a balearic slow burner that captures the longing for the dance floor, while "Grateful" takes us on a jazz-infused journey featuring the talents of FredMelosax, Charif Megarbane, and Rafael Powell. For those who remember the early days of the French House scene, "J'aime Danser" is a playful nod to the scene that shaped us, while "Bella Belleville" lures you into a hypnotic, downtempo trance that's perfect for intimate gatherings or solo listening.

Crafted with the same heartiness as our parties, we're excited to spread the Belleville Boogie spirit with this vinyl. Be sure to check out our upcoming events to see when we'll be bringing the dance floor to your city. Let's keep the good times rolling!

After last years „4 THA CULTURE“ and his collaboration with horsegiirL „My Little White Pony“ MCR-T releases his debut album „My Voice My Weapon Of Choice“. My Voice My Weapon Of Choice weaponises MCR-T ́s fierce Soul Power on the mic. This album being more personal than usual, MCR-T does not shy away from giving his listeners insights to his inner demons and personal battles over the course of making this release. Tracks that all tell deep and personal stories while staying true to their club functional nature. MCR-T pays homage to Grace Jones' opening statement on her record “This Is”. Realizing that the liberation of self starts with the paper and pen, the means to an end - therapeutic self expression. Bold statements backed by even bolder sounding rracks all across the electronic music spectrum to underline not only his versatility on the dancefloor but also in the studio. Different flavors for the deserving multifaceted raver of tomorrow.

JD McPherson presents what he calls "A truly romantic garage rock record". Undivided Heart & Soul produced by Dan Molad (Lucius) & McPherson, and developed largely in the studio (that studio being the historic RCA Studio B in Nashville), carries a sense of immediacy and irreverence. Putting the hands of Dan Molad on the wheel of the record ensured that the music didn't take too many expected turns. "Having toured with Lucius and befriended Dan, I knew he was the guy to push my buttons and challenge me to try new things. He's a tireless worker. He's constantly tinkering away on something... and music just falls out of him." The vintage recording equipment and instruments still housed in RCA Studio B greatly informed the direction of the record. "Each night, at the end of tracking, someone would invariably say, "You wanna put vibes on this?", speaking of the old RCA Vibraphone. I mean, you can hear THAT vibraphone on Roy Orbison's "Crying"... we couldn't keep our hands off of it. It guided some of the songs into some strange and wonderful places. "Lucky Penny" took such a cool turn once Ray (Jacildo, keys) added some to it. We wrote several songs on the piano that Floyd Cramer played "Last Date" on. We were soaking up so much of the phantom energy in that room, it led to some incredible sonic territory." "Most folks know

With 2 solo albums («Digital Pixel » in 2016 and « Bass Attack » in 2018 ), a dozen of EPs and more than 800 shows performed all over the globe, the most international French beatmaker in the world of Reggae is back on November 2023 with his brand new album « Step Up », in which he pushes further the fusion between Reggae and Bass Music. With « Step Up » Manudigital made his music evolves toward more electronic and hybrid productions. He navigates between musical genres like no one does, inviting guests from all over the world. Armed with his bass, MPC and synthesiser, Manudigital surrounded himself with no less than 17 hand-picked artists to make his productions their own. « (…) I was already working on my upcoming album and I thought I would keep this small Reggae loop to take it to another style, fully electronic which has given my new album’s DNA » - Manudigital about the track « Step Up » The album opens with the eponymous explosive track « Step Up » featuring veteran Jamaican deejay Joseph Cotton and British Drum & Bass MC Bellyman, author of the successful YouTube video series « Carz Barz ». Among the artists of the British underground musical scene, Reggae/Soul genius Liam Bailey has been invited on the Pop-infused Digital Reggae track « Enough » which will delight the lovers of soulful Reggae. Manudigital also reminds us Reggae has always be his first love and, after having produced Alborosie and Protoje’s hit « Strolling » a few years ago, he proposed the Sicilian MC to collaborate with Jamaican artist Yami Bolo on the track « Reggae Music and Love ». A big tune built upon a classic digital riddim in the Jamaican way, a catchy chorus carried by the high voice of Yami Bolo and the legendary flow of Alborosie of the verses. Cult band Asian Dub Foundation’s singer Ghetto Priest takes also part of the project with « Rasta Corner », MC Caporal Negus joins Manudigital on « Dub and Bass » and on tour, and Jolly Joseph sings on « The world is Hell » for the Reggae Dub tracks of the album. In terms of surprises, Manudigital takes pleasure in inviting benchmark artists in each musical genres, walking through Lo Fi Hip-Hop’s path with the Dancehall President aka Skarra Mucci on « Fi Di Youths », Baile Funk with Punjabi-American rapper Alo Wala and their song « Love on Tap » or even Afrobeat with Dynamq for the last song « Piki Piki ». Finally, whereas Manudigital will soon celebrate his career 10th anniversary and as his name resonates in sound systems from all over the world, we appreciate each risk taken and each nod to Reggae Culture, wondering what his next shape will be. First parts of response on November 17, 2023 with the release of

Ohio independent Hip-Hop mainstays J. Rawls and Cas Metah put on a clinic with Criminal Blinded. As has become his signature, Dr. Rawls delivers 7 soulful tracks for Cas to spit carefully crafted conscious lyricism. The Buckeye state is represented to the fullest as Rawls & Metah are joined by OH legends Holmskillit on "G Rap", Donte of Mood on "Golden Arms", Blast Mega on "Seven Kings" and D1 on the title track. The talented group of guest appearances doesn't end at the border though! Other features include Stik Figa, Sheisty Khrist, Rel McCoy, Napoleon Da Legend, Sleep Sinatra, Taiyamo Denku and Scribbling Idiots.

