Buscar:hot 4

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.



Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

A historic collaboration by two of jazz music's greatest artists on 180g Double LP Set! Impex Records' deluxe production captures the amazing outdoor acoustics with fine detail and wide dynamic range. The beautiful gatefold jacket is coated in a vintage high-gloss lacquer.

The White House Sessions, Live 1962 contains inspired performances of classic tunes "Take Five", "Castilian Blues", "Lullaby of Birdland", and "I Left My Heart In San Francisco".

"Bennett's vocals are particularly natural and present-sounding... Brubeck's group in its prime, with Paul Desmond on Alto, Eugene Wright on bass and Joe Morello on drums... Bennett/Brubeck is nonetheless a record I found myself playing more times than I expected to before sitting down to write this. There's something about a live performance from a time when life was so much simpler, even if more jittery and dangerous because of the cold war, that makes you want to go back in time and enjoy it all again."

This two LP set is beautifully re-mastered and the original artwork has been carefully replicated.

Two remarkable visionaries at the peak of their powers, Dave Brubeck and his quartet and Tony Bennett (both with his group and with Bennett with trio) give hot performances of some of their biggest hits: Brubeck's revved up "Take Five," and Tony Bennett's soulful "I Left My Heart in San Francisco."

Playing the popular White House Sessions concert on the Washington Mall for President John F. Kennedy, these titans of popular jazz have a great time informing, joking and playing the lights out. You'll want to play the grooves out of Impex's impeccably produced issue of this lost treasure. Quiet surfaces, incredible dynamics, full frequency responses and deluxe packaging will provide years of listening and viewing pleasure.

GAZELLE TWIN - aka composer, producer, singer, and visual artist Elizabeth Bernholz - has scored Sky's brand new TV series "Then You Run".

Created for television by Ben Chanan (The Capture), based on the novel YOU by Zoran Drvenkar, Then You Run follows four rebellious London teenagers on a city getaway to Rotterdam. This contemporary eight-part series boasts an incredible cast of rising stars; Leah McNamara (Normal People) as Tara, Vivian Oparah (Rye Lane) as Stink, Yasmin Monet Prince (Hanna) as Ruth and newcomer Isidora Fairhurst as Nessi.

The four friends embark on what should have been the perfect summer break which soon spirals into a dark and perilous adventure. When their attempt to take on some of the most dangerous people in Europe doesn’t quite go to plan, they find themselves on the run with three kilos of heroin, more questions than answers about Tara’s family, and a gang of deadly criminals tracking their every move.

Invada Records have previously released two recent Gazelle Twin scores (2020’s Nocturne and 2021’s The Power).

Her 2018 acclaimed album Pastoral was described by Pitchfork as “...belonging to a proud tradition of English satire, plumbing the depths of the nation’s psyche and twisting it to wryly discomforting ends”.

The Fall's fourth studio album Perverted by Language was released in 1983. The album was produced by the band's vocalist and songwriter Mark E. Smith and recorded at various studios in Manchester.

Perverted by Language features some of The Fall's most renowned tracks, including "Garden". The album's sound is characterized by its sharp and angular post-punk guitar riffs, driven by a heavy bass and drums rhythm section, all layered with Mark E. Smith's distinctive vocals.

Lyrically, Perverted by Language deals with themes of alienation, disorder, and the unpredictability of modern life. Smith's idiosyncratic and cryptic wordplay, including his penchant for inventing new words and phrases, adds to the album's overall sense of unease and dislocation.

Despite its challenging sound and lyrics, Perverted by Language is considered by many critics and fans to be one of The Fall's finest albums, showcasing the band at their creative and innovative peak. The album is available as a limited edition of 1500 individually numbered copies on pink coloured vinyl and includes an insert.

Heatwave is an international disco-funk group formed in 1975. They are known for their singles "Boogie Nights", "The Groove Line", and "Always and Forever".

Heatwave's Greatest Hits is a compilation album from 1984 and features all their biggest hits from their entire discography, with the lone exception of the Hot Property album. Most of the songs on this compilation album are written by Rod Temperton, who later wrote several hit singles for Michael Jackson.

