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Returning with a signature live approach, John Swing drops
the latest Warm Sounds 12" with infectious evolution and a reflection of the future.

Fractal percussion locks 4 bass-minded grooves that blend techno and house with a hypnotic jazz industrialism recalling both
the modern and the ancient. Inter-modular paganism built
for primitive dance sessions.

Verve und seine Schwesterlabels Impulse, Mercury und Emarcy bieten Vinylfans mit der ACOUSTIC SOUNDS-Serie eine audiophile LP-Serie für gehobene Ansprüche. Hierfür arbeitet Verve mit dem bekannten amerikanischen Vinyl-Label Acoustic Sounds zusammen:

- Fertigung mit 100% ANALOGEN PRODUKTIONSSCHRITTEN
- Mastering vom ERSTE-GENERATION-MASTERBAND
- 180G-PRESSUNG bei Quality Record Pressings
- laminierte TIP-ON-GATEFOLD-SLEEVES & WATTIERTE INNENHÜLLEN

Released for the first time in CD and Digital format in 2017 this is the sixth album by Luca Trevisi LTJ Xperience.

It contains some of his most played songs such as Get Down, Let There Be Groove, Put Me Down and the one that gives the title to the album Beggar Groove here in its two versions.

The release is in a limited edition double album on White vinyl. Luca LTJ Trevisi (LTJ Xperience) trained as a producer DJ in the late 1980s. Resident first at the Kinki Club in Bologna and then at Cap Creus in Imola, he is one of the first Italian DJs to program house and above all to re-propose Black Music, Jazz and Latin Bossa, all the genres that then over time gave way to Acid Jazz and Nu Jazz.

He began his work as an artist and producer with Irma Records and in the 90s also his activity as an international DJ who saw him play at the Blue Note and the Jazz Café in London, at the Giant Steps in New York and at the Jazz Festival in Montreux.

In 1999 he released his first solo album under the name LTJ Xperience. To date he has released 7 albums all on Irma Records, several compilations, many singles and remixes also collaborating with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R., Music For Dreams, Apersonal Music.

Emotional Rescue looks back again with a 2022 repress, digging deep in to the early 80s Bristol post punk scene of Pig Pag, the Wild Bunch and the Dug Out club. A short lived project of just 3 releases, Mouth trail-blazed leftfield percussive jams in the rich vain of Liquid Liquid and ESG but in their own jazz-infused way.

Centered round the cultural melting post of the St Paul's district, it's pubs, clubs and blues parties threw together young and old to the sounds of dub, funk, jazz and soul and took the spark lit by punk rock and new wave and spawned music that still resonates today.

Consisting of a floating line up based around main members Andy Guy and Rob Merrill, alumina included a young Nellie Hooper before he would go on to be a founding member of the Wild Bunch and on to produce the likes of Bjork, U2 and Madonna.

Based around a hard tribal drumming, mixing guitar, trumpet, shouted vocals and effects, the thrown in the mix nature was inspired as much by avant-jazz than punk's do it yourself attitude.

Here then, on one EP are their complete recordings, including as the title cut, their best and deepest, Voyage To The Bottom Of The Sea. Featured on a compilation LP from the legendary Y Records, its bottom heavy dub sound is augmented by female and toasted vocals riding a top a heavy stepper style riddim.

This is followed by an increasingly dizzy array of percussion jams. Acab (Part 2) is all skips and trumpets, while the versions of Take Your Coat Off perfect skat vocal / tom interplay, before the finale busts out the rockabilly influences in full effect with jagged guitar, skipping hats meets double bass punk style.

Can You Sleep (04:30) Idler Chronicles A Personal Struggle With Insomnia That Inspired The Album's Title, It Combines Bossa Nova, 70s Analog Synths And The Polymorphous Vibrations Of London's New Burgeoning Jazz Scene.

Jamie Isaac Is A Young Producer And Songwriter, Born In Croydon To Burmese And British Parents. He Signed To Marathon Artists In 2014 And Has Been Harnessing His Sound Ever Since, Operating In The Space Between Jazz, Soul,

R&b, Electronics And Hip Hop. Across A Handful Of Singles And Eps, As Well As A Mixtape, His Debut Album And Its Follow-up, He Has Evolved Into A Formidable Artist With A Transatlantic Following.

Wings And Doing Better Have Both Been Heavily Featured On Spotify, Apple And Deezer Playlists.

Pachakuti is a musician and producer with family roots in Colombia. He plays keys, tenor saxophone and clarinet. While living and working in Berlin, he draws inspiration from the natural world, investigative travels, and ancestral traditions of Latin America and beyond. His expressive and rhythmical playing and his instantaneous compositions are directed at the human core, arousing subtle experiences. While not being conformed to one style, it always invokes a sense of liveliness and depth to be delved in. young.vishnu is a producer and DJ. He has studied philosophy and music in Hildesheim, Germany, which heavily influenced his views on meaning and mythology in music. In his DJ sets he selects and plays classic and contemporary Funk, Soul and Afrobeat. His practice as a DJ informs his work behind the boards directly, adding also more organic grooves and broader spectrum of musical styles to his in Hip-Hop based production. If you had to put one single tag on their forthcoming album Dédalo, the best choice would be Jazz. That being said, Pachakuti and young.vishnu's sound worlds might be better described in their own words: "We just make music and try to incorporate what we love about it". They are musical freethinkers with shared interests in eastern philosophy and botany who interweave Hip-Hop, Latin and Funk with musical storytelling and world mythology. Undoubtedly, their most ambitious work to date, Dédalo (Spanish synonym for labyrinth), recorded and produced over the course of a year, shows Pachakuti & young.vishnu's ambitions and growth. Where their debut work Semilla (2020) centered around the image of the seed, Dédalo takes on the entire garden. Besides playing multiple instruments by themselves, Pachakuti & young.vishnu invited a growing group of befriended musicians into the studio, including percussionist maestro Eric Owusu (Pat Thomas, Ebo Taylor, Jembaa Groove) and drummer Leon Raum (Bokoya, Wyl), as well as Brazilian newcomer vocalist Laíz, and members of their former band project Soularkestra. The 16 recorded songs, ranging from 1:19 to 14:58 minutes, take you on an emotionally honest, metaphoric journey through the maze of human existence, of modern society and mythic poetry. The mostly instrumental tracks build on expressive melodies, layered rhythms, and a wide range of musical instruments, merging the sounds of Jazz with the classical word of orchestras and choirs, and urban soundscapes with traditional instruments such as the Andean Kena and Charango, the Colombian Gaita and Marimba de Chonta, and an Indian harmonium. The Album thus weaves together past and future, and diverse cultural threads, sounds and ideas in an act of cultural appreciation and global conscience. Mixed and mastered by Roe Beardie at The Brewery Studios, Berlin. The album artwork itself merges the visionary art of Mexican painter Sergio Chávez Hollar with an original artwork-inlay of Brazilian artist Laíz and the work of Carsten Pölking of the Nima Compositions Archive.

Dédalo will be available digitally and on double-vinyl with inside-out print cover and colored inlay with credits and painting by Laís De Mello Barbero.

