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Soul music changes just like the weather. Different styles, rhythms and dances have been emerging over the years, making the genre so exciting and assorted. For almost a decade, in the post-disco era, synths and drum machines ruled the day, but by the mid 90s a group of new artists were turning their attention to the golden age of soul music.
One of those names was Adriana Evans, whose debut album from 1996 surprised soul fans around the world. Adriana boasts a solid musical background and this can be heard on the record. Her mom was the jazz singer Mary Stallings and she was also the goddaughter of Pharoah Sanders, so she has been surrounded by music since childhood.
Both choices here are taken from that outstanding album. "Looking For Your Love" is a beautiful mid-tempo tune which could have been recorded by The Emotions or Phyllis Hyman. On the reverse, "I'll Be There" is a sublime piano and flute-led ballad in the vein of Minnie Ripperton.

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Best-selling album in jazz history; mastered from the original master tapes by Bernie Grundman
Pressed at Quality Record Pressings using Clarity Vinyl® on a manual Finebilt press
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history.

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to center. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

Now Available On Cassette Tape! Music By Madlib Arranged By Kieran Hebden. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieran Hebden AKA Four Tet

Bill Evans catapulted to the top of the jazz world in June 1961 after reeling off three straight masterpiece sessions at New York's Village Vanguard with his trio. Yet the emotional highs came to a screeching halt shortly thereafter when bassist Scott LaFaro died in a car accident. Devastated, Evans refrained from playing for nearly a year. If not for an inspirational collaboration of tremendous creative outpouring, one wonders what fate may have befallen Evans. Undercurrent, the outcome of two studio sessions with guitarist Jim Hall, is that project.

Mastered on Mobile Fidelity's world-renowned mastering system and pressed at RTI, this Silver Label LP edition bursts forth with brilliant textures, you-are-there realism, and extraordinary tonalities. No other version outside of this analogue copy brings you face-to-face with these two jazz giants' sonic communion, a kind of spiritual musical summit on which Evans' deft keyboard touches and Hall's reliably subtle phrasings seamlessly mesh and wonderfully dance, the compositions streaked with natural instrumental decay, full-frequency extensions, and poignant emotionalism that, on this LP, you can feel.

While Evans managed to sit down for a few one-off takes between LaFaro's passing and these April-May 1962 dates, he largely remained on hiatus and abstained from recording. Whether it owes to the intimate pairing, he and Hall's brotherly chemistry, or the exquisite selection of program material, the results consistently come across as the equivalent of a private meditation - such is the level of introspective depth and quietly shaded interplay throughout. For Evans, the duet clearly functions as therapy, a healing episode in which his partner patiently lays back, shadowing moves and suggesting others, neither musician interested in the spotlight but each striving for (and achieving) transcendent beauty.

In tackling standards such as Rodgers and Hart's "My Funny Valentine" and the Broadway classic "Darn That Dream," as well as the Hall original "Romain," the pair traverses complex harmonies with the astute elegance of a figure skater. At times, Evans and Hall go for broke on a hard-swinging romps, yet it's their implied melancholy and drifting, softly struck melodic refrains on waltzes and ballads that bestows Undercurrent with a nuanced romanticism and whispered atmosphere befitting the record's title.

Indeed, even the album's cover - an iconic photograph by Toni Frissell - exhibits the surreal, almost-hallucinogenic properties of the fare contained within.

One of the most important harmony groups in the entirety of Jamaican music, the Paragons have a long and complicated history. First formed in the ska years by Bob Andy and Tyrone Evans as the duo of Andy and Ronnie, the group soon expanded to a quartet through the addition of Howard Barrett and John Holt, the latter naturally assuming lead duties, following the subsequent departure of Andy, Holt, Evans and Barrett made the Paragons the quintessential rock steady trio. They had an incredible run of hits for Duke Reid and Coxsone during the mid-to-late '60s, and also issued some self-produced work, before Holt's solo career skyrocketed, leaving the group on the back-burner. Then, in the mid-1970s, the Paragons reformed, cutting material for New York-based labels such as Clocktower and Clintones, which led to this intriguing album, which saw material recorded in Jamaica at Harry J for Bunny Lee mixed with work cut at Bullwackie's studio in the Bronx, along with re-workings of classics such as 'Left With A Broken Heart' and 'Memories By The Score' is a whole range of new material, dealing with contemporary themes.

Recommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter. "improvisational jazz, classical music, and Stereolab... his songwriting owes more to loop-based composition than garage-bound woodshedding." – Pitchfork // Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.

Recommended if you like: Chet Baker, Norah Jones, Kamasi Washington, BADBADNOTGOOD, Wild Nothing, DIIV, Kevin Krauter. "improvisational jazz, classical music, and Stereolab... his songwriting owes more to loop-based composition than garage-bound woodshedding." – Pitchfork // Inspired by a love of artists such as Bill Evans, Lester Young, Chet Baker and Vince Guaraldi, Dustin Payseur reimagines some of his greatest hits from the Beach Fossils catalog alongside a group of formally trained jazz musicians. A rich and mellow mix of piano, saxophone, upright bass and brushed drums explore the contours of familiar songs, soaring Payseur’s melancholic harmonies to new heights.