Heatwave's Greatest Hits is available as a limited edition of 750 individually numbered copies on translucent green coloured vinyl.

In 2018, New York based composer and improviser Lucie Vítková made recordings in caves in the Czech Republic and an abandoned Gothic church in Slovakia. Their album Cave Acoustics combines a beguiling exploration of the physicality and acoustics of these unique locations with profoundly personal themes of family legacy and roots.

Lucie performed with their sisters in Výpustek Cave – an underground system of tunnels and former Soviet-era bunker. The choreography-based piece creates crescendos of metallic noise as the trio moves around the spaces. It begins with echoing clanks of tins and coins and accelerates towards a rattling cacophony with distant singing floating up from deep in the shadows. Bearing in mind the siblings had never performed together before, their frenzied kinetic outpourings seem even more special, a wordless cohesion forming between them. Lucie clearly doesn’t shy away from a physically full on experience; they embarked on a Fitzcarraldo-style journey to carry heavy props up a steep hill and across a river to reach the less accessible Jáchymyka Cave.

‘Hair Score’ is an attempt to process the death of the siblings’ mother through a serene then slightly unsettling swaying ritual, with rising and falling waves of wailing and emergency siren sounds growing in intensity as they emerge from their mourning mouths.

After the cavernous acoustics, ‘Stones’ by American experimental classical composer Christian Wolff feels more immediate with its textural sounds and fast, insistent rhythms, as we hear different sized stones knocked together rapidly, following the composer’s instructions not to break anything.

‘Inside the Ritual’ was a “transformative” experience for Lucie, where they felt their body merge with the forest and hills in Slovakia. The 23-minute long track is hypnotic, listening to cowbells and chirping insects at the end of a hot summer’s evening. Things get stranger as metallic clatter is punctuated with Lucie’s voice and reedy tones from their Japanese hichiriki flute.

The album is a calm, contemplative but also energetic and moving reflection of these rare and unheard environments and Lucie’s reunion with the people and places that have shaped them.

'Blowout', das neue Album von John Carroll Kirby - GRAMMY Award nominierter Produzent, Komponist und Keyboarder aus Los Angeles - wurde von den Menschen, der Musik und der Natur Costa Ricas inspiriert.

'Blowout' enthält alle Merkmale des charakteristischen Sounds, den John Carroll Kirby im Laufe von sechs Soloalben und Dutzenden von Kollaborationen entwickelt hat - Verspieltheit, Humor und Überschwänglichkeit.

Kirby hat mit Superstars wie Solange, Frank Ocean und Harry Styles sowie mit Indie-Künstlern wie Yves Tumor, Liv.e, Remi Wolf, Eddie Chacon und YuSu zusammengearbeitet. Für seinen Beitrag zu Steve Lacys Gemini Rising und die Leadsingle 'Bad Habit' wurde er für einen GRAMMY nominiert.

Repress!

Originally released Nov. 2001 as a UK single on XL Recordings.
Recorded in the Hotel Yorba Room # 286 in Southwest Detroit May 2001
Recorded by Brendan Benson
B-Side is cover of a 1972 Loretta Lynn classic
Tracklisting

Dark Entries has a surprise delivery! Malebox brings us six previously unreleased funk-fueled jams from the archives of the cybernetic disco titan himself, Patrick Cowley. Best known for his chart-topping disco anthems, Cowley left us with an incredible body of work before his tragic death in 1982 due to AIDS-related illness. Since 2009, Dark Entries has been working with Cowley’s friends and family to uncover the singular artist’s lesser-known sides, including his soundtracks for gay pornographic films on compilation albums School Daze, Muscle Up, and Afternooners.