Matthieu Faubourg is a kid from the 90s. That's also where most of his musical influences come from: New Jersey House, 90s Vocal House, Analogue Synths, Basement style productions.
After his first EP on „smile for a while“ he returns on clubby sublabel „All that jelly“, mixing up the best three decades of House Music have to offer. Bouncing basslines, jazzy impros, dreamy synth stabs and bouncing beatzzzz....

Nat ‘King’ Cole was born in Alabama in 1917. He began his musical
career in the 1940s with his own Jazz trio, but his skills as an innovative Jazz Pianist soon became overshadowed by his skills as a ballad singer. Cole’s phrasing, his uncanny ability at interpreting a song and his sheer style made the whole business seem natural and effortless. Smoother than Sinatra, cooler than Crosby, when it came to crooners, Nat Cole truly was the King. His mellow approach influenced not only other ballad singers, but a whole generation of 1960s soul singers. This 16-track ‘greatest hits’ collection is a superb selection.

These sides from 1970s band Smith & Gordera are prototypical for the "Sounds Like Santana" genre coined at the Friends of Sound record store in Austin, TX years ago. Heavy Latin Rock fusion on these tracks with just a pinch of Jazz thrown in for good measure.

"Evil Deeds" starts right into it the moment the needle hits the groove on your turntable - heavy organ, percussion, shakers, and guitar all greet your ears. Moving into the track you get the typical shredding guitar solo, organ solo, and a sax solo, for good measure.

"Time and Space" starts with a nod to the classic Dave Brubeck "Take Five" and continues on an adventure into a more psychedelic groove and more of a Rock vibe. Time changes and tempo shifts and big solos round out the side.

Part of IF Music founder Jean-Claude’s ever expanding ‘YOU NEED THIS!’ series of compilation albums, the London record shop impresario and DJ takes us on another scintillating musical journey, this time exploring the catalogue of German jazz imprint, Enja Records. Like Jean-Claude’s ‘Journey Into Deep Jazz’ series on BBE Music and his 2017 exploration of Black Saint & Soul Note Records before it, ‘IF MUSIC PRESENTS YOU NEED THIS!: AN INTRODUCTION TO ENJA RECORDS’ provides another impeccably curated and programmed selection of music, assembled by simply one of the most knowledgeable and passionate vinyl specialists in the business. Featuring performances by John Stubblefield, Bobby Hutcherson, Harold Land, Don Cherry, Cecil McBee and Pharoah Sanders collaborator Marvin Hannibal Peterson to name but a few, this collection provides a great jumping-off point for Enja’s rich and diverse back catalogue. Founded in 1971 by Munich natives and jazz obsessives Matthias Winckelmann and Horst Weber, in its heyday Enja released albums by Eric Dolphy, Charles Mingus, Tommy Flanagan and John Scofield, as well as Kenny Barron, Chet Baker, Abbey Lincoln, Bea Benjamin, Freddie Hubbard, to name but a few. Having firmly established itself as “a bastion of all things deep in jazz” as Jean-Claude neatly sums up, Enja also went on to issue early World Music projects from Abdullah Ibrahim, Rabih Abou-Khalil, Mahmoud Turkmani and many others, and it remains active to this day. “There is no doubt that to the uninitiated, a compilation introducing such an esteemed archive is well overdue” says Jean-Claude. “As with previous albums curated by us, this is just a soupçon of this label’s vast back catalogue, which we hope will lead the listener to discover new music and to search out more from this criminally underrated, class act.”

Tracklisting

Limited edition box set, which includes the complete original LP - 180g vinyl - gatefold sleeve, an 80-page book 'The Making of Chet Baker Sings' by Brian Morton and the complete CD with bonus tracks

The unforgettable 'Chet Baker Sings' put Baker on the map not just as a brilliant trumpeter, but also a talented vocalist. The album was a revelation at the time and won Baker new fame and a new audience, which was less familiar with jazz than with pop music. The reasons are quite clear; Chet's voice is tender and beautiful, and at the same time his phrasing always swings and surprises.

The initial 1954 release was a 10" LP (Pacific Jazz LP11) which contained just eight tracks, reappearing in 1956 as a 12" LP (World Pacific PJ-1222) with additional tracks from the same session.
This wonderful definitive edition puts together: the original 12" LP 'Chet Baker Sings' in a 180-gram virgin vinyl gatefold edition illustrated with William Claxton photos from the sessions; the complete CD containing the same album plus six bonus tracks; an 80- page fully illustrated hardcover book on which writer Brian Morton explores the genesis of the iconic album. The book also includes a
specially written essay by bassist Riccardo Del Fra, speaking about his experiences playing with Chet, as well as dozens of classic, rare and never before published photos by such important jazz photographers as William Claxton, among many others.

Ltd to 100 copies

Presented in a double vinyl gatefold edition with two beautiful paintings by Tenerife painter Sema Castro.

For fans of Sun Ra, Alice Coltrane and every single mystic brother and sister carrying the free spiritual jazz torch! Dive DEEP!

Spectacular mystical jazz infused psychedelics from Canary Islands’ cult band GAF.

Using a series of different add-ons to their (already obscure) band acronym GAF (Grifa Ambient Factory) such as Love Supreme Arkestra or GAF & La Estrela de la Muerte amongst a few, the Tenerife based band illustrate clearly what mutation or influence they’re feeding through (their mind) by the judicious use of these referential add-ons. Rotating around the vision of local lynchpin, Mladen Kurajica aka Bonni, Keroxen label head, festival organizer, producer and musician with numerous projects including helming the GAF outfit. The Love Supreme Arkestra variation here being the more Coltrane leaning (Alice rather than John) and Sun Ra- esque influenced thematic of the 6 piece band. Over a series of 7 huge sounding themes, we can hear twirling saxophones, trumpets, marimbas, modulars and rhythmic sections intertwining like flying spiral snakes over a burning sea of lava.

Recorded live and freely over a completely improvised jam session on a sunny afternoon in the mountainous region of La Esperanza in Tenerife, the band lets rip free of any previous albums particular sound choosing instead to purge into a world of musical liberation by embracing the aforementioned pioneers of the genre whilst unconsciously absorbing in their surroundings - as an additional inspiration for musical freedom.

The result really shines through its 74 mins of mind blowing adventurous music. A journey to the peaks of the Teide Volcano and down the green valleys, into the blue and black volcanic coasts of liberation!

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

Part of this series is Pharoah Sanders’ Moon Child from 1990, which bookended a decade of musical soul searching for Sanders. The acclaimed free jazz player is known to have a raw and abrasive sound, but reinvented himself on this album as a more traditional improviser capable of thoughtful deliberations. Moon Child is a grand old time throughout, and Sanders has never been more eminently sing-along-able as he is on its title track. The record was co-written with Horace Silver, George Gershwin and Abdullah Ibrahim and recorded with William Henderson, Stafford James, Eddie Moore and Cheikh Tidiane Fal

LP + 10"Bestiaal's jazz can be quite potent. Originality and willfulness have always been core values for jazz musicians, but here they are natural components of a strikingly stubborn character.