There are records with empathy, records which are your friends and then there's the others... There might be little difference between them, a certain "je ne sais quoi", an "almost nothing but still something" which makes the difference between almost pointless and vital records. Despite, or rather thanks to his cynical despair, Matt Elliott's music never holds up a moralizing mirror to us - on the contrary, it creates a compassionate dialogue with listeners like the rhythm of two steps that synchronize to become as one. In 2016, Matt Elliot brought out his seventh solo album The Calm Before whose obscure title is neither exactly threatening nor comforting... the calm before what? Before the storm for sure but maybe also before the great record, the immediate classic we felt might be coming for a long time in the dual discography of the Bristol-born artist working under his own name and his electronic alias Third Eye Foundation. The elegant details and perspectives of Little Lost Soul (2000) already hinted at the upcoming masterpiece from the English singer-songwriter. The Mess We Made (2003) was Matt Elliott's first solo album and portrayed a universe in a kind of flight towards Balkan horizons made up of visceral despair. With the Songs trilogy, he put aside the electronic side of his work to continue working with a minimalist, stark and lucid style of writing. The Broken Man (2012) was full of tears and long laments sometimes carried by Katia Labèque's piano on a record which painted new shades of grey. On this record Matt began working with the producer, arranger and multi-instrumentalist David Chalmin (La Terre Invisible) who has kept on collaborating with the Bristol-born singer since then. Their partnership continued on Only Myocardial Infection Can Break Your Heart (2013) and The Calm Before (2016). Stéphane Grégoire is the head of the Ici D'Ailleurs label which has accompanied Matt Elliott since 2005 and perhaps he describes this album the best: "This new record by Matt is without a doubt his best album to date, a record that takes him into another dimension where he fully asserts himself as a songwriter and singer of the calibre of artists like Bill Callahan, Leonard Cohen or Johnny Cash." Matt Elliott's other records all seemed like empathic links between each other. Farewell To All We Know is an instant classic based on the sensitive piano and superb arrangements of David Chalmin, the sensitive cello of Gaspar Claus, the subtle bass of Jeff Hallam (who has also played with Dominique A and John Parish). There is a clear form of alchemy in all of this and still we find Matt Elliott's usual atmospheres and scenery, the same Eastern European folk music, long songs that take time to settle over time. Everything is the same but also is transfigured. By making his music stark and purifying and redefining the subject matter, Matt Elliott's work became so much more delicate. However this work is never frail nor really turned in on himself and thus becomes like a vital tune that vibrates and unfolds. The opening song Farewell To All We Know seems torn between the fear of what tomorrow may bring, inevitability and hope for the future in a permanent and progressive dramatic tension expressed by his Spanish guitar, the impressionist style piano and Matt's voice teetering on the edge of whispers. A funereal tribute to endless twilights and the dawns we all dream of seeing. There are touches of Leonard Cohen from Songs from a Room or Thanks For The Dance in The Day After That with Gaspar Claus's counterpoint cello. There is no spirit of resignation in Matt Elliott's work - life's path has to be followed against all odds. We have to follow the river's flow to reach the immense ocean and its infinite freedom. The haunted instrumental Guidance Is Internal harks back to the atmospheres of Howling Songs (2008) with its guitar parts full of scansions and muted threats. The music is transcendental but never seems afraid of the risk of falling. This is also what Bye Now tells us with its quasi-obsolete simplicity and sunburst melancholy reminiscent of the work of Luiz Bonfá, Bill Evans on Peace Piece or laidback crooners of the 50s. In Farewell To All We Know, Matt Elliott incessantly alternates between the dual desires to face up to the world or to protect himself from it. Hating The Player, Hating The Game is a lucid statement about the dullness of our daily lives sometimes, our right to get out of the game and no longer want to be part of it. Matt Elliott is tender but spares no one, particularly himself. Aboulia speaks of the tiredness of living and of looming death while Crisis Apparition says that there is always a time for reconstruction after chaos. This is like initially wearying wandering in the ruins of Aleppo with the slow dilution of the melody into a hallucinated drone. However the smell of great fires always fades and the earth always regenerates. Matt Elliott seems to suggest that the survival instinct is stronger than any cold winds could ever be. Matt Elliott never sings of certainties and prefers possibilities. Possibly the worst is over? Maybe... Maybe the storm has passed and devastated everything, now we just have to rebuild and live again. Farewell To All We Know shows us the distance that still needs to be walked and he walks next to you - right next to you, he is the friend who doesn't spare you the truth like all true friends really do.

New purple splatter repress of ‘Monsters’, the latest album
from US-based duo The Midnight.

Having gone from online cult fascination to selling out
London’s Roundhouse, The Midnight’s ‘Monsters’ debuted in
the UK Top 100 Album Chart on release, ahead of a sure-tobe-sold-out tour that includes headining Brixton Academy.