Who remembers the UK rapper MC Duke from Music Of Life? That all-time classic ‘Miracles’ as well as being sampled in untold rave tunes in the early 90’s including Prodigy’s ‘Everybody In The Place’ which uses his lyric ‘Can’t beat the system, go with the flow’. Well, did you know that MC Duke and his DJ, Leader One, went on to create jungle a few years later?

This was their first jungle release before they went on and formed Hard Disk where they released the rest of their output. An EP that has the essence of the hip hop sample culture, showcasing how creative you can be with the right record collection at your disposal.

Raw East London jungle from 1993 repressed on limited edition heavyweight royal blue vinyl in a Vinyl Fanatiks housebag. Vinyl only.

Reveal ist das 12. Studioalbum von R.E.M.. Studioalbum von R.E.M.. Das 2001 veröffentlichte Album
wurde gemeinsam mit dem langjährigen Mitarbeiter Patrick McCarthy produziert. Die Band experimentiert
mit Synthesizerklängen, kehrt aber auch ”bewusst zu ihrem klassischen Sound zurück” (Allmusic). Das
Album enthält die Hits ”Imitation of Life” und ”All the Way to Reno (You’re Gonna Be a Star)”. Das
Album erreichte Platz 1 in Deutschland und wurde dort mit Platin ausgezeichnet; in den USA erreichte
Reveal Platz 6 (mit 10 Wochen in den Billboard 200) und wurde mit Gold ausgezeichnet.
”In einer Karriere, die von den langen Schatten mehrerer ikonischer Alben und Kultfavoriten gesäumt
ist, könnte Reveal das am meisten unterschätzte Album in einem heiligen Katalog sein.” - Stereogum
Verfügbar ab dem 17.11.2023 als 1LP.

Janis is an album by Janis Joplin, released in 2023. Janis includes a.o. the following tracks: “Mercedes Benz”, “Rap On "try"”, “Dick Cavett T.V. Interview (1970)”, “Piece Of My Heart” and more. The album is a Coloured Vinyl, High Quality, Insert rock 2-LP.

25th anniversary release of the album from 1998 as expanded special limited edition. It is the eighth Dub Syndicate studio album mixed by Adrian Sherwood. Originally released as catalogue number Lion & Roots 002 in 1998 on Style Scott"s own label here"s the expanded and remastered collector"s limited edition as 2LP-set including six additional tracks not available on the original vinyl release and also as 18-track CD release, with the booklet including excerpts from an unpublished interview. Main vocal contributor is the legendary artist Big Youth plus Little David courtesy J.R. Productions (Junior Reid"s camp), backing vocals by Skip McDonald and Style Scott"s inimitable laughter. The basic tracks were recorded in Jamaica, with some of the pals from the Roots Radics days (i.e. Flabba Holt, Steely Johnson) at Studio 2000 (Steely & Clevie"s studio) and the legendary Tuff Gong Recording Studio, followed by overdubbing in the USA at Greenpoint Studios (Bill Laswell"s studio) and Playroom Studios in New York, with additional overdub and final mix at On-U Sound (London) by Adrian Sherwood.

The seminal recordings that make up Lush Life were taped during a transitional period in John Coltrane's musical career. He had first joined the Miles Davis Quintet in 1955 and would form his own celebrated quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones in 1960. In the intervening years, he overcame his narcotics addiction and began to expand on his own musical ideas while experimenting with both the Thelonious Monk Quartet and the Miles Davis Sextet (featuring Bill Evans and Cannonball Adderley).

Lush Life was constructed with material from three different sessions, all of which produced additional material issued in other albums. While Side A is in trio format with no piano, Side B features a quintet showcasing Donald Byrd and Red Garland.

180-GRAM COLORED BLUE VINYL - THE COMPLETE ALBUM

Gombloh’s forgotten masterpiece

What if you have Brian Wilson and Bruce Springsteen rolled into one? And what if he came of age as an poor buskers in in Surabaya, Indonesia, but then summoned enough strength to record six albums that flew in the face of everyone in the country’s rock scene back in the early 1980s?

Genius, be they Brian Wilson or Soedjarwoto “Soemarsono” Gombloh, don’t conform to rules written for us mere mortals. They have their own way of doing things and in the case of Gombloh, writing music, conducting recording session and spending cash from his music, must be conducted on his own terms and his terms only. Studio time was expensive back in the early 1980s, yet Gombloh could be three-hour late for his session, and while engineers, session musicians and producers were jittery about the prospect of another botched session, Gombloh took his time for a nap before the recording begun.

Yet, some of his greatest works came into being in the wake of this napping session. Recording session for Sekar Mayang is no exception, despite the fact there’s foreboding sense of doom with Gombloh being unsure about the possibility of selling enough units to help his label break even. This is, after all, this is his last record with his band Lemon Tree’s. No one knew that Gombloh was operating with all his cylinders running and what came out of this Indra Record session, in the waning days of 1980, were some of the best compositions ever committed to magnetic tapes (to wax, if now you’re holding this on vinyl).

This is Gombloh at the peak of his creative genius. You can argue that his debut album Nadia & Atmospheer (what’s with the spelling mistake?) is the most sprawling and complex album (both sonically and thematically), but Sekar Mayang certainly had the best songs and I can make the argument that this album’s 10 songs are strong contenders for biggest hits in blues, country, psychedelic rock charts. “Prahoro & Prahoro” is one of those impossible song which appears to have sprung from a bottomless well of inspiration, encompassing King Crimson’s sprawling epic, Deep Purple’s deepest blues and Genesis’ most progressive tendencies. Or “Sekaring Jagat”, which begins as Lennon-McCartney lullaby before launching a thousand ships traveling to the end of the rainbow with children choir singing heavenly melodies backed by droning harpsichord and synclavier, while a buzzing Hammond B3 tightly locks with Gombloh’s guitar strumming.