This release marks the first vinyl reissue of the jazz classic by master conguero Mongo Santamaría. First released in 1976, Sofrito combines jazz with Afro-Cuban grooves, funk and soul. From the simmering blues of “Spring Song” to the devastating bass line of “O Mi Shangó” to the rousing groove of the title track, this set exemplifies the heady ambition of ’70s Afro-fusion at its most soulful. This edition features lacquers cut by Kevin Gray at Cohearent Audio and is pressed on 180-gram vinyl.

French finest synth-pop band Bon Voyage Organisation release his second opus after a feature on Cocktail d'Amore 10 Years compilation.

"La Course" is a cinematic, synthesized and library-esque journey that could be a mixed-up between Italian early 80's productions and french 00's disco.

"This record marks the beginning of a new attitude towards recording," says Bon Voyage Organisation's Adrien Durand. "Switching from a busy studio that I shared to having my own very quiet cabin in the North West of Paris has inspired me to adopt a more meditative approach."

Whilst it's fair to say Durand has been constantly on the move for some time - be it touring or producing records for the likes of Amadou & Mariam, Papooz and Bagarre - there's a sense of new momentum, as well as stillness, that hangs over this record. One that's fully instrumental and as he describes being more free.

The band's trademark glistening production, disco flair, shimmering electronics and incandescent melodies still remain but a more intuitive and striped back approach was favoured this time around. Some of this attitude stemming from an evening opening for Kamasi Washington. "Because of the constraints of being an opening act we played as an instrumental quintet instead of our usual 9-piece band," says Durand. "We rehearsed the day before, our set opened with John Coltrane's 'Naïma' followed by a hard-bop ish version of Kraftwerk's 'Trans Europe Express'. It felt so good to perform that repertoire in that configuration that I had the vision of bringing this aspect of the band in the studio."

There was also a removed sense of pressure with this record - no major label expectation of a radio friendly record, combined with a deconstructed approach to songwriting. "Since 2014 I've been working mostly on projects involving a lot of conventional songwriting," Durand says. "I was keen on producing a record based on performance and atmospheres more than repertoire." He also sought inspiration from a perhaps unlikely source: The Arctic Monkeys. "I was really encouraged by them going out of their comfort zone on their last album - it really caught my attention in a Bowie / Berlin period way."

The result of the album is one that oozes the natural momentum of experimentation, texture, mood and intuition while managing to retain a sonic coherence. In a none-obvious and zeitgeist clichéd way, there is perhaps a more jazz-leaning approach to the record that weaves between soft subtle moments to the more atonal and experimental, all underpinned by sweeping, engulfing soundscapes and the usual touch of non-Western musical flourishes. This vibe came from a distinct lack of editing, says Durand. "In the studio we had everyone sitting in the same room - sometimes up to 6 players - and I never edited the playing. I just went on to record some additional synth and percussion, insert the soundscapes, and mix the record."

This less is more approach, avoiding indulgence and superfluousness, is something Durand can't help but feel is an artistic response to the pace of modern life. "There is a frenetic approach to everything," he says. "People want to binge on everything, expect ultra fast changes on any political cause etc. The response is a big comeback of things like the practice of meditation, yoga and ambient music." There are times when this record falls into the territory of meditative ambience, as on the immersive plunge one takes swimming through the beautiful 'Un Am Ricain En Danger'. It's an album to bathe in and to be carried along by, it's gripping by being so rather than fighting for your attention

Ultimately the record is one that feels it's been allowed room to breath, a sonic sphere in which musicians have been allowed to roam as freely and thoughtfully as the listener. "This record is about welcoming the music and being able to let each musician express themselves during the recording process," says Durand. "This is a valuable trade that takes time."

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.

Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff

Anybody who has witnessed a live performance of Anna von Hausswolff and band can attest to the extraordinary and commanding nature of the experience. The distinctive music, as captured across five full-length albums, comes to life, shifting from hypnotic and mantra-like moods to thunderous drama, dissonance and cacophony. The musicians master playful dynamics and wield immense power.



Across six pieces, Anna von Hausswolff performs sensational renditions of fan-favourites from the two beloved albums; The Miraculous and Dead Magic, with the backing of a full band including additional vocals from her sister / cinematographer Maria von Hausswolff

Side D is blank!

Der Gender US-Komponist und Performer Holland Andrews arrangiert Musik für Stimme, Klarinette und Elektronik, die häufig Themen rund um Verletzlichkeit und Heilung behandelt.

Als Sänger stammen Andrews' Einflüsse aus einem weiten und dynamischen Spektrum, das zeitgenössische Oper, Theater und Jazz umfasst, während sie dabei ihren ganz eigenen, einzigartigen Stil kultiviert.
Andrews' »Wordless«-EP wurde erstmals im Februar 2021 veröffentlicht und später im selben Jahr von Nils Frahms Label Leiter neu aufgelegt. Die Vier-Track-EP bietet eine tiefgründige Katharsis durch eine Reihe von Elektronik-, Gesangs- und Klarinetten-getriebenen Kompositionen. »Forgettings« ist die zweite in einer Serie von vier digitalen EPs, die von Leiter in Auftrag gegeben wurden.

Es ist ein instinktiver Nachfolger von »Wordless«, der viele der Charakteristika seines Vorgängers teilt und dabei bewundernswert schwer zu definieren ist. »Forgettings« schöpft sowohl aus elektronischen als auch aus organischen Quellen - wie Andrews bemerkenswert anpassungsfähiger Stimme und der Ausbildung an der Klarinette - und beginnt mit dem glückseligen, ekstatischen »Transform Forever«, das Schichten von Harmonien um kristalline Synthesizer-Muster legt. Zusätzlich zur digitalen Veröffentlichung von Holland Andrews' »Forgettings«-EP bietet Leiter eine spezielle Vinyl-Edition an, die alle Tracks von »Forgettings« und der zuvor veröffentlichten »Wordless«-EP enthält.

After the Bend is the second album from Louisville based Flanger Magazine, and the follow up to FM’s 2018 debut, Breslin. Whereas Breslin was the solo creation of Christopher Bush, an album noted for “an astute synthesis of ‘library music’ and solo acoustic guitar,” and “a seamless blend into the uncluttered and airier side of classic 1970’s giallo,” After the Bend is an ensemble affair. An ecosystem, a perfect mutualism bodies forth—of strings, outdoor recordings, electronics, reeds, and percussion—featuring new FM players Anna Krippenstapel (Frekons (Freakwater + Mekons), The Other Years), Jim Marlowe (Equipment Pointed Ankh, Tropical Trash, Sapat), Eric Lanham and Benjamin Zoeller (both from Caboladies). The various combos perform with both a distinguished efficacy and unhurried Sunday drift—charged and beautiful, pulsating and pleasing. The production is subtle and tasteful. Mutating past the old saws of bounded individualism, a strange form of tentacular life accrues, cyborgian-fungral-tangles of the more-than-human variety.