The album finds lyricist, guitarist Tyler Lyle and
instrumentalist and producer Tim McEwan creating a
sweeping sound that fuses Americana archetypes with an
evocative electronic palette referencing synth-driven film
scores, deep house, pop and rock.

‘Monsters’ (released via Counter Records - Maribou State,
ODESZA) sees a continuation of The Midnight’s immersive
world-building that has attracted a rabid fanbase. From the
album artwork to the song titles, the record excavates
teenage emotions through nostalgic touchstones - the early
internet, VHS tapes, PlayStations, movie posters - to
recreate the thrilling and crushing experiences of those
tumultuous years.

For fans of Kyle Dixon (‘Stranger Things’ OST), The 1975,
M83, The Weeknd, Muse, Chromatics, Hot Chip, Chvrches.

Fans of the band also include actor Chris Evans (‘The
Avengers’, ‘Captain America’) and legendary producer
Quincy Jones.

“Big soundscapes, dreamy vocals, and saxophone solos - for
years.” - BBC Newsbeat

2LP pressed on 140g purple splatter vinyl in a gloss
varnished gatefold sleeve with printed inners plus digital
download code.

Frozen Music’ was recorded in New York City 32 years ago and like most of
pianist Andy LaVerne’s releases this album has not lost its original energy
and charm.
Tenor and soprano saxophonist Rick Margitza was then a young rising star under contract with Blue Note. Andy was already a prolific composer who penned
all the tunes of this album. Bassist Marc Johnson who was a member of Bill
Evans’s last trio gave graceful and subtle colouring to LaVerne’s compositions.
“Frozen Music, Andy LaVerne’s third album for SteepleChase, is a solid, modern
blowing session...he makes skilful use of suspensions, pedal points, and ostinatos, which along with the music’s floating harmonies, give the soloists a wealth
of elbow room.” - Mark Stryker, Cadence
Personnel: Andy LaVerne (piano), Rick Margitza (tenor and soprano saxophone), Marc Johnson (bass), Danny Gottlieb (drums)

Der Klassiker des einstigen Pfarrers und Kreuzzügler des Allgemeinwohls PASTOR T. L. BARRETT & THE YOUTH OF CHRIST CHOIR von 1971 gilt bis heute als der heilige Gral des Gospel-Soul. Mit dem seinerzeit selbst veröffentlichten Werk des JESSE JACKSON JR.-Mitstreiters demonstrierte BARRETT seine Leidenschaft für die Musik, seine wilde Entschlossenheit, Kinder vor der Straße zu bewahren und sein Talent für mitreißende Predigten (die nebenbei Künstler wie EARTH, WIND & FIRE und DONNY HATHAWAY dazu brachten, seine Kirche zu besuchen) mit einem Album, das vom Chess Records Saxophon Helden Gene Barge und einer Reihe von Musikern wie Richard Evans, Phil Upchurch und dem stürmischen Gesang des YOUTH FOR CHRIST CHOIRs profitiert. Heilige Grooves, Breaks, Beats und Lobpreisungen mit eingängigen Refrains. Chicago pastor and activist T.L. Barrett's rare gospel soul classic Like A Ship. (Without A Sail) is one of the holy grails of gospel soul. Self-released in 1971, Like A Ship was the result of Barrett channeling his passion for music, a determination to keep children off the streets, and his charismatic preaching (which attracted the likes of Earth, Wind & Fire and Donny Hathaway to his sermons at Mount Zion Baptist Church) into the production of the album, a project bolstered by the saxophonist and arranger Gene Barge of the famed Chess Records, and backed by a cast of players that included Richard Evans, Phil Upchurch and the rapturous vocals of the Youth For Christ Choir. Like A Ship... is filled with sanctified grooves and spiritual praise delivered with a righteous, infectious chorus.

Stuart Evans, aka Sordid Sound System is one of the founders of The Green Door Studio, a not for profit, analogue recording studio in Glasgow which emerged from an increasing disillusionment with the modern ways of music production. His sound holds outsider qualities, being everything but generic and predictable, mixing dub with movie soundtracks in the tradition of Carpenter and Italian likes.

On this 7” released on Höga Nord Rekords, SSS deconstructs and rebuilds music in an imaginative style, pairing tribe-ritual “back to ape”-beats with synthesized cosmic harmonies. In a way, we are enjoying straight up dub here but this record is also a display of the vivid and creative Glasgow scene centred round “The Green door studio” and record labels like “Invisible Ink” where krautrock and 80’s/90’s electronic music is part of the foundation. Boundless joy for every girl and boy!