For many of his fans, Gombloh is known as generous man of the people. A Robin Hood type if you please. He spent his royalty checks to buy foods for beggars and buskers and dish out some more to buy undergarments for Surabaya’s prostitutes. In Sekar Mayang, Gombloh went full Springsteen mode in “Mitra Becakan,” a social commentary that cut so deep you can end up with tears in your eyes and lump in your throat (even if you don’t understand any of its Javanese language lyrics). This is one the most devastating social commentary ever recorded for a pop song, and even if you discount the greatness of its musical composition, you chalk this up as a great social-realism poetry. His years of hanging out with pedicab drivers, street vendors and street-bound prostitutes certainly gave him enough insight into their (in)human condition.

Yet, a record this stellar was largely forgotten. First, this record was a flop upon its release in 1981. Indra Records reportedly only did one pressing on cassette tape and be done with it. For those who were lucky enough to have come across one of songs from this album on the radio were likely growing up in East Java, where Gombloh had a massive cult following early in the 1980s. Nothing was heard from this record again.

There were only a handful of cassette tapes from the first pressing found on second-hand market and I recently stumbled upon one online with a price tag of Rp 50 million (US$3,500). It’s no longer available now.

In Sekar Mayang, Gombloh harbours an obsession for a long-lost utopia, Java’s distant past, where farmers have their barn full of rice and corn, where blacksmith working around the clock making tools and children singing and dancing in their seminaries. Or the fact that he opens the song with stanza from Serat Weddhatama, arguably the most monumental poem in neo-classic Javanese literature, could be his pledge of allegiance. The question for him is should a modern-day Indonesia, rife with poverty, corruption and environmental degradation not be an anathema to that utopia?

In the end, you don’t need to be someone fluent in Javanese to enjoy this majestic record. And if this record turns out to be the last in Elevation Records catalogue and we shut down this label tomorrow, we will be very happy. Mission accomplished!

After a string of two dozen brilliant albums beginning in the 1950’s, clarinetist, saxophonist, flutist,
composer and arranger Jimmy Giuffre stopped recording. For nearly ten years he focused solely on
live performance. This album, Music for People, Birds, Butterflies and Mosquitoes, marked his return
to the studio after his self imposed hiatus. Known for developing forms of jazz which allowed for free
interplay between the musicians, Giuffre began his career as an arranger for Woody Herman’s big
band in the late 1940s. Playing primarily saxophone, he became a central figure in the West Coast
cool jazz scene of the 1950’s, with the Lighthouse All Stars in Hermosa Beach, CA. In the late 50’s, he
began working within different configurations of the trio format, on what he called “blues-based folk
jazz.” A prime example being his piece "The Train and the River" famously featured in 1958 Newport
Jazz Festival concert film, Jazz On A Summer’s Day. The trio here is completed by drums and bass
with Giuffre trading seamlessly between tenor saxophone, clarinet, flute and bass flute. The twelve
original compositions are very much in Giuffre’s signature style. The melody explorations have an
eastern vibe, and are played in hushed tones with an almost chamber music like quality. From 1973,
originally on the Choice label, this album has been remastered and is being presented here as the
artist intended, with its original title, track order and album artwork, for the first time since its original
release. Remastered by Alex McCollough at True East Mastering. Vinyl cut by Jeff Powell at Take Out
Vinyl.

As the title suggests, the recording Tenorlee finds Lee Konitz, the great American saxophonist,
playing exclusively on tenor. It was a spontaneous decision, and a tribute to his dear friend,
Lighthouse All-Star saxophonist Richie Kamuca, who had passed away just days before Konitz
entered the studio for these sessions. Konitz classically trained on the clarinet, but switched to jazz
saxophone after being enamored by Lester Young. By 1945 the 18 year old Konitz was performing
professionally. He made a staggering 150 albums as a band leader over the course of his long and
storied career. He played and recorded with everyone from Dave Brubeck, Charles Mingus, Ornette
Colman, Elvin Jones, and Gerry Mulligan, to Elvis Costello, Brad Mehldau and Charlie Haden.
Between 1948 and 1950, he was a member of Miles Davis’ group, and participated in the recordings
that would eventually be collected and released as Birth of The Cool. With a trio featuring Lighthouse
All-Star alum Jimmy Rowles on piano and Michael Moore on bass, Kontiz called out old and familiar
songs. The intention was to “let the tunes happen” as only finely tuned jazz musicians of certain
experience can. Of note is “Lady Be Good” which finds Konitz and Rowles quoting Lester Young’s
solo from the 1936 recording with Count Basie. From 1978, originally on the Choice label, this album
has been remastered and is presented here as the artist intended, with its original title, track order and
album artwork, for the first time since its original release. Remastered by Alex McCollough at True
East Mastering. Vinyl cut by Jeff Powell at Take Out Vinyl.