Robert Beatty’s cover art of otherworldly and interconnected river-scape gradients, coupled with song titles like “Reservoir,” “Falls Fountain Removed,” and “Sympathies for the River,” cue and clue the listener toward a river as a singular multitude analogue for the album. Interstitial gaps, clearings and openings give rise and merge into an accumulated flow from the tributaries of spirited improvisational performance, palimpsestic song cycles, and high fidelity studio production. The composite sound-image of After the Bend refuses to put both oars down into any one of the eddies of the folk, sound, chamber, electronic, or jazz idioms, and instead glides along the currents found within the slipstreams between.

Gathering samples, a River Doctor Limnologist inspecting the properties of After the Bend might note the specter of Leroy Jenkin’s free-violin heat-light deepin the water’s thermal stratification. Or mortgage the late-Maestro’s time with Gruppo di Improvvisazione Nuova Consonanza to pay down the growing river heat budget. Or take one’s dirty buckets to the banks of the 19th laundromat where Walt Dickerson plays his vibraphone parts from Divine Gemini with dowsing rods. Or excavate the bedrock in the drainage basin, noting skeletal remains of a Shostakovich string quartet attempting to tune up a Kentucky Fiddle’s subsequent influence on the chemical composition of the water. Or consult the historical revisionist reenactment troupe’s episode of Fishing with John (Fahey) in which Codona, The Sea Ensemble and Nuno Canavarro guest host as their fleet of paddle boats churn river water into a regal lager, and all the fish get drunk in their quest for the leaner enamel Hosianna Mantra GPS coordinates of the Fattened Herb.

Bush and Marlowe recorded and produced the album at End of an Ear Studios, located in the Portland neighborhood, in the west end of the city of Louisville, bordering the Ohio River, between Kentucky’s Upper South and the Indiana’s Midwest, during the first year of the global pandemic, amidst the planet’s sixth great extinction event. As good a time to be alive as any other. (by Kris Abplanalp)

Long overdue pressing of cult band’s most sought after release. Engineered and remastered by Jack Shirly (Deafheaven, Bosse-de-Nage, Oathbreaker). For fans of Have a Nice Life, Xasthur, and Planning For Burial. Entirely remastered and includes a never before heard bonus track!! Mamaleek’s Kurdaitcha is finally back in print! The San Francisco-based duo released their third album of weirdo black metal, Kurdaitcha, on the legendary cult label Enemies List Home Recordings (Have a Nice Life, Giles Corey), and it quickly sold out. For years the LP has been a hard to find collector’s item. Kurdaitcha finds the project in its initial period of creating music influenced by black metal, hip hop, jazz, and spirituals. Founded in 2008 in the Bay Area by two anonymous brothers, Mamaleek has explored a vast sonic territory on the edge of a genre renown for its aversion to change. Their expert utilization of left-field samples and unconventional instrumentation, and their insistent drive to experiment continues to set the band apart from their peers. This pressing of Kurdaitcha has been remastered and features a previously unreleased bonus track with a gold foil stamped jacket. “Mamaleek are the great destroyers.” — Invisible Oranges // “An incredibly rich and rewarding experience.” —Heavy Blog Is Heavy // “Is it good, though? It’s fucking mental. It’s amazing. It’s absolutely horrible. It’s barely listenable at times and yet you can’t turn it off. The music is perfect. Like broken glass is perfect.” —Echoes And Dust // “The group cloaks its music in the kind of warm, hypnotic distortion that defines shoegaze, and underneath that haze is a style that’s conceptually abrasive yet altogether beautiful.” — FORBES

The story of 'Get Tragic' can be traced way back to the relentless gigging off the back of their 2014 self-produced and self-titled record, when the heels finally fell off of Blood Red Shoes at the end of that same year. A near-decade of incessant road time and a non-stop pace of life finally took its toll, with the band stopping only to quickly hammer out 'another ten songs' to release as their next record, before ploughing straight back into touring. The pair exhausted themselves to the point of collapse. 'We didn't, at any point, have a breather,' says Steven Ansel (drums and vocals), 'We probably didn't see each other for about 10 days a year, tops, for six or seven years.' Understandably, such incessant close proximity led to implosion. 'We got the to the end of the fourth record and were like, 'F**k you, I never want to see you again','Steven adds, half-laughing, half-sighing.

140 gram black vinyl reissue of the Grammy-nominated Alligator debut by The Master of the Telecaster, Albert Collins

An essential part of any blues collection, the album features all-time fan favorites like Master Charge, Honey Hush and Conversation With Collins. All tracks remastered. Originally released in 1978.

Albert Collins is revered as a true blues legend, and his greatest success came after he signed with Alligator and cut 'Ice Pickin'.' It won the Best Blues Album of the Year Award from the Montreux Jazz Festival, in addition to being nominated for a Grammy, and has been inducted into the Blues Hall Of Fame.

Verena Zeiner und Wolfgang Schlögl lassen auf ihrem Album 'Magic Wall' das akustische Instrument in einen Dialog mit elektronischer Ästhetik treten.
'Magic Wall' ist das gemeinsame Album von Wolfgang Schlögl alias I-Wolf und der Pianistin und Komponistin Verena Zeiner. Zwischen instrumentaler Virtuosität und technologischem Ansatz entwickelt das Duo Zeiner I-Wolf eine zeitlose Musik, die Jazzreferenzen mit zeitgenössischen Klangstrukturen verbindet. Die Musikstücke des Albums fügen sich wie Szenen eines Films aneinander und erzeugen eine schwebend surreale Spannung.

Thanks to this mini-LP format, Interface Palm gets to showcase more of his talent. He explores a wide range of influences and offers an overview of his wide musical palette, from broken beat, to cosmic jazz, hip-hop and house music. A true milestone for Interface Palm, this “Curated Space” mini-LP is the perfect example of artists willing to set new standards by blurring the lines of musical styles.

Welcome to the Broken District !

LNDFK (aka Linda Feki) presents her ground-breaking debut album, "Kuni" on Brooklyn-based Bastard Jazz Recordings. Undeniably on the rise after her 2019 breakout performance at Primavera Sound, LNDFK has already caught the attention of Pitchfork, Rolling Stone, Clash Magazine, Noisey, and Brooklyn Vegan (among many others) while being championed by the likes of Gilles Peterson, Tom Ravenscroft, and Jamz Supernova & landing spots on tastemaker playlists like Spotify's "Pollen" and "Fresh Finds."

"Kuni" is a spellbinding exploration of dichotomies: Love & Death (Eros & Thanatos), Flower & Fire, Delicacy & Violence, Poetry & Realism, Purification & Destruction. These opposites are reified in the 10-track LPs multifarious and multifaceted sounds, elegantly meandering through a variety of styles and genres, spearheaded by Linda and features the production wizardry of Darrio Bassolino who co-wrote the album.