Dave Pike Quartet Featuring Bill Evans: Pikes Peak. 180g. Limited Edition High-Definition Premium Vinyl Pressing
“This LP was vibraphonist DAVE PIKE’s second recording as a leader. Pike is joined by bassist Herbie Lewis, drummer Walter Perkins, and most notably pianist BILL EVANS. It was one of the pianist’s first sessions after the tragic death of his bassist, Scott LaFaro, and gives listeners a rare opportunity to hear Evans this late in his career as a sideman. The music is fairly spontaneous. An excellent if generally overlooked straight-ahead set.” (Scott Yanow) “

With their latest release, "Matasuna Records" brings together two songs from 1966 that were originally released on "J-V/Atlantic Records" & "ATCO Records". Now officially reissued for the first time on 7inch vinyl. Aside from the same release year, the two songs - a Northern Soul joint by "Cliff Nobles" and a Mod Jazz tune by "Russell Evans & The Nite Hawks" - seem to have little in common. However, both are delicacies for any dance floor and combine an irrepressible energy. The two songs thus fit perfectly together on this hot & fiery 45!

"My Love Is Getting Stronger" by "Cliff Nobles" on the A-side is not only a super rare soul gem whose original single cost at least $700 dollars. The song can also be considered one of the best (Northern) soul tunes. A grooving bass, infectious drums & bongos meet great orchestrated horns driven by Nobles' raw yet sweet voice. A smokin' soul cut for any dance floor.

The instrumental "The Bold" by "Russell Evans & The Nite Hawks" on the B-side brings out the same irrepressible energy. The deep bassline, drumbreaks and funky guitar riffs introduce this terrific song. A deep organ joins in perfect interplay and enchants the listener. A great groover that shouldn't leave any record box!

"Cliff Nobles", born in 1944 in "Groove Hill" (Alabama) got into singing in his high school choir in "Mobile" (Alabama). He also became the lead singer of a popular local group called "The Delroys". After school, he moved to Philadelphia to work on his career. He recorded 3 songs for "Atlantic Records", which went unnoticed. He later formed the band "Cliff Nobles & Co" in "Norristown" with "Benny Williams" (bass), "Bobby Tucker" (lead guitar) and "Tommy Soul" (drums).

Through demo tapes, Nobles came to the attention of producer "Jesse James", who began to write songs for the band and helped them get a contract with "Phil L.A. Of Soul" Records. The first release bombed, but the second single, "Love Is All Right/The Horse", brought success. Ironically, the instrumental B-side "The Horse," which Nobles didn't even perform on, became a huge hit. It reached #2 on the charts, sold over 1 million copies and was awarded a gold record by the R.I.A.A..

However, subsequent releases failed to match his success, and he retired from the music business in the early 1970s. Nobles died in October 2008 at the age of 67 in "Norristown", Pennsylvania.

Life Model are a 5-piece dream pop band from Glasgow, made up of Sophie Evans (vocals and guitar), Chris Smith (guitar), Helen Farrow-Thoms (keys and backing vocals), Cameron McDougall (bass) and
Michael McDonald (drums).
Named as one of Vic Galloway’s ‘Ones to Watch in 2018’, the band mixes classic indie and pop of the likes of The Sundays and Belle and Sebastian with the noisier leanings of bands like Sonic Youth.
Their sound has been described as pop-drenched melody, supplemented with layers of reverberating noise - “like they’ve taken Harriet Wheeler from The Sundays and asked her to sing on the kind of song Ride used to write.” - For The Rabbits.

Within Melbourne’s burgeoning cinematic-soul scene, which includes
breakout acts Surprise Chef and Karate Boogaloo, mysteriously sit
The Pro-Teens.
Helmed by prolific drummer and percussionist Hudson Whitlock, who also
plays in both aforementioned bands, this breakaway studio project involves an
interchangeable collective of incognito, Melbourne-based, esteemed instrumentalists playing under outlandish pseudonyms such as “’Dead Honest’ Dean
Amazing” and “Libby Clique-Baite”.
Symbolically led by keyboardist “Snooch Dodd”, new album ‘I Flip My Life Every
Time I Fly’ is the latest musical concoction from Whitlock’s eccentric brain,
marrying the soul/funk roots of sample culture with the principles of boombap hip hop.
Incorporating the colourful comic book stylings of MF DOOM and Kool Keith,
or the dark and exotic flavours of Gravediggaz and The Wu-Tang Clan, The ProTeens also take cues from their composing heroes Galt MacDermot, Richard
Evans and Marc Moulin.
The Pro-Teens bop, zip, whip and fling on this phantasmagorical journey - an
unorthodox patchwork of cinematic soul, hip hop-guided funk breaks, vivid instrumental textures and film score-esque moods.
The Pro-Teens work on the same analogue recording model adopted by the
tight-knit College Of Knowledge label, self-recorded and produced with the ragtag crew of musicians putting tracks down live to tape in crammed attic studios
and sharehouse recording spaces.
The first limited pressing of ‘I Flip My Life Every Time I Fly’ was released on the
‘College Of Knowledge’ imprint in late 2020. It was one of the highlights of the
year at Mr Bongo HQ who loved the concept and felt this tripped out masterpiece from Melbourne needed to be heard well beyond those lucky enough to
have bagged those limited first copies.