This performance by Waylon Jennings was no April Fool's joke. This was the "new" Waylon, both personally and professionally. He had kicked a 20-year drug habit, split with RCA and signed a new deal with MCA Records. He discovered a passion for songwriting, teamed with legendary producer Jimmy Bowen, and produced some of the best work of his 30-year-plus career. He credited his wife and soul mate, Jessie Colter, for much of his inspiration. This was Waylon's second trip to the ACL stage, but the one that best captures the raw edge and driving urgency that pushed country music way past its Nashville boundaries starting in the mid-1970's. He was described as the leader of the country "Outlaw" movement, which he often dismissed as just another marketing scam, but there's no denying that he turned the music on its head and took it way beyond its rural southern roots. This West Texas boy who worked as a DJ and started his own band at 14, then later played with Buddy Holly, left an indelible mark on the music he loved. He was a class act, this man called Hoss. -Terry Lickona (Producer Austin City Limits®)

This is the first color pressing of this performance. Doug Sahm AKA Sir Doug was both a Texas rock & roll legend and pioneer. True, there were others before him (Buddy Holly and Roy Orbison come to mind), but the Sir Douglas Quintet counterattacked the British invasion of the mid 1960’s with their own brand of Chicano-influenced rock that they had been playing around their hometown of San Antonio. Wearing their tight-fitting, English-looking suits, they hit the charts with “She’s About A Mover” in ’65, riding the waves with Doug’s incessant guitar twangs and Augie Meyer’s much-imitated, two-to-a-beat Vox electric organ chords. This performance, recorded October 14, 1975, came after Doug had temporarily retired the Sir Douglas name, but features original member Meyer along with musical compadres Martin Steitle, John Barber, Steve McDaniels and Harry Hess. All the Sir Douglas Quintet classics are here, including “She’s About a Mover,” “Mendocino,” and “Rains Came,” and Doug ventures into other musical territory ranging from T-Bone Walker to Bob Wills. Long before the Quintet, Doug had been making music since even before the birth of rock & roll. He began his career as “Little Doug,” a guitar-playing prodigy who was invited to join the Grand Ole Opry when he was only 13. Over time, with the help of his irrepressible personality, he became a voice for Texas music, the original “cosmic cowboy” back in the heyday of the Armadillo World Headquarters in Austin. But his influence went beyond Texas; in 1973 he even lured Bob Dylan out of hermitage to record with him, and Bob in turn invited him to join his legendary Rolling Thunder Review Tour. Doug left us suddenly in 1999, but he left behind a unique legacy, a “Groover’s Paradise” indeed. - Terry Lickona (Producer Austin City Limits®)

Neil Hamburger presents a new work from the songwriting team of Gregg Turkington and Erik Paparozzi. Seasonal Depression Suite is an album-based musical, sung by an all-star cast whose voices embody various guests stuck in a perfectly average chain-hotel, wallowing in self-pity and paranoia, re-living personal catastrophes both real and imagined, or simply trying to use the hotel vending machine. Expert music played by an all-star band, to boot! To sing these parts, a once-in-a-lifetime all-star cast was assembled - including Neil Finn (Split Enz, Crowded House, Fleetwood Mac), Annabella Lwin (Bow Wow Wow), Alan Bishop (Sun City Girls), Bonnie Prince Billy, acclaimed singer/performance artist Puddles Pity Party, voice actress Natalie Peyser, J.P. Hasson (Pleaseeasaur), enigmatic vocalist (and Frank Sinatra"s granddaughter) A.J. Lambert, Paparozzi himself and, of course, Neil Hamburger. Among the many musicians accompanying the cast were Scarlet Rivera (Bob Dylan"s Rolling Thunder Revue), Danny Heifetz (Mr Bungle), Bär McKinnon (Mr Bungle), Prairie Prince (The Tubes), Atom Ellis (Dieselhed), Jason Schimmel (Secret Chiefs 3), and Alex Jules (The Monkees band) - an international assemblage whose talents give Seasonal Depression Suite its epic sweep. With all hands on board, Turkington and Paparozzi created their own kind of masterpiece, like Sinatra"s late-period concept album Watertown fused with the misfit comedy of Neil Hamburger - a work that looks at a cast of characters both ordinary and bizarre, as they make their way from one grievance to another, traveling from place to place, hoping to live, while waiting to die.

Get On Down is proud to announce a vinyl reissue of one of the West Coast's most revered, yet underrated, hip-hop classics and quite possibly one of the best hip-hop albums of all time: The D.O.C.'s No One Can Do It Better. Produced entirely by Dr. Dre and out of print on vinyl in the U.S. for several years, this limited edition colored LP features original album artwork and thirteen tracks of rap heaven. When his debut album hit in mid-1989, The D.O.C. was in the vortex of the biggest hip-hop happening on the planet: the rise and rule of N.W.A. The group’s breakout album Straight Outta Compton had hit one year prior and had created both controversy and worldwide critical acclaim. As rap history buffs and industry insiders know, The D.O.C. was a crucial behind-the-scenes member of the N.W.A. inner circle - his most important role in the early days of the group was writing many of Eazy-E's rhymes, including his hit 1988 single “We Want Eazy.” He would go on to write for Efli4zaggin, The Chronic and Doggystyle. But The D.O.C. wasn’t in N.W.A. and never wanted to be - he was his own man, with his own vision. And after Compton proceeded to blow up the next crew album was No One Can Do It Better. Significantly, it was the first album where Dr. Dre showed his greatness as a solo producer for one MC. Boasting four singles - “The D.O.C. & The Doctor,” “Mind Blowin’,” the smash “It's Funky Enough” and “The Formula” - the album is flawless from beginning to end. Of particular note beyond the singles is “The Grand Finale,” which was the last time that Ice Cube, M.C. Ren and Eazy-E would rhyme on a track together. The D.O.C. showed on this amazing record that he was one of hip-hops most talented MCs. He nearly died in a horrific car crash as the album was catching fire in the late summer of 1989 which damaged his vocal cords, but he survived and continues to make new music and act as a sounding board for Dr. Dre to this day. More recently a documentary covering D.O.C.'s life titled The DOC debuted at the Tribeca Film Festival with fans eagerly awaiting a wider release. This album is a must have for any Hip-Hop fan

"I call the album Late Jazz not only in honour of 'that jazz time of night' but also because, unlike all my other ASC releases, these are not historic recordings from the 1970s but new ones, often based around my One Man Show, in which most of them featured. So they're late-period Runswick. The compositions too are recent (except of course the standards), all but one written since the Millennium.