"Kuni" opens with "Hana-bi," an ambient instrumental piece that sets the tone for the album. Inspired by the Takeshi Kitano 1997 film of the same name – particularly Joe Hisaishi's stunning soundtrack, as well as Kitano's paintings which appear in the film. "Hana-bi" expresses the dialoguing opposites of flowers and fire, the first of many dichotomous representations throughout the album. "Takeshi" acts as an extension and to "Hana-bi," albeit one of opposing sound, with its driving, highly syncopated drums (which reappear throughout "Kuni") – à la Karriem Riggins, Questlove, or Yussef Dayes – frenetic bass line, and jazz chords. Linda's sultry voice is interspersed, initially jumping around in scat fashion, being triggered as if a sample, before her lyrics come in; her vocals are used like an additional instrument, adding to the song's rich texture. "Kuni" truly hits its stride with the next song, "Smoke – a moon or a button" (its title lifted from the 1959 book by Ruth Krauss and Remy Charlip), which is structured like a jazz standard yet flows into neo-soul territory sonically with those prodigious drums a highlight once again.

LNDFK touches on experimental hip hop in two songs on the record (both of which were released as singles in 2021): "Don't Know I'm Dead or Not (feat. Chester Watson)" – track #4 – and "How Do We Know We're Alive (feat. Pink Siifu)" – track #9. Although they embrace a more hip hop-leaning sound, these songs by no means shy away from the exploratory theme, and feature two of the alt-rap scenes rising stars with Chester Watson and Pink Siifu who offer provocatively impressing verses, combining dense word play with unconventional flows. While these tracks may first appear to be outliers on the album, they are undeniably in tune with "Kuni's" message and sonic palette, acting as testaments to LNDFK's willingness to explore and experiment.

Meanwhile, "Ku" – the third and last single before the album release – furthers the pre-established future soul sound while meandering through nu jazz and left-field electronic. Inspired by the graphic novel and film, "Sin City," and its female assassin protagonist Miho, "Ku" is a musical interpretation of Miho's story, incorporating both her beauty – the first half of the song – and murderous tendencies – the second half – to create a stunning juxtaposition, culminating in an ambient finale that suggests the character's vulnerability and inner peace. The song gracefully bridges the gap between Hiatus Kaiyote-esque songwriting, Dilla's rhythmic syncopation, and Thundercat's instrumental prowess (LNDFK has shared a stage Brainfeeder labelmate Kamasi Washington).

Mixed in throughout "Kuni" are a series of instrumental pieces that function as something akin to an interlude. The aforementioned intro, "Hana-bi," and the album closer "se mi stacco da te, mi strappo tutto:" act as bookends, while "Om" indicates the half-way mark, and "Ktm" sees Jason Lindner add his sound the album. These tracks are the ambient foundation of "Kuni," representing the thematic duality of the work. Clocking in at only 24 minutes, "Kuni" packs an astonishingly diverse array of sounds, styles, and themes, all while showcasing virtuosic musicianship and instrumental prowess.

Appearing on "Hana-bi" and "Ktm," renowned international artists Asa-Chang and Jason Lindner add an additional perspective to "Kuni": Asa-Chang on "Hana-bi," and Jason Lindner on "Ktm." Asa-Chang - famously of the Japanese avant-garde group Asa-Chang & Junray - provides vocals and percussion to an alternate version of the instrumental opener, while the acclaimed keyboardist Jason Lindner offers his synth expertise on "Ktm." These features highlight the spirit of collaboration found in LNDFK's music, always willing to try out new ways of working.

LNDFK is a singer and songwriter, born of two cultures – an Italian mother and Arab father. She grew up in Naples, away from her father, the Sahara, her homeland and traditions, which has helped nourish the desire to rediscover – through art – an engagement to her roots. Her music melts with jazz, neo-soul and hip-hop influences, filtered through her experiences and sensibility.

Her first EP, "Lust Blue," was composed with the artistic production of Dario Bass and released by Feelin' Music; after that she released several singles that saw international radio support (BBC, NTS, Wordwide FM) and gained a massive audience on digital platforms. Together with her band, she toured around Europe, performing alongside such notable artists as Kamasi Washington and Mndsgn, among others. Most recently she toured Italy, and performed at Primavera Sound Festival 2019 in Barcelona.

"Kuni," is due out on NYC label Bastard Jazz Recordings in February, 2022, while the vinyl LP will follow shortly after.

Taken from, Hard Up, the acclaimed 10th studio album from the Melbourne Soul / Funk trailblazers, "Nothing I Wanna Know About" is a crisp funk number with Kylie Auldist delivering her reliably storming vocals plus an absolutely killer percussion breakdown.

Motown styled soul swinger "Bad Line" makes its first viyl appearance on the flip after being released on the expanded Deluxe digital edition of Hard Up in late 2021.

This black vinyl 7" is packaged in a specially designed printed Bamboos logo sleeve.

Both tracks have been supported by Craig Charles on BBC.

The album received great media support across Europe and the UK with glowing reviews in print such as Rockerilla (4 page feature), Rumore, Blow Up (ITA) Stadtkinder, Na Dann (GER), Soul Bag (FRA), Jazzism (4 page feature) (HOL). Radio support from FIP, France Inter, C-Lab Radio, Radio Galere, RDWA, Radio Krimi, Canal B, Radio Capital(FRA),

Radio Popolare, Radio Citta Fujiko, Contatto Radio, Radio Regione 100, Radio Start, Radio Per Passione, Radio Base, RKO (ITA), Radio 3, Saltamontes,Sateli 3 & Sonideros, EITB, Enlace Funk, Onda Local Andalucia, Radio Catalunya (SPA), Deutschlandfunk Kultur, Ego FM, Byte FM, UKW, Radio X (GER)

Cologne-based, multi-instrumentalist and creative jazz powerhouse
Gianni Brezzo presents his full-length LP “Tutto Passa,” arriving via
Berlin’s Jakarta Records May 5th.
Gianni Brezzo is the jazz affiliated band / studio project headed by
Cologne-based producer & creative maestro Marvin Horsch, whose diverse musical profile is reflected both in his scene-hopping as well as his creative output. Besides producing cologne bands like Keshavara, Woman and Xul Zolar, Gianni has released a number of EP and LP’s since 2017, culminating most recently with “The Awakening” EP in 2021 on Jakarta Records. While Gianni’s works are usually instrumental only, “The Awakening” featured vocal appearances from Berlin/Tel Aviv based singer / producer J.Lamotta and soul singer Otis Junior from Louisville, Kentucky. Gianni’s tracks have consistently placed on Editorial Lists including Spotify’s “State Of Jazz” and “Café / Croissant”, and most recently was synced in an episode of Gossip Girl for HBO US.

Gianni’s new LP, “Tutto Passa” is a meditation around Marvin’s relationship to Italian culture, accompanied by research into Italian composers of the 60’s / 70’s such as Piero Umiliani, Stelvio Cipriani, Piero Piccioni and Armando Trovajoli to more recent work by Sven Wunder. Sonically rich, the album rides a sonic wave similar to some Matthew Halsall, Surprise Chef, El Michels Affair and BadBadNotGood all rolled into one beautifully luscious work. Jakarta is ecstatic to share such a career-defining work, arriving May 6th, 2022.