From the cosmos of Stretford on the outer realms of Manchester comes the kaleidoscope view of the world according to Psychederek and it's an explosive trip of shoe gaze soaked balearica.

Lead track Screamadereka heads straight into orbit from the get go with a stop off to thank the likes of The Cocteau Twins & Death In Vegas for their influence along the way. Huge drums, spaced out synths, warped guitars & a fully charged love in style vocal all wrapped up in a mushroom flavoured microdot with a pretty empowering finale.

I'm Alright steps up the ante a bit more and goes all Tomorrow Never Knows on us but with added warehouse acid squelch & rasps throbbing out from a beat that is broken (but not break beat!) whilst still retaining the psychedelic tendencies of its predecessor.

Sean Johnston steps off the ALFOS rocket ship and joins forces with Duncan Gray for their Hardway Bros Meet Monkton Disco Dub take of Screamadereka and the result is a hive of cosmic mutant disco brilliance whilst Manchester's finest 6 piece See Thru Hands turn I'm Alright into bombastic focused UKG style wig out duet complete with new vocal takes by DNCN for seriously wonky floors & like minded souls.


Includes beautiful insert artwork by Emma Evans

Collection Of Classic LPs 180 Gram Vinyl + Bonus CD Digipack Included Inside. Chet Baker-Bill Evans: Alone Together (LP + CD) Bonus CD contains the complete album Alone Together aka CHET The Lyrical Trumpet of Chet Baker + 6 bonus tracks, completing all conjunct recordings between Chet Baker and Bill Evans. Including updated liner notes. 76:39 minutes playing time.

A modal masterpiece from 1959, Kind of Blue is a true classic that never gets old, no matter how many times you listen to it. Bill Evans’ understated piano is the perfect foil for Miles’ melodies, contrasted by the soaring alto sax of Cannonball Adderley; Jimmy Cobb and Paul Chambers keep the rhythm section steady but unobtrusive, allowing Miles and Cannonball to shine. ‘So What’ and ‘Freddie Freeloader’ are seductive, deceptive gems, imparting all the frustration, begrudging and joy as only a great jazz record can; ‘Blue In Green’ and ‘All Blue’ have melancholy hues and ‘Flamenco Sketches’ a precursor to Sketches Of Spain. Every household should have at least one copy of Kind Of Blue, one of the greatest records ever made.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

2 track 7” Strictly Limited Translucent Lime coloured Vinyl Includes postcard and poster.
Part of the Optic Sevens 3.0 Reissue Series.
In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart.
The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after this debut.

First-ever career-spanning retrospective (1956–1980) – 5 CDs with repertoire from the Riverside, Fantasy, Verve, and Warner years. Includes the previously unreleased concert ‘On A Friday Evening’ recorded live at Oil Can Harry’s in Vancouver, BC on June 20, 1975, featuring Jazz legends Eddie Gomez on bass and Eliot Zigmund on drums. Craft Recordings proudly honors the pioneering jazz artist Bill Evans, and his enduring musical contributions, with two new titles. The first—a deluxe, five-CD box set and digital album, titled Everybody Still Digs Bill Evans: A Career Retrospective (1956–1980)—marks the first-ever career-spanning collection of music from the pianist, featuring over 60 tracks that spotlight Evans’ exceptional work as a leader and co-leader. The expansive set also includes a previously unreleased live performance from 1975, captured at Oil Can Harry’s in Vancouver, B.C. This recently unearthed concert recording will also be issued as a standalone album titled On a Friday Evening, which will be available on 2-LP, CD and digital formats, including hi-res 192/24 and 96/24.

Bounding on from the Door to the Cosmos, the label'sexpansive triple vinyl compilation, OnTheCorner has paired up new artists in this series of cosmically twinned EPs. Twinning EPs on a single piece of wax reduces the impact on the environment and wallet friendly. Each brace of cosmically twinned OnTheCorner artists interstellar balearic for the deepspace bound. Each 12" will be split taking over a whole side of black wax. Party wax loaded with Stardust. Get your fix of tomorrow's sound, tonight! Side A is UFFE's 'Not All the Stars EP' - an underground emissary channeling dark bass weight through a prism of jazz-house - dub-tech hitters. A singular talent leading the charge into new frontiers with OnTheCorner. Not All The Stars EP is aprelude to his first LP on the label and follows on from City's Dead and that featured on Door to the Cosmos in 2020. Petwo Evans' 'Bootstrap EP' on the flip side is made of soundsystem-primed, innovative club tracks. Welsh Futurism, celestial electrics and objects of space-junk percussion. CERN loops, cyber kinetic grooves, machine pulses and chugging house kicks converse in the orbit of 'Gyroscope'. Petwo Evansfeeds the tracks compulsion with heady layers awash with dreamy vocal stabs, synths and hazy harmonics.