(Sulkin is from the 1990s.)”

'Smoking in Heaven' is back! After 12 years, our second studio album is receiving its long-awaited re-issue, this time on double Pink Smoke vinyl. The tracks, each one unique, are united upon this album by a strong sense of playfulness, deep rhythmic quality and an unfailing dedication to authenticity. This fast paced album exudes the vitality that in the past has come to captivate the likes of Chris Martin, Eagles of Death Metal and the late Amy Winehouse as well as Dustin Hoffman and Ewan McGregor. In fact their rapturous reception was so strong in the case of Chris Martin that he handpicked the young trio to tour the U.S with Coldplay.

New one-off press limited edition transparent green double vinyl edition of Soul
Jazz Records long unavailable Studio One Roots 2, featuring classic tracks recorded
at Studio One.
Studio Roots Vol. 2 delves deep into the vaults of the legendary Jamaican Reggae
label and features rare and classic roots as well as an unprecedented seven
unreleased tracks that up till now had never seen the light of day.
Roots and rastafarian music was being recorded at Studio One by Clement "Sir
Coxsone" Dodd from the early 1960s onwards to the 1990s and this album reflects
the depth and diversity of roots music at the label.
From the slow-ska of Dudley Sibbley, to the deep instrumental jazz cuts of Cedric Im
Brooks over classic roots rhythms such as "Satta Massagana" to Winston Mathews
stunning eerie version of Bob Marley and the Wailers "Sun Is Shining". The Zion All
Stars features the Burro rastafarian drumming of Count Ossie and the Mystic
Revelation of Rastafari.
This album features many of the classic Studio One artists – Willie Williams, Tommy
McCook, Cedric Brooks, The Gladiators, Vin Gordon – as well as many less wellknown artists – all who produced classic roots music under the guidance of producer
Clement "Sir Coxsone" Dodd and recorded at the legendary Studio One Records.

REPRESSED 2x12" now with bonus download code! Heavy, heavy tunes! Studio One instrumentals are the foundation of Reggae. These rhythm tracks became the basis for all Dancehall as countless artists and producers re-versioned these classic Studio One instrumentals.

REVIEWS: "Sheer volume of output from Studio One is astonishing, combined with the fact that the quality of the recordings never seem to diminish. These instrumentals touch on ska, rocksteady, dub, and begin to hint at the reggae sound of the late '70s. Each instrumental is perfect and has the feel that it could hardly be improved upon. Soul Jazz has once again put together a wonderfully rounded collection of music from Studio One" - All Music.

"I think if a nuclear family could have a soundtrack, ours would be the Soul Jazz comp Studio One: Scorcher. I wouldn't say it's the best record ever made, but if I heard it every single day for the rest of my life, I'd be 100% cool with it." DJ. & "Compilation of essential & rare Studio One instrumentals" - Hard Wax.

"Studio One Scorcher is the latest of these, collecting instrumental tracks spanning the years from the late 60's rocksteady vogue through the onset of dancehall and digital rhythms in the early 80's featuring The Skatalites, trombonist Don Drummond, Pablove Black and others." - Billboard.

The GRAMMY Award-winning band, Blues Traveler, is back with their fifteenth full-length
album, Traveler’s Soul . This album, similar to Traveler Blues, a blues covers album that
earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul
classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter,
Daisha McBride, and many more.

The GRAMMY Award-winning band, Blues Traveler, is back with their fifteenth full-length
album, Traveler’s Soul . This album, similar to Traveler Blues, a blues covers album that
earned the band a GRAMMY nomination, is a covers album paying tribute to R&B and soul
classics with featured artists such as Pat Monahan from Train, Valerie June, Alisan Porter,
Daisha McBride, and many more.

Both sides contain a mix of the following tracks:

A1 Off– Electrica Salsa
A2 J.J. Bronson– Jack Your Body
A3 Cruisin' Gang– America
A4 Solid Strangers– Vision
A5 Les Lee San Francisco– Love Can't Turn Around
A6 MC Miker G. & DJ Sven– Celebration
A7 Albert One– For Your Love
A8 Charly Danone– You Can Do It
A9 Fancy– Lady Of Ice
A10 Max-Him– Melanie
A11 Daydream (2)– In The Night
B1 Off– Electrica Salsa
B2 J.J. Bronson– Jack Your Body
B3 Cruisin' Gang– America
B4 Solid Strangers– Vision
B5 Les Lee San Francisco– Love Can't Turn Around
B6 MC Miker G. & DJ Sven– Celebration
B7 Albert One– For Your Love
B8 Charly Danone– You Can Do It
B9 Fancy– Lady Of Ice
B10 Max-Him– Melanie
B11 Daydream (2)– In The Night