The albums 1st single, “Il Sole” will be released Wednesday, March 2nd with the LP pre-order announcement that Friday, March 4th to capitalize on Bandcamp Friday. The track is a perfect sonic voyage that encapsulates the growth of Gianni’s sound and gives a sonic peak into the LP. Subtle, yet lush layers of synths, horns, keys and strong, beat-driven percussion all ebb and flow together, bringing to mind the finest Library Themes of Umiliani, Sven Wunder, Janko Nilovic and others. Visualizer accompaniments for all singles provided by Robert Winter and his DIE OTTOS crew that perfectly captures the sonic mood.

The LP’s 2nd single, “Capture This,” will be released March 30th and is a splash of pure, groovy, jazz-funk. Instantly catchy, the track will have you imagining yourself in a movie that perfectly captures the musical themes: playful flutes, crisp, fluid guitar riffs, heart-pulling strings, all held together by a strong, swingin’ drum groove.

The third single is the stunning, swirling, thematic track “Rising Of My
Mind.” Careful layers of harmonized brass, flutes, percussion ebb & flow, bubbling up to the acoustic surface like sonic ripples effortlessly bursting from Gianni’s auditory palette. Only reaching the tracks full crescendo more than 2 minutes in, “Rising Of My Mind” is on that finest jazz tip, raising Gianni’s musical caliber into the skies.

Focus track is the effortlessly smooth, soulful jazz-funk piece, “Torino.” Certified fresh, the progression gives you that euphoric, elated feeling, like you’re finally arrived at that special place you never knew existed, but were always meant to find.

“Tutto Passa” is a project with a variety of moods ranging from Arthur
Verocai and David Axelrod inspired arrangements to lush, thematic jazz progressions with a swingin’ percussive edge. It’s a timeless release, one that would sit just as well in 1972 as it does in 2022, and one that, as Gianni says:
“…reflects exactly the feeling I had last year when I was in Italy with my own family. As a musician, I was looking for the challenge of a more orchestral approach on this album, which I hoped to achieve with my arsenal from the Cologne jazz scene and the support of musicians from around the world.”
Besides online promotion from the label and artist profiles, the album will further be promoted by external agencies within the US, UK & Italy

Ferocious JP / US free jazz bomb. A rare meeting between the NYC free jazz scene and the Japanese free music scene. Old-style Gatefold LP, with rare photographs & liner notes by Alan Cummings.

Following hot on the heels of the first, mid-sixties generation of Japanese free jazz players like Kaoru Abe, Masayuki Takayanagi, Yōsuke Yamashita, Motoharu Yoshizawa, etc., an exciting second wave of younger players began to emerge in the seventies. Two of its leading members were the saxophonist Kazutoki Umezu and multi-instrumentalist Yoriyuki Harada. Both were post-war babies and immigrants to the city, Umezu from Sendai in the north and Harada from Shimane in the west. They first met as students in the clarinet department at the Kunitachi College of Music, a well-known conservatory in western Tokyo. Harada was already securing sideman gigs on bass with professional jazz groups and was active in student politics, making good use of his connections to set up jazz concerts on campus. It was around this time that the two began to play together in an improvised duo, with Umezu on clarinet and bass clarinet and Harada on piano. They also experimented with graphic scores and prepared piano.

These experiments eventually led to the creation of a trio, with a high-school student called Tetsuya Morimura on drums, that they decided to name Seikatsu Kōjyō Iinkai (Lifestyle Improvement Committee) in joking reference to the Marxist discourse of the student radicals of the time. Around 1973, Umezu and Harada decided to call it a day and go their separate ways. Umezu began playing with the Toshinori Kondo Unit and Harada with the Tadashi Yoshida Quintet. In 1974 Harada formed his own trio and began to play at jazz coffeehouses across Japan.

Then, in September 1974 Umezu travelled alone to New York, where he set about building connections with the loft jazz scene in the city. It was a fortuitous moment to arrive in New York. Rents were cheap in the Lower East Side, possibilities for squatting existed, so many musicians and artists had moved to the area. Umezu soon became known on the scene as Kappo and he started to make connections with some of the young musicians like David Murray, Arthur Blythe, and Oliver Lake. He recalls making the rounds of the lofts every evening, checking out the performances, and getting the chance to sit in with many groups including Juma Sultan’s Aboriginal Music Society and trumpeter Ted Daniel’s orchestra.

Things were going so well that Umezu wrote to Harada and invited him to come to New York. He accepted and arrived in the city in July 1975. Harada and Umezu took the opportunity to resume their artistic collaboration. Their first concert together in over two years took place on July 20th at another loft, Sunrise Studios at 122 2nd Avenue. Umezu remembers Sunrise as an unusually sunny loft with the rarest of things, a grand piano. He invited along Ahmed Abdullah, a trumpeter he had got to know while playing with Ted Daniel. Abdullah led his own group and was a long-term Sun Ra sideman. William Parker, one of the key figures in the loft jazz scene of the period, was on bass. Abdullah also brought along Rashid Sinan on drums. Sinan drummed in Abdullah’s units throughout the seventies, but he had also played on Frank Lowe’s immortal Black Beings album and collaborated with Arthur Doyle, playing on Doyle’s Alabama Feeling album. By all accounts the evening was a huge success, with speed and dynamism of Harada’s piano playing gaining him lots of support.

Since they had managed to save some money from their day jobs, Umezu and Harada decided to set up a recording session with the same line-up on August 11 at Studio We, where there was a well-equipped studio on the third floor. Umezu recalls the session as follows, Of course, we recorded our performances in one take, with zero retakes as far as I remember. On all the tracks we recorded, we moved as one unit, sharp and fast. That was the nature of Lifestyle Improvement Committee, New York Branch.

Umezu and Harada would later become known for the elements of parody and entertainment that they brought to their music, a freewheeling blend of pastiche, humour and on-stage performativity that paralleled the approaches of the Art Ensemble, Sun Ra, and Holland’s ICP. But here, on their first recordings, the humour element is not yet present. Instead, there is a febrile sense of joy in creation and connection. On the Umezu-penned “Kim”, for example, Harada opens the piece with a speedy exploration of the full-range of the keyboard, hitting hard on the bass keys to create a rhythmic bed out of which patterns begin to emerge. Umezu enters at a much slower pace, longer held notes that at first float weightlessly over the urgency of the piano before they begin in splinter and accelerate. When Parker and Sinan kick in, it’s a rollicking tempo with Parker plucking deep and hard and the left-handed Sinan skittering hard across the topside of his kit. Abdullah kicks in a glorious solo twelve minutes in, bright and breathy at once. The piece slows and grows more spacious towards the end, giving Parker a chance to showcase some arco work that shades beautifully into the air against Abdullah’s trumpet.

Famed free jazz concert registration of an early New Direction for the Art performance. Recorded in 1971. Old-style Gatefold LP, with rare photographs & extensive liner notes by Alan Cummings.

The performance by Takayanagi Masayuki New Direction for the Art at the Gen’yasai festival on August 14, 1971 was an intense, bruising collision between the radical, anti-establishment politics of the period in Japan and the febrile avant-garde music that had begun to emerge a few years before. The ferocious performance that you can hear here was received with outright hostility by the audience, who responded first with catcalls and later with showers of debris that were hurled at the performers. Takayanagi though described the group’s performance to jazz magazine Swing Journal as a success, “an authentic and realistic depiction of the situation”.