Squid announce their debut album, ‘Bright Green Field’, already one of 2021’s most highly anticipated releases.
Produced by Dan Carey, ‘Bright Green Field’ is an album of towering scope and ambition, it is deeply considered, paced and intricately constructed. With all band members playing such a vital and equal role, this album is very much the product of five heads operating as one.
Some bands might be tempted to include previous singles on their debut - and the band already released two more in 2020 via ‘Sludge’ and ‘Broadcaster’ - but instead ‘Bright Green Field’ is completely new. This sense of limitlessness and perpetual forward motion is one of the key ingredients that makes Squid so loved by fans and critics alike, from 6 Music, who have A-Listed previous singles ‘Houseplants’, ‘The Cleaner’ and ‘Match Bet’, to publications such as The Guardian, NME, The Face, The Quietus and countless others. The band was also on the longlist for the BBC Music Sound Of 2020 poll.
‘Bright Green Field’ features field recordings of ringing church bells, tooting bees, microphones swinging from the ceiling orbiting a room of guitar amps and a distorted choir of 30 voices, as well as a horn and string ensemble featuring the likes of Emma-Jean Thackray and Lewis Evans from Black Country, New Road.
Squid’s music - be it agitated and discordant or groove-locked and flowing - has often been a reflection of the tumultuous world we live in and this continues that to some extent. “This album has created an imaginary cityscape,” says Ollie Judge, who writes the majority of the lyrics and plays drums. “The tracks illustrate the places, events and architecture that exist within it. Previous projects were playful and concerned with characters, whereas this project is darker and more concerned with place - the emotional depth of the music has deepened.”
For all the innovative recording techniques, evolutionary leaps, lyrical
themes, ideas and narratives that underpin the album, it’s also a joyous and emphatic record. One that marries the uncertainties of the world with a curious sense of exploration as it endlessly twists and turns down unpredictable avenues.

Nashville underground trio YAUTJA make their Relapse Records debut with their highly anticipated new album, "The Lurch". YAUTJA's new album amalgamates metal, punk and noise rock into a ferocious hybrid that has propelled them from the obscurity of the American South onto the international stage. Recorded by Scott Evans at the legendary Steve Albini's Electrical Audio studio in Chicago, "The Lurch" marks another step forward for the innovative band. From the opening roar of “A Killing Joke” and the ominous noise waves of “Undesirables” to the churning cannonade of “Before the Foal,” "The Lurch" conveys the personal frustrations and sociopolitical observations of its creators. “We’ve got our bubble of friends and artists and businesses, but you drive 30 minutes out of town and you see rebel flags or people wearing t-shirts that say, ‘Redneck Lives Matter,’” bassist/vocalist Kayhan Vaziri explains. “So there’s a lot of frustration there, and the lyrics pertain to that.” Elsewhere on the album, tracks such as "Tethered" and "Wired Depths," discuss the various technologies and systems in place befalling the great populace. Rampant displacement of local communities fuels Vaziri's opening screams in the track aptly titled “Catastrophic” - “Forced under society!” Featuring members of several other musical projects including Thou, Coliseum, Mutilation Rites and more, YAUTJA's collective experiences across the underground and experimental subgenres drive their unique sound. The band's palpable malaise, malcontent, and sharpened edges are matched by the album's production - the attack of noisy, whirring guitars constantly veering on dissonance are met with a destructive, mangled low end, as they march on to some of the most creative drumming in the genre. "The Lurch" showcases a band that is daring, experimental, and unrelenting.

This reissue of Cannonball Adderley’s classic 1958 Bluenote album ‘Somethin’ Else’ features Adderley on alto sax, Miles Davis on trumpet, Hank Jones on piano, Sam Jones on bass and Art Blakey on drums.
The bonus Riverside album, ‘Portrait of Cannonball’, recorded in 1958 includes Cannonball Adderley, alto sax; Blue Mitchell, trumpet; Bill Evans, piano; Sam Jones, bass; Philly Joe Jones, drums. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine. “ ‘Autumn Leaves’ and ‘Love for Sale’ will never mean the same after listening to this album, this masterpiece of the 1950’s which hasn’t aged at all.” Jazz Magazine

IZIPHO SOUL are thrilled to announce their next release: Early 80s music from New Jersey of the highest order and a first time re-release on a 45.

IF YOU WANT MY LOVIN’ is a synth-soul boogie bomb that we’ve taken to another level. The ‘Sunshine Mix’ by Philip Ward - miraculously restructured - giving it the feel of a 12” but keeping it under 5 minutes, the instrumental break in the latter stages is simply stunning. The sublime flip ‘HARDLY NEED TO SAY’, hardly needs an introduction. Whilst the Rhodes and intricate guitars weave their way throughout the track, June’s vocals shine with passion and power.