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

In the decade or so that hard-working New York quartet Sunwatchers have operated, the group has steadily & subtly refined their sound - a brain-blasting mixture of jazz, psychedelia, krautrock, punk, noise, & Saharan blues - into something that is avant-leaning enough to appeal to the discerning jazz & experimental music fan & weird & wooly enough to get the true heads' toes tapping. "Music Is Victory Over Time" is the band's 5th album, and fourth for Chicago-based Trouble In Mind Records, seeing the long-running lineup of Peter Kerlin (bass guitar), Jim McHugh (guitars), Jason Robira (drums), and Jeff Tobias (alto saxophone and keyboards) in prime form. Album opener "World People" is a classic Sunwatchers number whose title expresses their Anarcho-Internationalist ideology (and the atypically multi-culti make up of their crowds), with an underlying melodic resonance to New Orleans funeral marches à la Albert Ayler _ a triumphant call to arms to all peoples. Live fave "Too Gary"'s gang vocal shout punctuates a motorik rager named for a phrase often uttered by a badass eight year old skateboarder McHugh knew with a speech impediment (it means "that's too scary"). "T.A.S.C." (or "Theme For Anarchist Sports Center") is inspired by Sonny Sharrock's maligned 80's output & sounds exactly like a wrathful, mutant version of a prime-time athletic show theme, replete with the requisite "sitcom ending." The sun- scorched "Foams" - a longform piece intended to depict natural stuff like tides, nightfall, and time slowly passing, ancient, peaceful and slightly gross all at once - practically jumps out of the speakers, its palpable intensity crackling in your eardrums. The title of "Tumulus" might reference an ancient burial mound, but the music itself might be the group's most high-tech song to date, complimented by an arpeggiating sequencer, three different forms of tape delay and an electric saxophone; ecstatic, fiery & deeply spiritual. "There Goes Ol' Ooze" is a smoky creeper that lets Tobias & Kerlin take a walk for a while, with respectful nods to the Stones and Steve Reich. "Song For The Gone" closes out the album, showcasing a sincerely tender moment for the gang, as an expression of love and resolve for dear friends who had recently, tragically died. Its cascading, bluesy melody attuning itself to our own collective unconscious grief. Having the distinct pleasure of being the first band to record in John Dwyer 's new LA-based recording studio Discount Mirrors, "Music Is Victory Over Time" boasts a beefed up sound. The band worked closely with in-house engineer Eric Bauer - facilitator, troubleshooter, sonic obsessive, a legendary freak and a DIY lifer. The band also had full access to the studio's epic armory of gear: amps, axes (it's Dwyer's Eddie Harris model electric sax), synths, a bass guitar once belonging to Klaus Flouride of the Dead Kennedys. Crucial for the sounds and the vibe. The album art was created by Josh MacPhee, the activist artist, author, archivist and founding member of both the radical artist collective Just Seeds and Interference Archive, a public collection of materials from social movements based in Brooklyn. MacPhee's participation in the project works as a statement of Sunwatchers' progressive utopian intentionality, and organically underscores their involvement in revolutionary projects within and without of their hometown. Listening to "Music Is Victory Over Time", Sunwatcher's rebellious spirit & unbridled enthusiasm remain fully intact, but the secret sauce is their infectious irreverence in the face of the horrors of this world. Much of our best cultural commentary is Trojan-horsed to the general public via humor & satire & the band has a knack for lacing the ridiculous with the radical. It's good to have them back. "Music Is Victory Over Time" is released worldwide digitally via most DSPs, on CD, black vinyl & a limited "Sunflare" blue/red splatter vinyl while supplies last.

Omnivore Recordings Reaching For The Stars:Trios/Duos/Solos mit elf weiteren, bisher unveröffentlichten Aufnahmen.

In den Trios spielen Henry Grimes (Thelonious Monk, McCoy Tyner, Sonny Rollins) und Kalil Madi (Freddie McCoy, Mongo Santamaria - sowie Hasaan's Metaphysics) sechs Titel ein (vier davon erschienen in ihren Studio-Versionen auf The Max Roach Trio Featuring The Legendary Hasaan).

Hinzu kommen drei Songs mit der Sängerin Muriel Gilliam, alias Muriel Winston, und zwei Solo-Porträts des Meisterpianisten. Produziert von der Grammy®-prämierten Produzentin Cheryl Pawelski und dem ASCAP-prämierten Autor Alan Sukoenig, enthält Reaching For The Stars ein neues Essay von Pianist, Komponist und Autor Ethan Iverson. Wie bei den früheren Veröffentlichungen von Omnivore Hasaan Ibn Ali wurde auch diese Sammlung sorgfältig restauriert und von dem mit dem Grammy® ausgezeichneten Toningenieur Michael Graves gemastert.

Diese Sammlung ist ein weiterer Einblick in die bisher ungehörten Aufnahmen von Hasaan Ibn Ali, dessen verschollene Aufnahmen beweisen, dass er nach den Sternen griff und sie alle berührte.

First music in 10 years from cult favourites Dark Dark Dark.
B Side is a solo cut from the bands lead vocalist Nona Maie Invie.
10” EP limited to 500 in UK/EU.

Fans of contemporaries Weyes Blood (of which DDD multi-instrumentalist Walt McClements is now a full-time member) and Angel Olsen (in whose live and studio band Invie is now a staple) will find much to love in these songs, as well as the b-side, Invie’s solo piece, “For Now” which, not unlike Invie’s 2017 solo release under the moniker IN / VIA, makes use of seamlessly interwoven piano and swelling, liquid synthesizer.

Invie sounds a bit like an alternate dimension Sharon Van Etten here and elsewhere. The three song set has the understated intensity of Nick Cave’s The Boatman’s Call and the promise of emotional liftoff that characterizes Kate Bush’s The Sensual World. 

Dark Dark Dark’s rich history is punctuated by house shows and train hopping; touring as support for The National in Portugal;
playing both the National and TV on the Radio’s ATP Festivals, and years of indefatigable coast-to-coast U.S. touring. It’s a
history rich with recordings, including a pair of celebrated full-lengths produced by Tom Herbers (Low, The Cactus Blossoms),
three EPs, and a feature film score. Now, ten years later, –– surprise –– a new 10” single.

In 2013, when Dark Dark Dark released the What I Needed EP, anyone might have guessed it was a bridge between the previous year’s lauded LP Who Needs Who and the next big venture. The band had closed out 2012 as part of Australia's touring Harvest Festival, during which they stepped up to fill an unexpectedly vacant slot much later in the day, enchanting thousands of unsuspecting festival goers. Alas, after that, the band went silent.

The release of these new songs is certainly delightful and perhaps startling, as is the promise of more solo work from singer Nona Marie Invie. On the gorgeous and stately “Didn’t I Try,” Invie’s voice is elegant as ever, couched in the familiar sounds of Marshall LaCount’s distorted banjo and Mark Trecka’s rolling drums. The loping and haunted “Something Was There” follows –– a staple of Dark Dark Dark’s live sets in the last year of their touring.

Considering this band's history, their distinctive and dramatic sense of identity, this music is really and truly for fans of Dark Dark Dark.

Die Psychedelic Porn Crumpets sind mit ihrem sechsten Studioalbum zurück. Das australische Psych-Rock-Fünfergespann hat seit der Veröffentlichung von "Night Gnomes" im Jahr 2022 an "Fronzoli" gearbeitet - ein Titel, der so viel bedeutet wie "etwas Unnötiges, das als Dekoration hinzugefügt wurde". Dilemma Us From Evil" ist die neueste Singleauskopplung aus dem Album und ein Paradebeispiel für Psychedelic Porn Crumpets' verblüffende Mischung aus schweren, melodischen Gitarren, harmonischen Texten und exzentrischem Songwriting. Es folgt auf die Singles "Nootmare (K-I-L-L-I-N-G) Meow!" und "(I'm a Kadaver) Alakazam", die Anfang des Jahres veröffentlicht wurden. Das Album strotzt nur so vor dem überdrehten, glitzernden Sound der Band aus Perth, der Einflüsse von klassischen Rockgrößen wie Black Sabbath, Led Zeppelin und den Beatles sowie experimentellen elektronischen Jazz enthält. Diese Rockeinflüsse sind auf "Fronzoli" deutlich zu hören, mit thrashigen Grunge-Tracks wie "Sierra Nevada" und dem frenetischen "Hot! Heat! Wow! Hot!", in denen die hyperaktiven Gitarren und die schrägen Texte der Band zur Geltung kommen. Die Band, die als Freunde begann, bevor sie sich zusammenfand, ist stolz auf ihre fröhliche und ungeschliffene Unordnung, wenn es um Songwriting und Produktion geht. "Diese Platte ist mein bisheriges Lieblingswerk", sagt Songwriter und Frontmann Jack McEwan, "jede Nuance wurde diskutiert, verleumdet und sorgfältig in die richtige Position gebracht, es wird sporadisch außerhalb der Linien gemalt, so dass diese extravertierten Schnörkel übrig bleiben." Jede LP-Farbe ist auf nur 250 Exemplare limitiert. Die CD ist ein aufklappbares Digipack, 500 Stück gepresst.

“A piece of music never truly comes to An end. Revisiting a theme illustrates this idea that life goes on.” These are the words of Wayne Shorter, uttered in 2018 upon the release of Emanon, his final opus. On this record, the octogenarian uses dusky hues to shade in the passions of his youth - drawing and science-fiction, as well as the causes he has defended all his life - the fight against ecological upheaval and structural racism. This sentiment did not fail to resonate with Julien Lourau, who has reached a stage in life where he has begun to look back over certain pages written by the man he has always considered one of the masters of his trade. Five years later, this Parisian native has also chosen to revisit his glory days, offering reworked versions of specific tracks composed by his titular elder throughout the 80s. “When I play this music, I find myself back in my teenage bedroom. These are my standards, and they remind me of autumn in Rambouillet.” At that time, after practising his scales, Julien would also play Dungeons & dragons, and immerse himself in SF as well as heroic fantasy - epic influences which are not without a certain connection to the dreamworlds Shorter conjured up, as another fan of landscapes beyond the grasp of reality.

This album features four themes taken from Atlantis, which came out in 1985, and two from Joy Ryder, released three years later. To these, he has added a composition penned at around the same time for Sportin’ Life, the penultimate LP by Weather Report. This is rounded off by a tune taken

from Native Dancer, the record which, ten years earlier, in 1975, brought together this saxophonist who learnt his trade alongside Art Blakey, before joining Miles’ second quintet, and Brazilian Milton Nascimento.

“Between Native Dancer and Atlantis, Shorter did not release anything under his own name, but he took the time and care to really perfect his writing. Upon his return, he injected a very Brazilian form of subtlety into his compositions, especially rhythmically. And from a harmonic point of view, these themes are extremely sophisticated, and reveal truly singular colours. In fact, he decided to display the score as if it constituted the liner notes of Atlantis.”

Julien Lourau is a fan of every Wayne Shorter era, from his Blue Note days, where Mr Gone defined the bases of a truly unique repertoire, all the way to his final quartet - a reference like no other. He decided to focus on this “highly electric” period, which is not necessarily Shorter’s best known, nor his most widely appreciated - despite being a unanimous reference, Shorter has nonetheless never had a direct descendent. In Lourau’s line of sight there lies a desire to focus on typically South American tonic accents which characterise this repertoire, twinned with the ambition to switch up their actual sound “by attempting to open up onto a production highly influenced by eighties fusion". However, he admits that modifying the structures of these most unique of worlds constituted a fresh challenge. “There’s this labyrinthine harmonic system where you’ve no idea how it holds together, but where it’s actually impossible to touch the slightest element without the whole edifice wavering. It is in fact a very difficult thing to achieve!”

In order to successfully transcribe all this creativity free of obstacles, Julien Lourau once again called upon the help of Mathieu Debordes. From January 2023 onwards, Mathieu endeavoured to break down all the musical elements, on paper, before creating any actual music. The record was therefore constructed on the faith of these scores, without necessarily transiting through a creative residency - just two live gigs, to make sure the setup worked. Besides Mathieu Debordes and his synthesisers, Julien Lourau has assembled an ad hoc team by his side. On the bass, according to the track, we can hear erstwhile companion Sylvain Daniel or a new acolyte on the fretless bass, Joan Eche Puig.

Stéphane Edouard, on percussion, even dives headfirst into an unlikely proto-rap of sorts, on Pearl On The Half Shell (where, on the original version, Bobby McFerrin adjusted his interventions in a rather madcap style). Aesthete and drummer Jim Hart as well as pianist Leo Jassef also figure on this release - both were present on previous project devoted to label

CTI. “At sixteen, I wanted to sound like Michael Brecker rather than Ben Webster - that was equated with modernity in those days”, adds Julien with a smile, as for him, all this rings out a little like a logical next step, a joyful immersion into the fountain of youth. And if, for this record, he plays the soprano more than ever, the saxophone Shorter set in his sights on, he never tries to replicate an unattainable ideal note by note. What would be the point?

“Wayne Shorter is not just a saxophonist’s saxophonist. In fact, I don’t know a single person who has risen to challenge of his solos. I have not done it myself either, but on the other hand, I have retained a lot of his phraseology. His way of approaching the instrument reveals a more evanescent language, a work on colour and shape. Keeping this in mind has allowed me to gravitate towards certain elements, that in hindsight, I find echoes of in my work, even in Groove Gang.” Shorter etches out these phrases, creating a groove within which Lourau had traced subtle punctuation, managing, from a highly written base, to create fresh apertures, promises of a great escape. Emblematic of this standpoint, his regal version of Ponte de Areia, originally a wonderful dialogue between Milton Nascimento and Wayne Shorter. Here, the Frenchman takes liberties with the original melodies, without ever growing distant from the original spirit, extending one section with delicacy, offering a rubato development and then a groove “like a little suite”. Julien Lourau also renews with an accomplice from last century, Magic Malik, who lends his high-pitched vocals to the track. Though they had not recorded together for more than twenty years, the two of them got on as if they had only ceased collaborating yesterday, everything flowed naturally. The track was wrapped up in just one take, much like other themes, such as opener Who Goes There where the flautist deploys smooth, enchanted and smoky wisps.

Fundamentally, reflecting of the sleeve which features a child playing with a ball, image that could symbolise the sun just as much as the moon, Julien Lourau manages to translate the ambiguous candour which characterizes Shorter’s work - solar and crepuscular at the same time, that of a visionary and poet definitively situated outside of all chronology, but with whom Julien shares surprising and ‘timely’ coincidences. Shorter was born August 25, 1933, the same day as Julien’s father, “if we take time zones into account”, and who died on Lourau’s birthday, March 2, 2023. Should we take this as a random fact? Or could we not see here the sign of a destiny connecting the agnostic Frenchman to the man who, as a fervent Buddhist, believed in the transmission of his spiritual flow ?

Paul Hillery, Plattensammler, Archivar und DJ, präsentiert mit 'Folk Funk & Trippy Troubadours Volume Two' 17 brillant psychedelische und funky Juwelen, die er auf seiner unermüdlichen Suche nach musikalischen, Generationen und Genres umfassenden Schätzen entdeckt. Liebevoll handverlesene, verlorene Nuggets auf privat gepressten Obskuritäten, vergessenen Studiotapes oder tief in digitalen Ordnern versteckt, warten darauf, wieder gehört zu werden.

Repress! With all due respect to New York, Los Angeles, Atlanta, and Miami, the epicenter of the rap universe in 2016 just may be Chicago. With young stars ranging from Chief Keef to Chance The Rapper to Lil Bibby to Vic Mensa, the Windy City continues to push the boundaries of hip-hop music and culture.

The latest artist to emerge from this hotbed of talent is Mick Jenkins, a gifted lyricist who has built a strong buzz online with a series of acclaimed mixtapes. Now, one of those collections will be available in physical format for the first time ever, with a limited-edition vinyl pressing of “The Waters” set to hit stores soon. Originally released online in late 2014, “The Water

22D Music presents a soundtrack for the series Marie-Antoinette: First Steps at Court. The album contains the original music for the series composed by Guillaume Roussel.

The 8-part series Marie-Antoinette: First Steps at Court is created by Deborah Davis and stars Emilia Schüle, Louis Cunningham, Jack Archer, Jasmine Blackborow, James Purefoy, Gaia Weiss, Marthe Keller and Crystal Shepherd.

The series begins with the departure of Maria Theresa of Austria's daughter for France, where she is to marry the future Louis XVI. It's 1770, she's only 14 and still menstruating, but she already has to 'give' an heir to her husband, who is a year older than she is.

Marie-Antoinette's first steps at Versailles are painful, and at the start of the series almost resemble a psychological horror film that captures all the cruelty and misogyny of the court at the time.... ( - Canal+ - )

The soundtrack features orchestral, big band, rock, and hip-hop compositions, the score was recorded at Abbey Road and Air Studios and evokes both the intensity and the sardonic humor found within the main themes of the film. Speaking of the music, Nicholas Britell says, “When I first began working with Adam McKay on the score for VICE, Adam’s initial instinct was that the score should have a symphonic scope to match the size of the story we were telling. Over the course of more than one year of composing, I wrote a score which utilizes a full symphony orchestra, while also exploring the sounds of big band jazz, rock, and hip-hop. There is a subtle – and at times not-so-subtle – dissonance in the music which weaves in and out of the themes, harmonies, and textures. This idea of dissonance became a central element within the nature of the score.”