In 1962, Takayanagi, bassist Kanai Hideto and painter Kageyama Isamu went on to form an AACM-style musicians’ collective called the New Century Music Research Institute. Every Friday, members gathered at Gin-Paris, a chanson bar in the fashionable Ginza district of Tokyo, to push the outer limits of jazz creativity.

But the pivotal moment for his music was the creation a new trio version of his New Directions group in August 1969, with the free bassist Yoshizawa Motoharu and a young drummer Toyozumi (Sabu) Yoshisaburō. Experiments eventually led to the creation of two basic frameworks for improvisation that Takayagi referred to as Mass Projection and Gradually Projection.

“La Grima” (tears), the piece that was played at the Gen’yasai festival, is a mass projection and listening to it, you can get a clear sense of what Takayanagi was aiming at. Mass projection involves a dense, speedy and chaotic colouring in of space that destroys the listener’s perception of time, and thus of musical development.

The ferocity of the performance of “La Grima” at the Gen’yasai Festival in Sanrizuka on August 14, 1971 was consciously grounded by Takayanagi in a particular historical moment, ripe with conflict and violence. A month after the festival, on September 16, three policemen would die during struggles at the site. This was the context that the three-day Gen’yasai Festival existed within. The line-up reflected the radical politics of the movement, with leading free jazz musicians like Takayanagi, Abe Kaoru, and Takagi Mototeru appearing alongside radical ur-punkers Zuno Keisatsu, heavy electric blues bands like Blues Creation, and Haino Keiji’s scream-jazz unit Lost Aaraaff.

New Direction for the Arts trio topped the bill on the opening day, playing an aggressive, uncompromising “mass projection” set of polyphonic improvisation. Alongside drummer Hiroshi Yamazaki and saxophonist Kenji Mori, Takayanagi soloed hard and continuously for forty minutes. This was performance as precisely calibrated metaphor: three musicians responding to the demands of the moment with instinctive force and fury, untethered by rules, leaderless yet not rudderless (the direction part of the group’s name was no accident). The piece was entitled La Grima – tears - and the fusion between the palpable anger of the performance and hopeless sadness of its title were also perfectly apt for the situation. This was a fight that the state was always going to win. Yet, by all accounts, the band’s set went down like a fart at a funeral. The band were showered with catcalls and debris throughout, and by chants of “go home” when the music finally came to an end.

However, looking back at the event in the year-end issue of Japan’s leading jazz magazine, Swing Journal, Takayanagi was surprisingly upbeat: New Directions brought a solid political consciousness to our performance and succeeded in an authentic and realistic depiction of the situation. But journalism revealed its superficiality in its inability to penetrate the core of the music. I don’t know much about anyone else, but we at least left behind a competent record.

It’s a fascinating statement in many ways. Perhaps on one-hand it can be read as stubborn, solipsistic and self-justifying, yet in conjunction with his statement in 1971 there are points that guide us towards an understanding of just what Takayanagi intended with his performance at the festival. As Kitazato Yoshiyuki has argued, it becomes an almost religious act, directed at the earth deities of the land. A union of anger, sorrow and malevolence that can be placed nowhere effective, all it can do is find expression and channeling. The forcible land seizures at Narita, the eviction of farmers from land that had been in families for generations, the destruction of communities: none of this can be prevented, not least by an artistic action. All that can be done is an attempt to mark the land itself, to soak it with the combined force of emotions and the volume of the performances, to bury something there that cannot be drowned out, even by the coming roar of jet engines.

JOYFULTALK returns with its third album for Constellation; another vibrantly divergent stylistic take on the analog materiality and sensibility of electronic composer-producer Jay Crocker, whose previous two records forged trance-inducing polyrhythmic intricacy, each from a distinct angle and sound palette, each enlisting a single instrumental collaborator. Familiar Science rallies contributions from a larger cast of musicians into a looser, cosmic recombinant combo_still shot through with JOYFULTALK's singular mixing desk kinetics, but this time deep-diving into gnarled and twisted, spliced and diced out-jazz. Crocker draws inspiration from 1980s M-Base music and Ornette Coleman's harmolodic funk period, while his own prior history as an improv guitarist also resurfaces for the first time in many years_an element in this polyvalent artist's chemistry set that hasn't appeared prominently in his own music for over a decade. Familiar Science finds Crocker folding time (as lockdown will do), immersed in his present-day kaleidoscope of solitary art and music practices in rural Nova Scotia, while channeling his former life as a bustling jazz collaborator in Calgary, Alberta. Building outwards from roiling resampled acoustic drums, Crocker extracted additional sonic and rhythmic textures, then formed the head of each song using dusted-off archival recordings and his own bass, keys and midi sequencing. Albertan percussionists Eric Hamelin (Ghostkeeper, Chad Vangaalen) and Chris Dadge (Lab Coast, Alvvays) provided improvised drum tracks to be chopped and harvested; Nova Scotia-based Nicola Miller (Ryan Driver, Doug Tielli) laid down resplendent excursions on saxophone and flute; Crocker's own dexterous guitar appears on several cuts. Familiar Science also poignantly features samples from live recordings by the late Calgary saxophonisticonoclast Dan Meichel, catalysing some of the album's heaviest contortions. Crocker weaves all these raw materials into exuberant compositions that blur the line between sizzling corporeal combo and sampledelic futurist jamz, variously conjuring (leftfield) Flying Lotus, (later) Tortoise, BADBADNOTGOOD and Squarepusher's Music Is Rotted One Note. The rubbery hyper-compression of boom-bap opener "Body Stone" initiates the séance, and the album offers a panoply of skittering grooves and soaring melodic pathways thereafter, through quags of heady jazz alternately streaked with dayglo delirium and other more vaporous states of revelry. Crocker's own wordless stacked vocals are the giddy secret sauce on several cuts, and his lead guitar work (in kinship with the lean progressions of Mary Halvorson or Jeff Parker) features on "Take It To The Grave", "Stop Freaking Out!" and the album's title track. More honeyed passages on songs like "Blissed For A Minute" and "Ballad In 9" center around Miller's bouyant alto sax and flute. Familiar Science is a rousing feast of noise-tinged polychrome electronic avant-jazz: richly harmolodic compositions teeming with intersecting textures and turbulences; exploratory, exhilarated and indeed joyful.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

To this day, jazz pianists are influenced by Bill Evans by his use of impressionist harmony, interpretation of traditional jazz repertoire, and his trademark rhythmically independent, “singing” melodic lines. Evans gained his first spotlight when joining Miles Davis’ sextet during the time Kind of Blue was recorded. After leaving the sextet, Evans began his career as bandleader. As trio with Marc Johnson on bass and Joe LaBarbera on drums, they recorded The Brilliant in 1980, just before Evans’ passing.

The Brilliant is pressed on coloured vinyl for the first time and available as a limited edition of 750 individually numbered copies on gold coloured vinyl. The package includes an insert with other titles from the Timeless Records 45th Anniversary Jazz Series

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2021/2022.