Tom Smith (Editors) and Andy Burrows (We Are Scientists,
Razorlight) return with their second album and follow up
to their 2011 debut ‘Funny Looking Angels’ (which every
year grows in stature as the alternative go-to soundtrack
for the Winter / festive season).
Produced by Grammy Award-winning producer Jacquire
King (Kings Of Leon, James Bay) and packed with classic
songwriting, the new album ups the pop ante with a
cannon of heart lifting songs including three singles
already lighting up both radio and streaming playlists
across the world.
The video for ‘Parliament Hill’, directed by Mat Whitecross
(Coldplay, Liam Gallagher), was shared by Coldplay to their
12.2 million Instagram followers.
Just before Christmas they also turned in an amazing
filmed performance of ‘When The Thames Froze’ (from the
first album) for The Late Late show with James Corden in
the US, with James declaring it “the perfect song for
Christmas 2020” and the album being “the greatest
Christmas album ever.”
‘All The Best Moves’ also elicited an apt response from Ben
Stiller, who tweeted “if this was a 45 I would have bought
it.”
TV - The Late Late Show with James Corden, Channel 4
Sunday Brunch.
Press - Reviews & features in Sunday Times.
Radio - Radio 2 playlist, New To 2, Jo Whiley, Ken Bruce Tracks
Of My Years feature, 5Live Nihal chat & session, Virgin Chris
Evans session.
Online - Tim’s Twitter Listening Party feature.

Half & Half Colour Vinyl Disc 1: Yellow/Magenta Disc 2: Turquoise/ Magenta


Double album that includes;
45rpm bonus disc with the singles and B sides
Gloss laminated gatefold sleeve
printed inner sleeves, containing lyrics, photos and interview by The Mouth Magazine
“Pleasure Bag” containing 4 postcards, 2 stickers, A stencil, Repro Tour Poster, Repro promo posters for “Go For Gold” and “Politics/ Its Fashion” singles. Press photo and Press Flyer

In 1980 post punk pop indie band GIRLS AT OUR BEST came out of nowhere (Well, Leeds actually) with GETTING NOWHERE FAST and was the NME’s Single Of The Week reaching the Top 10 of the indie chart. The band, fronted by Judy Evans, released four further singles plus the album PLEASURE which reached the UK album charts in 1981, before splitting up two years after that first record.

Girls At Our Best were one of the finest, most life-affirming of a new breed of independent bands who cropped up at the turn of the 80s – long-standing fan John Peel once referred to them as one of the few groups that made the period bearable. Formed in Leeds from the ashes of punk band SOS, the group were fronted by distinctive female vocalist Jude ‘Jo’ Evans, forming a songwriting team with guitarist James Alan and bass player Gerard Swift after they met at art college. All four of their singles for their own Record Records, Rough Trade and Happy Birthday Records are included here as bonus tracks on a 45rpm 12”– including the wonderful ‘Getting Nowhere Fast’ (later covered by The Wedding Present), its coruscating b-side ‘Warm Girls’, ‘Politics!’, ‘Go For Gold’ and ‘Fast Boyfriends’

Their influence can be seen on innumerable C86/indie bands who came afterwards

The Pretenders were the Carnival label’s main act throughout the 70s and up to 1980. By 1977 producer Joe Evans was embracing the disco era and recorded them on the excellent Kenneth Ruffin song ,‘Just Be Yourself’. Its furious yet solid rhythm and catchy title-line has captivated soul dancers for many years making the originals expensive and very hard to find now.

The flip was their last release, an updated and disco-slanted version of Lee Williams & the Cymbals’ ballad ‘It’s Everything About You That I Love’.

Bad Colours is the moniker of London-born, Maryland-raised, Brooklyn-based DJ and producer Ibe Soliman. With influences of garage from both sides of the Atlantic as well as funk, post-disco, proto-house and rap samples; his debut album 'PINK' is set for release by Bastard Jazz on 26th February 2021.

The drive to record an album came about while isolating at home in Flatbush during the COVID-19 pandemic. Inspired by some rough ideas and samples that friends sent him, Ibe focussed his attention on making music. From time well spent soaking up and storing sounds from clubs around the world, Ibe found, now with the time to dedicate towards it, the tracks flooding out. Taking cues from early Trax records and Larry Heard, the UKG musicality of MJ Cole, Todd Edwards' vocal sampling techniques, the brashness of Bmore, and an encyclopedia of disco, funk and soul knowledge; Ibe got to work and quickly compiled more than enough tracks for a full-length release.

Flowing from the album intro 'PINK!', first single 'Cookin' vibes over a Chris Faust sample and saxophone from south California virtuoso Carras Paton. 'Feelin' Like' was originally built around a short vocal sample by Jarv Dee, but grew to include additional lyrics on black power from the Seattle rapper after he heard it: "Dancey stuff with a message" says Ibe.

Slow jam 'Heyyy', with its preemptive lyrical synths, bridges to the album's next single 'Get You Off'. Ibe had been listening to a lot of Marvin Gaye - particularly 'I Want You' - during lockdown, getting into the production and vocals. After writing the "I just wanna get you off" hooks, he handed the track over to talented singer, actor and playwright Marcus Harmon who wrote the verses and provided the stunning vocal performance.

Keeping the sensual vibe, 'Skin To Skin' samples vocals from 'Private Play' by Wash 'N' Set, also produced by Ibe, with the Chris Isaak-esque guitar lines by Lex from Foreign Tapes. Made late at night, CMYK reminded Ibe of driving at night in the rain in NYC, where the colors bleed together on the wet road while 'Boss', the first track made for the album, is based around a Sunny Jones sample. The closing track 'Feel' was made at the peak of Black Lives Matter protests. "I just wanted something hard sounding," says Ibe.

Known for his residencies at some of New York's top venues, Ibe has been rocking crowds as a DJ for over a decade, and has shared the decks with the likes of James Murphy, Mark Ronson, and Q-Tip. He's performed alongside Wiz Khalifa, Snoop Dogg, Pusha T, and Young Thug, to name a few. In high demand as a private party curator, he's helped set the tone for Jeff Koons, FKA Twigs, Justin Timberlake, Travis Scott, and Usher. When Ibe's not behind the decks, he's in the lab, where he's produced for Kendrick Lamar, Faith Evans, Keyshia Cole, and Rick Ross, among others.

Music For Soundtracks is an album of ten ambient, atmospheric pieces Richard Norris has recently created for film and TV.
They feature in BAFTA winning director Kieran Evans’ recent Sky Arts documentary ‘Cold War Steve Meets The Outside World’, as well as Marc Issacs’ latest film ‘The Filmmaker’s House’. The tracks range from widescreen electronic dance to immersive deep listening cuts, all with a marked sense of space and landscape. Dive in…

A crucial live at Carnegie Hall by the renowned trumpet player, subtitled The Legendary Performances of May 19, 1961. This live performance features Davis with his regular quintet and also accompanied by Gil Evans and his 21-piece orchestra. The orchestra is heard on several selections drawn from Miles Ahead as well as a complete reading of the adagio movement from Concierto de Aranjuez as recorded on Sketches of Spain. The concert begins with the orchestra playing the Gil Evans introduction to "So What", which is performed by the quintet, and then segues directly into the only recording of an Evans arrangement of "Spring is Here".

The variety of Kühn’s pianism in this collection is
quite remarkable.
The listener is first welcomed into the inviting,
comforting and regular pulse of Mal Waldron’s
‘Warm Canto’. And yet later, by complete contrast,
Kühn’s own composition ‘Sintra’ gives a
masterclass in freedom, delay and the alchemical
art of keeping the listener waiting on tenterhooks.
Prince’s ‘Purple Rain’ is achingly soulful, whereas
Kühn found the encouragement to revisit Bill
Evans’ ‘Peace Piece’ from the dignity and restraint
of classical pianist Igor Levit’s version.
LP pressed on 180g vinyl.

This reissue of the all-time best-selling jazz album ‘Kind of Blue’ by the legendary trumpeter Miles Davis includes 4 bonus tracks.
The all-star line-up features Julian “Cannonball” Adderley on alto sax, John Coltrane on tenor sax, Bill Evans and Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. The bonus tracks are ‘Blue in Green’ by the Bill Evans Trio and 3 tracks from a session recorded in 1956 with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. The 20-page booklet contains complete information with specially prepared liner notes by Penguin Guide to Jazz’s writer Brian Morton and by France’s prestigious Jazz Magazine.

Calvin Keys’s 1971 debut album for the Black Jazz Records label announced the arrival of a new star in the jazz guitar firmament. Keys had spent the ‘60s backing up the crème de la crème of jazz organists— Jimmy Smith, Jimmy McGriff, Jack McDuff, Richard “Groove” Holmes—but for his first record as a leader, he was eager to play with a piano player instead. So he recruited one of the best—Larry Nash,
who, besides being a member of the L.A. Express, played with everybody from Eddie Harris to Bill Withers to Etta James. Bassist Lawrence Evans, drummer Bob Braye, and flautist-songwriter Owen Marshall rounded out the group on Shawn-Neeq, which might remind some of Pat Metheny’s early work (Metheny acknowledges Keys as an influence), or Grant Green. But what gives Shawn-Neeq extra depth is that it comes from the heart; as Keys says in Pat Thomas’ liner notes, which feature an interview with the artist: “My thing was, I write about some of the experiences that I’ve had in my life.” Keys has since become a fixture in the Bay Area jazz scene; this is the album that started his journey. Another gem from the celebrated Black Jazz catalog!

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.

Craft Recordings is pleased to reissue four classic, remastered titles from legendary jazz artist Chet Baker. Set for release on March 5th and available for pre-order now, the albums comprise Baker’s entire output as a leader for the renowned jazz label Riverside—all recorded and released between 1958 and 1959: (Chet Baker Sings) It Could Happen to You, Chet Baker in New York, Chet and Chet Baker Plays the Best of Lerner and Loewe. The recordings, which feature such icons as Bill Evans, Johnny Griffin and Kenny Burrell, have all been cut from their original analog master tapes by Kevin Gray at Cohearent Audio and pressed on 180-gram vinyl at RTI. Each title will also be available on March 5th across digital platforms in hi-res 192/24 and 96/24 formats.