But Malebox gives us more of the Cowley we know and love: churning disco-funk and hi-NRG tracks that are spacey and sleazy, gritty and sublime. Recorded from 1979-1981, these six tracks illuminate what was one of Patrick’s most creatively exciting periods. “If You Feel It” and “Love Me Hot” were both early Paul Parker demos; the former is a peak hour hi-NRG bomb, while the latter dips into Cowley’s zoned-out space disco sound. Jeanie Tracy’s soulful vocals feature on the demo version of “Low Down Dirty Rhythm”, which was later re-recorded by Sarah Dash. The slower, less-varnished rendition here hits with a wild psychedelic edge. Meanwhile, Patrick’s gifts for careful orchestration and infectious melodies shine on “Floating” and “Love and Passion”, which were likely demo tracks for Loverde. The songs on Malebox display the vitality and inventiveness of a brilliant composer taken from us too soon.

Malebox sleeve design was by Gwenaël Rattke, and features a hyper-color retro collage. Also included is an air mail envelope containing a letter from Patrick Cowley to French disco producer Pierre Jaubert as well as liner notes and hand-written lyrics. Malebox will be released on November 12th , which is the 40th anniversary of Patrick’s passing.

Carole King is the most successful female songwriter of the 20th century, having written or co-written 118 pop hits on the Billboard Hot 100 between 1955 and 1999. She has won four Grammy Awards and was inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame for her songwriting.

The album Pearls: Songs of Goffin and King by Carole King is a collection of brilliant pop music and widely recognized as her best work since Tapestry. The album features 10 songs originally written by Carole King with her ex-husband Gerry Goffin. The album contains new versions of "Locomotion", "Hey Girl", "Snow Queen", "Oh No Not My Baby", "Hi De Ho", "Wasn't Born to Follow", "Goin' Back" and more. “One Fine Day” was a Top 40 hit in charts around the globe.

With his sophomore full-length album, Born Hot, Chris Farren paired polished, up-beat pop songs with lyrics full of self-examination and insecurity, all while developing a newfound sense of humor when it came to promoting himself. Stereogum called it “a tongue-in-cheek exploration of ideas of confidence and self-loathing," while The Atlantic featured it on their “Best Albums of 2019” list.

On his third full-length album, Doom Singer, Farren injects his latest work with a newfound sense of power and cohesion. Collaborating for the first time with outside drummer Frankie Impastato (Macseal), Farren's songs take on a whole new dimensionality, with Impastato's live drums bringing a fresh spontaneity to the tracks. Doom Singer marks another significant milestone in Farren's career as it is the first time he collaborated with a producer, multi-instrumentalist Melina Duterte (Jay Som, Bachelor, Routine). Her masterful production experience adds a layer of sophistication to Farren's sound, creating a rich and multi- dimensional sonic landscape that takes his music to new heights. With Duterte's keen ear and meticulous attention to detail, the album resonates with a level of clarity and depth that showcases Farren's songwriting and vocal abilities in a whole new light.

Chris Farren’s music has been praised in outlets such as MTV, Stereogum, and The Atlantic, who describes his music as having “bright-eyed hooks, sparkly orchestration, and tight songwriting.” With numerous world tours alongside artists such as Jeff Rosenstock, The Gaslight Anthem, Laura Stevenson, and others, Farren has been building a dedicated following of fans who connect with his introspective lyrics and infectious pop sensibilities.

New album from West Virginia based singer-songwriter, William Matheny, set for release on Tyler Childers' Hickman Holler Records. While That Grand, Old Feeling is a document of Matheny’s own journey as a seeker, he hopes that the album can inspire anyone else out there searching for meaning in their own lives, whether they’re searching at a truck stop or in an album of old photographs.“I feel like I've just been trying to recapture that youthful excitement my entire life, trying to regain that clarity and that feeling of purpose,” he says. “And it comes and goes. I mostly seem to be looking for it at gas stations and rest areas and at gigs. But I think a lot of people are probably looking for it in a lot of places like that, too. Pilgrim to pilgrim, I hope you find it.”

Back when Eddie Bond recorded Talkin' Off The Wall for his first ever disc
in 1955, he was indeed caught up in a musical moment that was 'off the
wall' – in other words seen as highly unusual, strange, eccentric, bizarre
It was the time of the emergence of rockabilly and white rock and roll. Briefly, the
'rockin daddy from ding dong Tennessee' was hot stuff, playing shows with
Presley, Perkins, Cash and all the other singers from Memphis whose music
talked off the wall to a whole new generation. Today, it does so again.
• A rocking 14-track LP on Bear Family Records® from one of the original
Memphis rockabillies, Eddie Bond, backed up by a 25-track CD featuring original
and cover versions of some of Eddie's songs.
• Mostly from the mid-1950s, these tracks sparkle with the life and excitement of
the new rocking music.
• Eddie started and finished as a country singer, but he embraced the new
rockabilly music and he soon became the Rockin' Daddy described in his bestselling disc from 1956.
• Eddie's backing bands include two of the best guitarists of all time – Reggie
Young and Hank Garland – and they don't disappoint.
• The ten-inch LP contains one song from Eddie's first label, Ekko, six from his
rockabilly heyday on Mercury, two from his originally unissued sessions at Sun in
1958, and five tracks from local Memphis labels in the 1960s.
• The bonus CD contains also a further 11 tracks by other artists, providing
fascinating other versions of songs Eddie recorded. Artists include Sonny Fisher,
Lattie Moore, Ray Charles, and Elvis Presley.

Keep the driveway sticky with this hot on-demand delivery by Snad. Three dubby, techy and playful tracks, that sound great under the needle and any car stereo.

The tenth volume of Numero's elaborately packaged Cabinet of Curiosities series, L80s finds the group exploring the far-flung corners of the global downtempo underground. This 12-song mix tape weaves icy hot coldwave, Sausalito seafood jazz, Glaswegian goth, makeshift Madonna, Sade spoofs, and Brat Pack balearic into a high-waisted, party-ready pair of danceable denim.

These days, singer-songwriter and actor David Blue tends to be remembered only in relation to Bob Dylan. A member of the supporting cast in mid-60s Greenwich Village and The Rolling Thunder Revue. Yet to categorise Blue in this way is reductionist, and does him an injustice. He was something of an archetype of the 60s generation of Greenwich Village singer-songwriters. Yet, esteemed by his peers, he was overlooked. He released seven albums in a decade, and his acting career was shaping up when he died suddenly at the age of just 41. His passing was barely noted in the rock press, and in the subsequent years Blue was all but forgotten. Of late, though, that’s changed. His albums started to reappear on CD on small labels and, in 2020, both Rolling Stone and Mojo magazines published major reappraisals. Blue – at last – was getting the attention denied him in life.



It wasn’t until 1965 that Blue, as Dave Cohen, released his first recordings – three songs on Elektra’s Singer Songwriter Project. All betrayed a debt to pre-electric Dylan. But then again, so did much else coming out of Greenwich Village at the time. Elektra contracted Blue to do his own album, and in 1966 David Blue was released – his first recording to appear under that name. Electric folk rock with a garage band attitude, somewhat in debt to Highway 61, it didn’t sell well. Shortly after the album’s release Blue formed and toured with The American Patrol, a four-piece rock band, recording an album for Elektra that was never released.



Now, for the first time, Hanky Panky and Mapache release those historical abandoned American Patrol recordings, along with the three tracks included on Elektra’s 1965 LP Singer Songwriter Project, as David Blue And The American Patrol The Lost 1967 Elektra Recordings & More and David Blue, his self-titled 1966 debut album, on two exclusive vinyl editions limited to 500 copies

“The Merries” is the fourth studio album by Limerick Indie outfit Anna’s Anchor. Once a solo affair, this ever evolving musical project closer resembles a collaborative, ever changing community with frontman Marty Ryan as the driving force behind it. Since the project’s inception in 2014, Marty has amassed a loyal audience from playing over 350 shows all around the world in a DIY fashion. 2021’s “A Glorious Ruction” showed the creative potential of the band with a concept album that led the band to critical acclaim in Ireland in the U.K
Musically this is the most expansive offering from Anna ’s Anchor to date. Guitars, bass, drums and brash vocals do appear as would be expected from the band but The Merries also features more stripped back songs, synthesizers, found sound and spoken word. This album also features more individuals on it than pr evious releases with Brian Scally on drums, Clare O’Brien on backing vocals as well as lead vocals for the album’s closing song and even a guest appearance from Hermitage Green’s Dermot Sheedy on Bodhrán. All of this shows that Anna’s Anchor is operating with an artistic freedom that has culminated into “The Merries”.

Hot on the heels of his successful first Rubi Records release, Ashley Tindall, AKA Skeptical, comes with another three-track EP showcasing his evolving and expanding sound. The opener, 'Rhubarb', shows clear influences of fatherhood, with sampled sounds of happy childhood leading into what is possibly Skeptical's deepest track to date. While this is no piece of bland 'intelligent' D&B by any stretch, the build up intro of warm pads that leads into a chilled head-nodder stands a good chance of having you listening with eyes closed, smiling as fond memories wash over you. Next up is the deceptive 'Capsize'. Starting with the strings of an old sea shanty, the track sounds like it will follow the more chilled route of 'Rhubarb', before the introduction of some twisted minimal sonics and trademark 'steppy Skeppy' drums quickly change that notion! The swift addition of a fizzing, rubber-band b-line completes the switch up and you're sailing on far from calm waters. The return of the shanty violins amidst this is inspired, showing that breaking from the expected norm is not just something that this producer isn't shy of doing, but something he does exceptionally well. To round off, Skeptical steps back into more typical sonic territory with a slice of intense D&B minimalism titled 'Foiled'. This deceptively simple-sounding track hides a wealth of meticulously-crafted and perfectly-balanced elements that deliver a somewhat claustrophobic atmosphere that will appeal to lovers of the outer-edges of cutting-edge D&B. Skeptical's new EP promises to be just as successful as his first release, showcasing his unique and evolving sound.

Swami John Reis celebrates his 100th year in rock ’n’ roll with a brand new band and record! “Ride The Wild Night” is neither completely similar nor dissimilar to his previous bands (Hot Snakes, Night Marchers, The Sultans, Rocket From The Crypt, Drive Like Jehu, etc).

Yet the sound is immediately familiar and assuring (like an old friend you lost touch with that comes back into your life only to ask to borrow money).

The music is an amalgam of ’60s folk-punk, ’70s punk-punk and pre-Vietnam War rock ’n’ roll, filtered through the Reis’ unregistered, trademark sensibilities. “I wanted to celebrate some of my favorite rock n roll in its transitional periods. Flaming Groovies, Paul Revere and the Raiders, The Kinks, The Saints and others created some of the most exciting recordings while also connecting the musical past to its future. That really appeals to me”.

Although titled a “solo” record it is predominantly in name only. The record is built on stentorian bedrock of savage drumming by J. Sinclair K. of Hot Snakes and the pounding acoustic piano of Joe Guevara. Also adding their expertise to the mix is Chris Prescott (Pinback) Gar Wood (Hot Snakes), Glen Galloway (Truman’s Water), Jacob Turnbloom (Mrs. Magician) and Jordan Clark (PLOSIVS). With this backing, Swami John Reis finalizes it with his throaty basso and weaponizes the files with roaring electric guitars, rapid acoustic guitar strum and bass.

Hear his defiant, croak-howl in what might be his most autobiographical work yet. “All of these stories are real. They just might not be completely true.” Reis adds, ”The words come from what I overhear through my fence, what I see across the street, pictures I see in my head, experiences that I can’t forget or am grateful to remember.” If there is a loose theme throughout the record he offers, “Musically and lyrically there is a motivation to surrender to a restless and impulsive spirit that can only be satisfied by breaking things. Creating rubble for better or worse. “

Music critics and fans alike have long referred to Reis’s signature voice as “The Velvet Yawn” and never has that description been more apt. “Ride The Wild Night” was recorded by Reis at City Of Refuge (Night Marchers, Black Lips, The Spits) and mixed by Ben Moore (Hot Snakes, Diamanda Galas) at Singing Serpent.