American jazz drummer Billy Higgins recorded his second album The Soldier in 1979. Featured on this album are Monty Waters on alto saxophone, Cedar Walton on the piano, Walter Brooker on bass and vocalist Roberta Davis. The track “Peace” features guest performer Horace Silver and on “Sonny Moon For Two”, Higgins is accompanied by Sonny Rollins.

Higgins mainly played free jazz and hard bop. He was one of the house drummers for Blue Note Records and played dozens of Blue Note albums of the 1960s. His drums were an important addition to many recordings such as Dexter Gordon’s Go! and Herbie Hancock’s Takin’ Off.

The Soldier is available as a limited edition of 500 individually numbered copies on translucent green coloured vinyl and includes an insert with upcoming titles from the Timeless Records 45th Anniversary Jazz Series.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2022.

To this day, jazz pianists are influenced by Bill Evans by his use of impressionist harmony, interpretation of traditional jazz repertoire, and his trademark rhythmically independent, “singing” melodic lines. Evans gained his first spotlight when joining Miles Davis’ sextet during the time Kind of Blue was recorded. After leaving the sextet, Evans began his career as bandleader. As trio with Marc Johnson on bass and Joe LaBarbera on drums, they recorded The Brilliant in 1980, just before Evans’ passing.

The Brilliant is pressed on coloured vinyl for the first time and available as a limited edition of 750 individually numbered copies on gold coloured vinyl. The package includes an insert with other titles from the Timeless Records 45th Anniversary Jazz Series

Coleman Leslie McCann, known as Les McCann, is arguably the most soulful jazz pianist of the sixties. All you have to do to be convinced of this is to go and listen to him, all business ceasing, with Eddie Harris, in concert in Montreux, on June 21, 1969. This recording is a monument in the history of soul jazz.

But before this concert, the trio of Les McCann with Herbie Lewis and Ron Jefferson, imposed a new style characterized by joy and pleasure, to play, to groove, to listen. Impossible in a Les McCann concert not to participate in his joy, in his desire to share, impossible not to beat time.

Having scooped the prestigious Record Store Day Unsigned 2020 award, her debut album 'In The Blue Corner' was released as a limited edition run on turquoise sparkle vinyl in November 2021. Now available on a full digital and physical release including a new vinyl pressing on dusk blue coloured vinyl. "Loving this. Really cool voice_ love the voice!" Craig Charles (6Music) // "The most original sound. Like Little Richard, Mark Ronson, Nina Simone and Nick Cave all got locked in a New Orleans speakeasy" Record Store Day Unsigned Panel 2020 // "Wow, I mean what's not to like about that? That is sensational! How groovy is that?! Mark Radcliffe, BBC 6Music // "What a voice!" Robert Elms, BBC London // "Her voice is stunning, powerful and unique, and her stage presence hits the back of the room at any venue she plays" DJ Anne Frankenstein, Jazz FM // Included in Craig Charles' Funk and Soul 'Ones to Watch 2022' list. From London via Lagos, charismatic chanteuse Sister Cookie will take you on an eclectic excursion into the roots & fruits of black music. Old sounds, new tricks. Sensuous, seductive and moody. As well as possessing a distinctive voice that's tender and sweet when it needs to be, she's a composer and self-taught pianist who writes honest and raw songs about pain, heartbreak, suffering - all that bad (meaning-good) stuff. A mainstay on the vintage Soul & R'n'R circuit since 2015 with slots at Wilderness, Latitude, Red Rooster, Port Elliot and more under her belt - as well as touring across Europe with her band - Sister Cookie has so far been supported by Craig Charles, Mark Radcliffe & Cerys Matthews at 6Music, Robert Elms on BBC London plus plays on Resonance, Jazz FM and Amazing Radio. Craig Charles is a big supporter on BBC 6 Music and has played current single 'Ain't No Good (But It's Good Enough For Me)' several times. Steve Lamacq and Lauren Laverne have also given the track multiple plays. The track has also been playlisted at Jazz FM. Singles from the album have been played many times across European radio stations including France Culture, Rock Radio (Greece), Radio Nova (Portugal), Mach 5 (Italy), HR Radio Sijeme (Croatia). She's performed at some of the UK's most esteemed venues including the 100 Club and Union Chapel, The Round Chapel and has enjoyed a number of stints as a guest vocalist with The Soulful Orchestra, Jim Jones & The Righteous Mind, Future Shape Of Sound & MFC Chicken. Sister Cookie Is going to be part of the judging panel for Record Store Day Unsigned competition in April, the competition she won in 2020.

Until recently, it was thought that we had heard all there was to hear from Saâda Bonaire. The German studio project's 1980s recordings had been compiled on the now cult-classic double LP Saâda Bonaire, released by Captured Tracks in 2013. Though the group had continued working until 1994, founder Ralph "von" Richtoven had firmly stated that all of their post-1986 work was lost. Released now for the first time ever, 1992 compiles the band's long-lost early nineties material. Produced between Bremen and New York City, the 12 songs presented here capture the group's attempts at steering their trademark fusion sound (reggae, afro-funk, Eastern music, and sultry German female vocals) into uncharted nu jazz, trip-hop, and house territories. It's no surprise, given both the time lapse and the fluid nature of the project, that these recordings differ sonically from the 1980s material. 1992 finds Saâda Bonaire folding new influences from the time (house, hip-hop, rap) into their eclectic sonic universe. Vocalist Andrea Ebert's soulful voice -the result of a church choir background and an early love of American soul and jazz music- offset Stephanie Lange's laid-back, more German-sounding vocals. This unique interplay bolstered the band's new direction - evident in their inspired takes on James Brown's "Woman" and Syreeta Wright and Stevie Wonder's "To Know You Is To Love You". The American influence was also made literal via contributions by renowned DJ Matthias Heillbronn and rapper Jimmy Lee Patterson, both of whom lent some stardust to the tracks at François Kevorkian's Axis Studios in NYC. Unfortunately, the demo recordings were considered too bizarre for 1990s record label standards, and as a result were never published. As with all things Saâda Bonaire, the discovery of these discarded recordings feels like a sort of magical impossibility. It's been nearly ten years since the release of the last compilation, and thirty since the recordings were originally captured. That they still manage to sound fresh and avant garde is a testament to Saâda Bonaire's flair for creating pop music for past, present, and future outsiders.

At Now-Again, we avoid hyperbole, yet we believe that this album is one of record collecting’s ultimate
finds: the missing entry in jazz pianist/composer/psychiatrist Denny Zeitlin’s discography, a wonderful
and weird fusion of avant-classical, jazz, funk, rock and electronic music.
The Name Of This Terrain was recorded and pressed in a scant, custom run as a demo in 1969 –and it
so defied its own existence that, even after its producer died and his copies were discovered, Zeitlin
steadfastly resisted its release for almost 20 years, destroying his remaining demos so no...

The Tribe co-founder’s debut, remixed from the original mutli-track master
tapes under the direction of its creator and lacquered by Bernie Grundman.
Now-Again presents the denitive Tribe Records reissues.
Deep, Spiritual Jazz of the highest order.
The Tribe label, one of the brightest lights of America’s 1970s jazz underground, receives the Now-Again
reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local
movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos.