Buscar:jazz t

Brooklyn band Office Culture is made up of four longtime collaborators
(and all solo artists in their own right) lead singer and songwriter Winston
Cook-Wilson (vocals/keyboards), Ian Wayne (guitar), Charlie Kaplan
(bass), and Pat Kelly (drums)
Following the electronic avant-pop experimentation of their debut album I Did the
Best I Could, the band's critically acclaimed sophomore LP "2019's A Life of
Crime "unveiled a lush, jazz- inflected sound that Pitchfork described as "sleek
music for a cursed place, opulent like a ritzy hotel lounge." Cook-Wilson's wry and
contemplative songs reflect the bandmates' shared points of musical reference,
including Nite- Flights- era Scott Walker, mid- 70s Joni Mitchell, Curtis Mayfield,
and ECM-label jazz. The FADER wrote: "Office Culture spends the best moments
on A Life Of Crime sounding like the most vital lounge-pop act of all time. Big
Time Things "the band's third album and Northern Spy debut "is a more
maximalist affair. Written and recorded across the course of three years, it's a
meticulously orchestrated and groove- forward record featuring nine of CookWilson's most ambitious compositions to date. Tracks like singles Elegance, Big
Time Things, and Little Reminders draw together a disparate collection of
influences, integrating soulful vocal harmonies, horns straight out of 70s spiritual
jazz, string arrangements informed by modernist classical music, and beats that
reflect the band's enduring love of neo-soul and hip-hop.
The playful experimentation of the arrangements elevates the melodrama and
humor of Cook-Wilson's songs "his most emotionally direct to date "which trace
the complexities of our efforts to better ourselves by learning from our worst and
least rational behavior, and how we attempt to apply that knowledge to nurturing
close personal relationships. The record features a dense cast of supporting
players, including Carmen Q. Rothwell, Caitlin Pasko, Alena Spanger (Tiny
Hazard), and members of Cuddle Magic / Mmeadows. The album releases via
Northern Spy.

May one say that nobody has composed for jazz like Rebecca
Trescher?" (Frankfurter Allgemeine Zeitung) The composer, clarinettist
and bandleader Rebecca Trescher has been leading her own large
ensemble for almost 10 years and has made an excellent name for
herself in the German jazz scene
She has also received numerous prizes and grants (e.g. Wolfram-von-Eschenbach
Prize 2021, Artist in Residence at the Cité Internationales des Arts de Paris 2019,
Bavarian Art Promotion Prize 2017, scholarship holder of the Baden-Württemberg
Art Foundation 2014). Now she is presenting the new album Paris Cycle - The
Spirit of the Streets with her tentett. The four- part work cycle was inspired by
Trescher's six-month Composer in Residence at the renowned Cité Internationale
des Arts in Paris. The composer walked the streets of Paris a lot and was
nspired by the spirit of the city. Become part of a musical journey through Paris.
The composer is looking forward to a live concert with a real audience! With the
unique and multifaceted line- up of her ten- piece Large Ensemble of trumpet,
saxophone, clarinet, cello, concert harp, piano, vibraphone, bass and drums,
Rebecca Trescher creates a refreshing, modern sound that moves experimentally
between jazz and classical music. Under her leadership, the ensemble weaves a
fascinating musical network that is based on Trescher's contemporary
compositional style, but also on the musicians' shared experience, precise
coordination and mutual trust.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

Saxophonist, composer, bandleader and innovator Camilla George makes a stunning return with her third album 'Ibio-Ibio' - a rich, cultural journey dedicated to her Ibibio tribe of south eastern coastal Nigeria, out on Ever Records / !K7. The album is a heady mix of afrobeat, hip hop and jazz coproduced by Camilla George. Across eight tracks, Camilla's virtuosic alto saxophone performance collaborates with a stellar line-up of some of the hottest players in London's jazz scene including Daniel Casimir (bass), Shirley Tetteh (guitar), Winston Clifford (drums), Sheila Maurice-Grey (trumpet), Rosie Turton (trombone), Renato Paris (vocals), Sarah Tandy (keys), plus Senegalese kora player Kadialy Kouyate, acclaimed US drummer Daru Jones (Jack White, Pete Rock, Talib Kweli), and Birmingham's finest MC Lady Sanity.

Saxophonist, composer, bandleader and innovator Camilla George makes a stunning return with her third album 'Ibio-Ibio' - a rich, cultural journey dedicated to her Ibibio tribe of south eastern coastal Nigeria, out on Ever Records / !K7. The album is a heady mix of afrobeat, hip hop and jazz coproduced by Camilla George. Across eight tracks, Camilla's virtuosic alto saxophone performance collaborates with a stellar line-up of some of the hottest players in London's jazz scene including Daniel Casimir (bass), Shirley Tetteh (guitar), Winston Clifford (drums), Sheila Maurice-Grey (trumpet), Rosie Turton (trombone), Renato Paris (vocals), Sarah Tandy (keys), plus Senegalese kora player Kadialy Kouyate, acclaimed US drummer Daru Jones (Jack White, Pete Rock, Talib Kweli), and Birmingham's finest MC Lady Sanity.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

Dans Dans is back (already), with their most unfiltered, most spantenous, most 'punk' album to date. Three musicians, three days in the studio, one burst of energy.

April 23th, 2021. Breaking a five year silence, purveyors in ambiguous jazz-rock hybrids Dans Dans drop a new, fifth album. Throughout the media, Zink is hailed as another triumph for the Antwerp based trio. 'A bold and thrilling noise trip', according to Humo. 'The best live band of the Western hemisphere is back', celebrated OOR, while De Morgen hailed the 'organic but cleverly constructed jams'. The following summer, the band made the best of a temporary easing of local Covid restrictions, and played some rapturous shows, such as during Jazz Middelheim in their hometown and an Unday Records label night during the Boomtown festival in Ghent. A string of dates in Eastern Europe followed, but, alas, the remainder of a national and international tour in autumn was cancelled. Third wave, fourth wave, who was still counting?

At the tail end of 2021, Bert Dockx, Frederic Lyenn Jacques, and Steven Cassiers, the unholy trinity that make up Dans Dans since 2012 - yep, that's a ten year anniversary! - decided to turn setbacks into sound blasts, grief into grooves. Rehearsals were planned. New music was made. And before you know, a studio was booked. This is how an instrumental corona-album happened. Not one of contemplation through isolation or new found domestic bliss, not your usual, subdued track record of socially distant, monotonous times. '6' might be a reaction to all of that, but it's definitely more than that.

• 180 GRAM AUDIOPHILE VINYL
• GATEFOLD SLEEVE
• INCLUDING INSERT WITH LINER NOTES
• FEATURING JILL SCOTT, WYCLEF JEAN, GARY BARTZ, JAMILA WOODS, KASSA OVERALL, TEEDRA MOSES A.O.
• BRAND NEW 2022 ALBUM BY GRAMMY NOMINATED
JAZZ MUSICIAN THEO CROKER
• LIMITED EDITION OF 1000 INDIVIDUALLY NUMBERED COPIES ON SOLID GOLD COLOURED VINYL

Love Quantum is the seventh studio album by Grammy Award nominee Theo Croker since his 2007 debut. The album finds Croker making his first-ever foray into the concept of love, once again inviting listeners on a genre-defying journey across time and space in discovery of the self and our shared human experience. Of the album, Croker says, “It's a love story. It's a tribute to all the different levels of love that can exist - love of a friend, love of a partner, love of a parent, love of yourself and a love of life. It's really about the journey of love, the experience of it, and how powerful that energy is for us as human beings.”

Joining Croker across the album's 11 tracks are Jill Scott, Jamila Woods, Wyclef Jean, Ego Ella May, Teedra Moses, Chris Dave, Gary Bartz, James Tillman and Kassa Overall.

Love Quantum is available as a limited edition of 1000 individually numbered copies on solid gold coloured vinyl. The album is housed in a gatefold sleeve and includes an insert with liner notes.

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with guitarist Philip Catherine, pianist Joachim Kuhn and other session musicians, he recorded the 1974 album Toots Thielemans/Philip Catherine & Friends, which was later reissued as Two Generations. The album features some of his best known works such as “Bluesette” and “Inner Journey”, which were previously cd-only compositions.

Two Generations is part of the Timeless Records 45th Anniversary Jazz Series and is available as a limited edition of 750 individually numbered copies on white coloured vinyl. The sleeve features the artwork of the
1996 reissue.

'Terra' is the debut album of jazz singer Hannah Weiss, the voice of the
Munich native, who grew up in Switzerland, can not only be cool and
warm, it also covers all temperature ranges
Weiss, winner of the BMW Welt Young Artist Jazz Award in 2019, skilfully
balances on nuances and, with her typical timbre, always sounds new and
surprisingly different - so that even without lyrics it is immediately clear what she
singing is about. About fear, about flight and hunger and pain. And about love,
longing and devotion. In the lyrics of her nine-part suite composition 'Terra', which
also gives the album its name, Weiss describes what she sees and what occupies
her mind, she sings about the paradoxically normal coexistence of the most
diverse side by side of emotional states, without judging, and in the knowledge
that that one does not make the other less relevant. On the one hand, Terra
sounds playfully light: a well-composed, beautiful-sounding concept album that
floats past you like a spring breeze.

A heady and adventurous experience with ever-shifting elements of jazz,
fuzz guitar, blues rock and psychedelia! Graffiti's origins can be traced
back to 1967 and the dissolution of The Hangmen, a popular Washington
DC area garage rock act well noted for the proto-punk stylings of their
singles € What A Girl Can't Do € and € Faces
€ Singer Tony Taylor, a late addition to the band's lineup, recruited guitarist
George Strunz to the group and soon announced the band would pursue a more
psychedelic direction. It didn't take long for Graffiti to attract label attention, and
by August of 1968 the band signed to ABC Records and released their debut
single, € He's Got The Knack. € In November of 1968 they released their one and
only album.
The juxtaposition between Graffiti's smooth vocal harmonies and their intricate
songwriting is stark. One moment the group is immersed in all of the feel-good
pop songwriting tropes of the era, oftentimes quite reminiscent of acts like The
Association and The Mamas & The Papas. Meanwhile, the next moment sees the
band vamping into extended passages, odd chord sequencing, and off beat time
signatures, highlighted by Strunz's frequent fuzz laced soloing and the energetic
drumming of Richie Blakin. The legacy of Graffiti's self-titled debut was seemingly
hampered by the fact that that it is often lumped in with the plethora of other oneand- done psych releases of the time, an era in which major labels were falling
over one another in an attempt to capitalize on the psychedelic sounds
popularized by the Summer of Love. This is unfortunate because Graffiti's
approach to songwriting and blending together of jazz, classical, and rock
elements are rather groundbreaking, precursors to the arrival of progressive rock -
proto-prog pioneers, if you will.

The much-demanded reissue of oud player and composer Rabih AbouKhalil's iconic 1992 album 'Blue Camel', featuring trumpeter Kenny
Wheeler, saxophonist Charlie Mariano, bassist Steve Swallow and
percussionists Ramesh Shotham and Milton Cardona
Kurt Keefner stated "Blue Camel is the pinnacle to date of Lebanese oud player
Rabih Abou-Khalil's achievement as a jazzman. In both mood and scope, it can
almost be characterized as a new Kind of Blue. Both tense and reflective, it is
perfect for listening after midnight ... Blue Camel may not be a perfect album, but
it demonstrates better than any other that a fusion between jazz and a musical
form from another culture is possible and can work to the advantage of both.
Plus, it's just great listening".
Metal Reviews said: "The album glories in crafting a successful blend of Arabian
music and jazz: a very homogeneous and enjoyable fusion with enough shift in
mood and method to keep things interesting".

Gold Vinyl

Die Jazzkantine hatte nie Berührungsängste beim Manövrieren zwischen den Genres, das neue Studioalbum "Discotheque" stellt dies eindrucksvoll unter Beweis. Gründer und Bandleader Christian Eitner hat es geschafft, die vielköpfige Charaktertruppe im Kern seit fast 30 Jahren zusammenzuhalten. Gestählt durch unzählige Gigs in kleinen schmuddeligen Clubs, aber auch in piekfeinen Theatern und in riesigen Arenen. Die Jazzkantine hat bis dato um die 1.500 Konzerte gespielt, das Schönste und Schlimmste, Aufregendste und Außergewöhnlichste aus allen Musikwelten erlebt. Und sie hat noch lange nicht genug. Wir müssen wieder tanzen. Wir müssen wieder singen. Und so taucht die Jazzkantine ein in die Welt der "Discomusik", die in ihren Ursprüngen vor 50 Jahren im Milieu des New Yorker Undergrounds viel diverser und innovativer ist, als man vermutet. Eine Melange aus ersten DJ-Techniken und neuen bombastischen Sound-Systemen bietet auf privat organisierten House Partys viel Raum zur Entfaltung der LGBT-Community. Noch heute erinnert alljährlich der Christopher Street Day an die Stonewall-Riots und somit an eine Zeit, als noch gleichgeschlechtlicher Tanz verboten ist. Vor allem David Mancusos "Loft" ist Anfang der 70er eine Keimzelle für den Disco-Sound, der erst viel später mit Hits wie "Stayin' Alive" und "Le Freak" zum internationalen Boom wächst - auch die Rolling Stones, Abba und Kiss springen bekanntlich später auf den Zug auf. Parallel verbinden aber auch Jazzgrößen wie Herbie Hancock, Miles Davis und Chick Corea die Raffinesse des Jazz mit der rhythmischen Intensität des Funks zu "Fusion". Und Fred Wesley sagt: "Discomusic ist Funk mit einer Krawatte". Wie es sich für die experimentierfreudige Jazzkantine gehört, entsteht auf "Discotheque" ein Sound, den man "Disco Jazz" nennen könnte - alles im gewohnten Mix aus Funk, Soul und Rap. Songs, die Lust machen, die neun Musiker endlich wieder live auf der Clubbühne zu erleben.

repress

The music veers from post industrial heavy electronics with doomsday guitar punctuated with free jazz like woodwinds to ambient drone surf guitar found sound collage and back again.
One night Reuben Maher and Tony Maimone were sitting in a Brooklyn bar called Troost watching Marcus Cummins play solo soprano sax accompanied by one of those wind up toys that is a monkey playing cymbals. Several weeks later the trio met at Studio G Brooklyn and recorded several hours of improvised music. There were no overdubs. Mixes were done quickly and without much edititg. Tony (Pere Ubu) plays an old EML synthesizer which goes from pastoral clouds to industrial wreckage.Occasionally slide bass slinks through these mixes as well as a 70’s RMI electric piano playing ambient chords that cycle around and around.

Reuben Maher (FCAC) plays acid drenched psychedelic Fender Jazzmaster through pedals and loopers and two Fender Princetons, add to that Moog and Roland synthesizers all live. Throughout this weaves Marcus playing soprano, and alto saxophones sometimes individually sometime together ala Rahsaan Roland Kirk.

- Limitierte orange-schwarz marmorierte 2LP im Gatefold Sleeve mit Etching auf Seite 4 und Downloadkarte


Brandneues Lambchop Album, das erste nicht in Nashville produzierte Album und beinhaltet mit 'Little Black Boxes' eine geniale Crossover-Hymne für Fans von "The Hustle" oder "Up With People"!

Kurt Wagner fand sich im schwülen Sommer 2021 in Minneapolis in einer stillgelegten Farbenfabrik wieder, die zum Proberaum umfunktioniert wurde, als noch jeder jeden als potenzielle Krankheitsquelle betrachtete. Er vertraute sich diesem Pianisten, Andrew Broder, und seinem genialen Produktionspartner Ryan Olson an. "Ryan und Andrew sind wie zwei Seiten meiner Persönlichkeit", sagt Wagner. "Und wenn man sie als Team zusammenbringt, repräsentieren sie mich." Es wäre das erste Mal, dass Wagner eine Lambchop-Platte von jemand anderem produzieren lässt - noch dazu von jemandem, der keinerlei Verbindung zum heiligen, alten Nashville hat. Es war in dieser stillgelegten Lackfabrik in Minneapolis, wo Wagner einen Haufen ausgebrannter Freaks beim Spielen ihrer Instrumente beobachtete, die ihn zum Schreiben von The Bible brachten. Die Sessions erinnerten ihn an die lange zurückliegenden Tage im Springwater Supper Club in Nashville, als er zum ersten Mal die Afterparty zu sich nach Hause holte. Aber vielleicht, weil er diesmal nicht derjenige war, der die Regeln für die Afterparty aufstellte, ist die Musik auf The Bible unberechenbarer als je zuvor auf einer Lambchop-Platte. Jazz geht über in Country, in Disco, in Funk und wieder zurück in Country. Dies ist Lambchops neues Album - geboren an einem neuen Ort, aber aus einem Prozess heraus, den er zuerst zu Hause in Nashville entdeckte und der ihm half, seine eigene Stimme zu finden. Amen. Dies ist "The Bible".

Das 17te Album des erfolgreichen US-amerikanischen Musikers, Multi-Instrumentalisten und leidenschaftlichen Skateboarders. Für Harper selbst auch so etwas wie ein Neuanfang.

Weithin inspiriert von dem Verlust eines langjährigen Freundes und dem anhaltenden Einfluss eines temperamentvollen und charismatischen Vaters, ist 'Bloodline Maintenance' das mit Spannung erwartete neue und siebzehnte Studioalbum des dreifach mit einem GRAMMY®-prämierten Singer-Songwriters/Musikers/Produzenten Ben Harper. Ein ungemein persönliches Soul-Album und das erste nicht-instrumentale Soloalbum mit neuen Songs seit 2016.

Auf 'Bloodline Maintenance' wendet Harper den Ideenreichtum des Hip-Hop auf bestehende Paradigmen des Soul, Blues und Jazz an und konfiguriert das Genre neu, a new black Americana, und setzt so seine lange Geschichte als einer der stärksten Protestsänger seiner Generation fort.

Schon im Alter von nur 21 Jahren tourte Harper mit Blueslegende Taj Mahal. In den Folgejahren machte er sich bei Kritikern wie auch Fans weltweit einen Namen, wurde für sein eigenes genreübergreifendes Werk insgesamt siebenmal für einen GRAMMY® nominiert (den er auch dreimal gewann), war gleichzeitig als Produzent tätig für u.a. Mavis Staples, Rickie Lee Jones und Ziggy Marley und kollaborierte mit einer Vielzahl von Künstlern, die von John Lee Hooker, Charlie Musselwhite und Jack Johnson bis hin zu Ringo Starr, Keith Richards und zuletzt Harry Styles reichen.

As a true cultural flagship medium, Arte expands its Arte Concert music offer with the 3 first volumes of its new vinyl collection ! A selection of Jazz, Soul & Electro Crème de la crème of ARTE TV

12" Widespine Gloss Jacket, Full Color Printed Record Sleeves, 1x Red & Black Marbled Vinyl, 1x Blue & Black Marbled Vinyl and Free Digital Download Card. Growing up in his hometown of Atlanta, artist/producer Sol Messiah has always been inundated with the rich and energizing spirit of Hip Hop culture. Breakdancing from a young age eventually led him joining the legendary Rock Steady Crew out of New York City and learning and mastering the skill of DJing. From there, he began taking an interest in production too, which ultimately led him to working alongside legendary Atlanta producer, Dallas Austin. While Sol Messiah's time with Austin created a deep catalog filled with timeless tracks for TLC, Madonna, Boyz II Men and more, he eventually chose to pursue his own path independently and spent years building a stunning catalog of his own, producing popular tracks for Chamillionaire, David Banner, Nappy Roots, Dead Prez and more. Soon, Sol Messiah would embark on a fruitful musical partnership with a fierce lyricist named Sa-Roc. Together, Sa-Roc and Messiah have released over a dozen projects thus far, including Sa-Roc's groundbreaking 2020 debut on Rhymesayers Entertainment, The Sharecropper's Daughter. As a duo, Sa-Roc and Sol Messiah have amassed a global reach, touring internationally and rocking crowds across continents. They have performed at the legendary Jazz Cafe in London, performed live for BBC, and have shared the stage with luminaries such as Common, The Roots and Jay Electronica. On GOD CMPLX, Sol Messiah connects with some of the finest MCs in the game to create an impressive collection of Hip Hop music that's both innovative and inspiring. Featuring guest performances from KXNG Crooked, Sa-Roc, Evidence, Locksmith, Slug (Atmosphere), Murs, Aesop Rock, Baba Zumbi (Zion I), Che Noir, Lyric Jones and more, GOD CMPLX is a powerful and engaging project serving as a testament to Sol Messiah's skills both as a producer as well a visionary.

"Is it too Sam Prekop?", Sam Prekop asked me in an email conversation in which he delivered his wonderful illustrations which would become the front cover artwork. No, it is not too Sam Prekop at all. His drawings as well as the freeform music on this album are subtly different from anything else he has produced in his solo career. Regardless of the style he is working in, Sam Prekop’s music is always imbued with a sense of wide-eyed discovery and unpredictable exploration.

On »The Sparrow« Sam Prekop expands his electronic cosmos with a remarkable expression of timeless simplicity and coherent execution. It's deceptively simple music that feels accessible without abandoning the experimental legacy of the Modular hardware system which serves, besides a polyphonic Prophet 5 synthesizer, as the centre piece of this production.

The side long title track opens this album with unpredictable synth dissonances and broken step sequenced patterns. »Palm« brings the set to a close with its irregular fragility while »Fall is Farewell« is build around a yearning brassy fanfare which resembles the noir romance theme of Michael Smalls soundtrack for the 1971 film »Klute«. The sparkling essence of »Step and Stair« seems a suitable space for unforgotten summer holidays of our childhood.

On his first solo release for Düsseldorfs label TAL, electronic experimentalist Sam Prekop offers his most captivating yet stripped down modular music. All compositions on »The Sparrow« were gradually developed piece by piece. Best known for his jazz-leaning tropicalismo with The Sea And Cake, a key part of the Chicago scene with the likes of Tortoise or Chicago Underground Duo, he has in recent years established himself as a modular synthesist, building his instrument meticulously to create a unique system that allows him to create highly individual music through mechanical patterns, repetitions and chance. In this context his widely acclaimed community forming public tutorials on fb should be noted as well.

»The Sparrow« is an exciting new chapter in his development as a constant creative influence.

Stefan Schneider, Düsseldorf August 2022

Lionel "Vinyl" Williams is an American multimedia artist based in Los Angeles. Vinyl Williams" music is deeply intertwined with his other media of expression (graphic design, interactive website, and videos) with whom he shapes a consistent immersive new-age-infused psychedelic universe. Vinyl Williams" celestial pop is part of the construction of his own Cosmopolis, an ideal city, where the skyline is drawn by marvelous organic architecture and monumental ancient structures, where while walking on twisted paths, you can hear indistinctly lush vocals, iridescent gauzy keyboard harmonies, and rolling rhythms. Without acknowledging it, you are floating, your soul can ramble, free to imagine. Musically, Cosmopolis is a synthesis of Williams" craze, his contemporary dream-pop production, 60s sunshine pop influences, Brasilian Tropicália hints, jazz chords, and complex arrangement. With this sixth album, Cosmopolis, Vinyl Williams continues to dig deep into his parallel universe, which he has developed with a rare consistency. From chaos emerges harmony and incredible pop songs. For fans of Triptides, Gold Celeste, Toro y Moi, Unknown Mortal Orchestra, GUM, Tame Impala, Swin Mountain, Chris Cohen, Morgan Delt, Dungen, Dumbo Gets Mad, Pond, Maston, Holy Wave, Arthur Verocai, The Free Design, The Association, Once And Future Band...

Lionel "Vinyl" Williams is an American multimedia artist based in Los Angeles. Vinyl Williams" music is deeply intertwined with his other media of expression (graphic design, interactive website, and videos) with whom he shapes a consistent immersive new-age-infused psychedelic universe. Vinyl Williams" celestial pop is part of the construction of his own Cosmopolis, an ideal city, where the skyline is drawn by marvelous organic architecture and monumental ancient structures, where while walking on twisted paths, you can hear indistinctly lush vocals, iridescent gauzy keyboard harmonies, and rolling rhythms. Without acknowledging it, you are floating, your soul can ramble, free to imagine. Musically, Cosmopolis is a synthesis of Williams" craze, his contemporary dream-pop production, 60s sunshine pop influences, Brasilian Tropicália hints, jazz chords, and complex arrangement. With this sixth album, Cosmopolis, Vinyl Williams continues to dig deep into his parallel universe, which he has developed with a rare consistency. From chaos emerges harmony and incredible pop songs. For fans of Triptides, Gold Celeste, Toro y Moi, Unknown Mortal Orchestra, GUM, Tame Impala, Swin Mountain, Chris Cohen, Morgan Delt, Dungen, Dumbo Gets Mad, Pond, Maston, Holy Wave, Arthur Verocai, The Free Design, The Association, Once And Future Band...

Greetings from Buddhist synth pop hell - Sami "Albert Witchfinder" Hynninen joins forces with Finnish hip hop maverick Olli Hänninen A chance meeting in Hell? No! It was destined to happen: Hip hop maverick Olli Hänninen (Ronskibiitti, Hammaspeikko) teaming up with Doom Metal eccentric Sami Hynninen (Opium Warlords, Reverend Bizarre) to create alternative rhythm music unlike anything that has existed before. Hänninen and Hynninen take a trip to eighteen chambers of Buddhist Hell to reflect on the cold and violent world that surrounds us every day. The music stretches from experimental drones through jazz and marching music to bona fide synth pop, but do not try to label this album. It is impossible. It follows only its own laws. It can caress you or hit you in the head, but it never loses its intensity. Imagine a sober but psychotic COIL, or DAF with a shotgun, and you are not even close. The ambient elements and rhythm tracks defining the tone of each chamber morph together everything from weird crackle boxes, self-made anti-instruments and field recordings of a malfunctioning supermarket wicket or unorthodox paving block structures under a luggage trolley, to noisiest distortion and analogue delay effects on a mindlessly abused electric guitar. It is NOT Rock, it is NOT Metal it is just Alternative

Clear Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

Violet Vinyl + DL Code

Yiannis Iliakis is a multi instrumentalist and composer from Athens. He is mainly known as a drummer. As such he is a member of the free jazz band Outward Bound as well as a member of the successful Greek progressive rock band Ciccada. However, that's only one side of Iliakis' creative efforts. In April 2021, he released his first full length electronic album entitled Vertical Horizon on the Submersion Records, which mostly is an ambient work. Now, with Mountainmouth he opens another chapter for his musical talents.

The EP is one of the most thrilling and adventurous takes on what the IDM term usually would suggest. The key song might be the title track "Mountainmouth" - an extremely energetic composition which won't leave you unaffected. As per most of Iliakis' songs it is based on originally recorded drums that were heavily edited. In the next step, these were combined with chords, melodies, bass and harmonies on top. The musical result is simply breathtaking - one might even call this track electronica for prog-rock heads. Surely a perfect opener for the release.

The next song is Carbonated Soap on which Iliakis is going straight forward. The catchy melody and a fresh uptempo beat are offering something that could even fit well into a club-friendly DJ set. Next up, comes "Infected Walkman". According to Iliakis, it was the first one he made for this project when he participated in an art exhibition. This track, as well as the following "Sad Plants", are both down tempo and chilled, yet keeping an experimental vibe without loosing a soulful and human touch. Coming closer to the end, "Exodus Denied" is a brilliant experimental ambient piece, more similar to the works on the Vertical Horizon LP. Finally, the EP ends with a short edit of "Carbonated Soap" that jumps right to the more energetic parts after the first break.

Mountainmouth may not be an easy listen at start - but we are sure the music has the power to be another classic release from our catalogue. The EP will be released in July 2022 on a very limited 12" vinyl as well as digitally. The cover artwork was done by Iliakis himself. We are very excited to present a new artist to you on Equinox with so many different talents.

With the band's first single pressed on wax, Rocafort Records and Say It Loud join forces to bring the sound of Barcelona's finest street brass band to the dancefloors.

'Thunder' is a fresh and energetic tune with jazz and funk arrangements based on a groove that hip-hop music lovers will quickly recognize.

On the B-side, "Marathon Runner" takes the form of a modern New Orleans brass band and its raw sound with all the groove and horn solos you would expect.

The Chicago group, which features Elijah McLaughlin on 12 and 6 string guitars, Joel Styzens on hammered dulcimer, and Jason Toth on upright bass, blends elements of American primitivism guitar styles, with free jazz and modern classical music together into something daringly original and stunningly beautiful. -Record Crates United. If there was a silver lining to the cloud of uncertainty that was life during the early days of the pandemic, it was that all of the isolation provided a clear break from the entrenched routines of day to day life. This respite allowed me to see in sharp contrast all of the things that were important in my life, and all of the things that were trivial, and thus expendable. It was during this time that I began to write in earnest for this 2nd Elijah McLaughlin Ensemble record. Over the course of a year, I would bring my new compositions to my collaborators (Jason Toth and Joel Styzens), and usually after a very limited number of rehearsals we would enter the studio at the Fine Arts Building in Chicago and record the songs on an old Tascam ½” tape machine. There were four such studio sessions, in which all recorded material was culled down to these 9 songs. We recorded the material with a strong improvisational approach, and a couple of these songs are essentially first takes. I am very proud of the material on this album, and the energy we captured in the studio. I am glad to partner with Tompkins Square in sharing this album with the world.

For Fans Of...El Michels Affair, Adrian Younge, Roy Ayers, Karriem Riggins, The Roots, Khruangbin. Deep, Hard Hitting Soul-Jazz Meets Dub Instrumental Analog Grooves For Your Psyche. In few words, Doctor Bionic can be described as Instrumental b-movie psych-hop. But that doesn't tell the whole story. Doctor Bionic is the brainchild of Cincinnati's Jason Grimes, formerly the producer of the hip-hop group MOOD (with emcees Main Flow & Donte). Having grown up in the Scribble Jam scene here in Cincy, and running in circles that included artists like Hi-Tek & Talib Kweli, Grimes' music has continued to evolve from sample-based loops, to live instrumentation with deep layering; provided by a revolving door of local musicians. The common thread in most Doctor Bionic tracks are the neck snapping drum breaks, but the tempo adjustments and varying instrumentation lends itself to a collection of non-genre specific songs - held together in unity by the flawless drums, often provided by Josiah Wolf (of indie-rock band Why?). The result of these recording sessions are a masterclass in musical juxtaposition. Spacious yet clustered. Futuristic nostalgia. Ideal for long car rides or setting the vibe during a laid back gathering of friends. Also Available From Doctor Bionic: The Invisible Hand LP. Tracks: 1.The Messengers 2. No Middle Ground 3. Purple Spark 4. Decades To Come 5. Shadows In The Sun 6. Snow Bird 7. In The Mirror 8. Dose Of Dank 9. The Things That We Love 10. History Lessons

New album by Steamhammer - British blues-rock band STEAMHAMMER
was formed at the end of 1968 by Martin Quittenton (guitar), Kieran White
(vocals, harmonica, guitar), Martin Pugh (guitar), Steve Davy (bass) and
Michael Rushton (drums)
Their first album "Reflections" (AKA "Junior's Wailing") was released in 1969. Pete
Sears played piano on this album before he joined Rod Stewart on his four early
classic recordings. Pugh also played on Rod Stewart's first solo album, "The Rod
Stewart Album" (AKA "An Old Raincoat Would Never Let You Down") with Ron
Wood, Mickey Waller, Martin Quittenton and Keith Emerson. After "Reflections",
Quittenton and Rushton both quit the band to be replaced by Mick Bradley
(drums) and Steve Joliffe (sax, flute), who gave a jazzy influence to the band in
their second album, "Mk. II" (1969). Shortly after this release, Joliffe left the band,
which continued as a 4 piece in their third album "Mountains" (1970), which was a
returning to the blues- rock of the first album. After a major turnover, Pugh and
Bradley invited Louis Cennamo (bass) and, along with special guest Garth WattRoy (vocals), recorded "Speech" in 1971. This last album was released
posthumously, after Bradley's death in 1972.Now, exactly 50 years after the
release of "Speech" and 53 years after Pugh and Sears collaborated on the band's
first LP, Steamhammer will release a new album, "Wailing Again". Featuring beside
1968 founder member Martin Pugh (guitars) and Pete Sears (bass, keys &
background vocals), member of Jefferson Starship from 1974 to 1987, Manfred
Mann's Earth Band - drummer John Lingwood, who joined Steamhammer in 1972,
and Phil Colombatto (vocals & harmonica).

For nearly 10 years, there's been one address in Tel Aviv where people
know they can find pure, fiery musical energy: TIGRIS - And with UTRY,
we've collected all the band's tightest grooves and most exciting
melodies on one career-spanning compilation
It's a Raw Tapes celebration; consider it our gift to you - nine party- starting
polyrhythmic tunes that melt down Senegalese percussion, East African tezeta
jazz, swirling psychedelic keys and surf guitar into a potent brew. Keyboardist
Roei Hermon, percussionist Oded Aloni, bassist Amir Sadot, guitarist Ilan Smilan
and drummer Itamar Katzir first assembled their musical vision in an Ethiopian
restaurant in Tel Aviv, and they've been diving head-first into electrifying grooves
ever since. On "UTRY," you'll vibe with their finest cuts, pulled from TIGRIS's three
LPs. It's your own tailor-made house party playlist. Just don't be surprised when
the party spins out of control.

"G ershwin ist wirklich einzigartig in der Musikgeschichte.
Er hat eine sehr individuelle Musik geschrieben, die man
sofort wiedererkennt. (...) Gershwins Herangehensweise
an die Tonalität verbindet eine ganze Reihe von
harmonischen und melodischen Ideen mit neuen und
exotischen Elementen, an die bis dahin nur wenige
Komponisten gedacht hatten: Jazz und Klassik, Amerika
und Europa, Schwarz und Weiß geben sich hier die
Hand. (...) Porgy and Bess ist meine Lieblingsoper in
englischer Sprache. Ich wollte eine Anthologie ihrer
schönsten Themen erstellen. Ich habe diese
Arrangements mit dem Gedanken an eine kleine
Jazzband geschrieben. "
Fazil Say


Eines der aufregendsten Alben von Fazil Say,
aufgenommen in New York Ende der 90er Jahre.
Virtuosität, rhythmische Meisterschaft, Humor und der
echte Gerhswin-Geist: alles ist auf diesem Album zu
finden.

Collettivo Immaginario invites listeners on a glittering journey of cosmic escapism with the release of Trasforma, their debut album out September 23 on LA-based label, Domanda Music. The instrumental collective was founded in Northern Italy by drummer Tommaso Cappellato, bass player Nicolò Masetto and pianist Alberto Lincetto as a creative laboratory in which to explore the worldly musical influences that inspired them. Through experimentation that draw on the traditions of eclectic jazz, funk and electronica, Trasforma distills the ebullient energy of the trio’s acclaimed live performances into a lush and cinematic studio album, subtly paying homage to genre-bending giants such as Azymuth, Lonnie Liston Smith, Herbie Hancock and Italian film composers Piero Piccioni and Piero Umiliani.

***The legendary Lebanese trio of trumpeteer Mazen Kerbaj (Karkhana, Johnny Kafta), guitarrist Sharif Sehnaoui (Calamita, Karkhana, Johnny Kafta ) and bassist Raed Yassin (Praed, Praed Orchestra) celebrates their 20th anniversary with The Binding Third on Unrock. They still create acoustic improvised drones that range from insistent, chiming resonances with emergency alarm bells to low, thrumming hums but with growing intensity. Avoiding conventional technique, A Trio manages to create sounds like motorized devices to generate rattling, metallic vibrations, building a mechanistic backdrop out of which the instruments’ true voices occasionally arise. This recording, taken at Sound Disobidience in Llubljana in 2019 reaches an exceptional electro-acoustic depth with strange sounds boiling down to a dark, heavy spiritual essence. Call it Acoustic-Industrial-Free-Jazz or call it unrock. The Binding Third is „A“Trio’s first full length album since their 2014 release „Live In Nickelsdorf“. In between they released a collaboration with Sun City Girl Alan Bishop and another with UK-electro-acoustic pioneers AMM. Recently A-Trio joined forces with agyptian composer Maurice Louca on his solo-album The Luck Hour, released on Sub Rosa. TRACKLIST: Side A : The Binding Third (part 1) Side B : The Binding Third (part 2)

Luca LTJ Trevisi (LTJ Xperience) began his dj/producer career in the 80s. As resident dj in two of the most famous Italian clubs of the time, Kinky in Bologna and Cap Creus in Imola, he was one of the first Italian jocks to spin House and to re-propose those black music, jazz and latin-bossa classics from the 70s that at the end of the same decade would have given birth to the Acid Jazz and Rare Groove movements. His first single release in 1988, titled First Job, together with Kekkotronics, was also the first release ever on Bologna based Irma Records. It was featured in a lot of compilations of the time and entered several playlists, rapidly reaching cult status for many UK and US djs. During the early 90s LTJ delivered a couple of singles in a kind of pre-breakbeat style: Dont Stop The Sax, released all over Europe, and Funky Superfly. He also produced US singer Tameka Starrs single Going In Circles, always for Irma Records, still a classic in the downtempo/r&b field. In the second half of the nineties Luca began to produce acid jazz bands like Bossa Nostra, still today one of Irma Records main acts. Their first album had Vicky Anderson as special
guest and today is still considered one of the most important European acid jazz albums. In the following years he concentrated on developing his activity as collector and rare vinyl merchant, which gave him the chance to get in touch with djs from all over the World and to discover many forgotten gems from the past years. Thanks to this experience he was able to create two extremely successful rarities series on Irma Records:

Groovy and Suono Libero. In the meanwhile LTJ started to dj outside Italy too, performing in important venues like the Blue Note and Jazz Café in London, Giant Step in New York and Montreux Jazz Festival in Switzerland. In 1999 saw the release of his first solo album under the LTJ Xperience moniker. The album was produced with the collaboration of fellow Irma artist and producer Ohm Guru and had Taka Boom and Jackson Sloan among the guests. Two of the main tracks on the album are brazil house classic Sombre Guitar and title track Moon Beat, which became a true hit of the Chill Out genre, featured in dozens of important compilations.

After making countless productions for Irma Records, including their second album When The Rain Begins To Fall (with the participation of the historic Spanish-American singer Joe Bataan), and the recents singles as ORGAN MIND / I LOVE YOU (favorite track by Larry Heard ) & ON THE FLOOR / SOUND MACHINE, LTJ is devoted almost exclusively to re-edit and reconstruct tracks from the past with the addition of sounds and rhythms in post production for labels like SUPER VALUE, SMALL WORLD DISCO, HOT GROOVY RECORDS, OH CRISTO! increasing the production of this new musical genre that is currently defined as beatdown/slo-mo, working with international labels such as Far Out Recordings, Sleazy Beats, Future Classics, E.A.R. Music For Dreams, Apersonal Music, Roam Recordings, !K7.

Shabaka Hutchings am Saxofon, Danalogue (Dan Leavers) an Percussion, Roland SH−09, Roland Juno−60, Roland SH−101 und Moog Sub Phatty, und Betamax (Max Hallett) an Drums, Percussion, Roland TR−808 und JHS Pro-Rhythm, haben mit ihrer Mischung aus Synthesizer-Sounds der 80er, Saxofon und Schlagzeug, gespickt mit Punkrock, Jazz-Blasts und Dancefloor-Trance schon reichlich Fans gewonnen.

Für sein viertes Album ging das Trio THE COMET IS COMING diesmal in Peter Gabriels Real-WorldStudio, zusammen mit ihrem langjährigen Toningenieur Kristian Craig Robinson unterzogen sie sich einem
viertägigen Aufnahme-Marathon, angetrieben von Intuition, Können und Improvisation.

Monica : The tracks on Stop That Girl were recorded live in an old mill and
featured musicians who had played on recordings on the Postcard label
and in groups from that era - Aztec Camera, The Blue Nile, Bourgie
Bourgie, Jazzateers, Love & Money, Paul Quinn & The Independent Group,
among others - The album is a mix of original material and some covers
(Orange Juice, Captain Beefheart, Gene Clark, The Velvet Underground)
Monica Queen came to prominence in Thrum, recording tracks with Edwyn
Collins and releasing an album on the Fire label. She has released albums under
her own name on Creeping Bent and as part of Tenement & Temple as self
releases. Monica is perhaps best known for singing on the Belle & Sebastian
single Lazy Line Painter Jane and has performed live with The Jayhawks, The
Pogues, and James Grant.

What do notions of freedom and movement mean to us as we experience unprecedented restrictions on travel, culture and socialisation? Henry Keen’s Freedom In Movement offers a soundtrack to both remember and look forward to freedom through music, movement and community.

The memory and feeling of the Plastic People dancefloor were often in Henry Keen's thoughts as he produced the tracks on this new LP. Inspired by the London club nights he frequented – Balance, CDR, and CoOp – Freedom in Movement is Henry’s first vinyl self-release, an embodiment of self-expression that compliments his contributions to projects Electric Jalaba and Soundspecies.

The soulful tracks on the album pick up where Henry Keen’s 70's Baby (Maddjazz Recordings, 2017) record and EPs as The Room Below on the Don't Be Afraid label left off, bringing a range of tempos to get heads nodding while hips and feet work out. Lovingly made, the collection of songs offer meditations on questions evoked by the record's title and respite from the heaviness of challenging times.

The lead single from the album is Dexter’s Breakfast, featuring London-based woodwind expert, and previous collaborator Ben Hadwen on baritone/tenor saxophone, and flute.

Dexter’s Breakfast was released digitally on 25th June 2021 and gained support from the likes of Adam Rock (Jazz Re:freshed), Kev Beadle (Mind Fluid), Simon Harrsion (Basic Soul), Psycut (Music Is My Sanctuary) and Laani and Papaoul (Worldwide FM) amongst others

A collection of the finest Chick Corea performances from 7 legendary performances at the Montreux Jazz Festival, spanning 29 years from 1981 to 2010.

Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital.

The Brussels based power trio Don Kapot has gained a lot of attention on the national and international music scene in recent years. Their raw and energetic in your face mix of punk, free jazz, afrobeat and other global sounds took them to stages all over Europe.

Their first two records were based on the unique combined sound of Viktor Perdieus' baritone saxophone, the raw and pumping electric bass of Giotis Damianidis and the powerful and creative drumming of Jakob Warmenbol. Recently, the band has been experimenting with incorporating other sounds and instruments into their repertoire. In anticipation of their new full album, they invited a number of musical friends to their rehearsal room at various times at the end of 2021 and recorded an improvised repertoire with them on the spot. One of those musicians is the multi-talented all-round musician and singer Fulco Ottervanger (known from FULCO, De Beren Gieren, BeraadGeslagen). The recording they made turned out to be so successful that they couldn't just let it pass.

In two twenty-minute suites, Don Kapot & Fulco Ottervanger take the listener on a haunting musical trip, in which numerous influences and genres are reviewed: Classical Indian music, blues, krautrock, free jazz, synth-pop, post-punk, ambient, ... you name it. The musical brilliance of these four extraordinary musicians reaches unprecedented heights.

The record, simply titled 'un peu live', will be officially released on the Belgian jazz not jazz label WERF records on September 23.

Issued on BBE Music, “Reflections” is the new album by London based harp player and composer Alina Bzhezhinska, alongside her HipHarpCollective. Following up her critically acclaimed debut album “Inspiration” (Ubuntu 2018), Bzhezhinska puts together a second long player, collaborating with British jazz stars Tony Kofi (Saxophones), Jay Phelps (Trumpet), Julie Walkington (Double Bass) and vocalist Vimala Rowe, strongly supported by international talents Mikele Montolli (Electric Bass), Joel Prime (Percussion), Adam Teixeira (Drums) and Ying Xue (Violin & Viola).

 Alina creates a unique sound on the harp with layered effects and electronics, combining original works and covers to pay homage to some of jazz, funk and hip-hop’s greatest innovators. Throughout the record she draws from a variety of influences, including the likes of Dorothy Ashby’s ‘Afro-Harping’, Alice Coltrane’s spiritual outputs, Joe Henderson’s free-form jazz experimentation, 90s Acid Jazz and Trip Hop.

“This album is very vibrant and reflects directly on London’s multicultural community. We had so much fun making this recording - it truly built up our morale in the middle of the pandemic and I hope our fans will feel this energy too. For ‘Reflections’ I tried to break from any stereotypes and limitations - what you hear is my own choice of sounds and influences, taken from the many mixtapes I've been making since I was a teenager. I put together the music I like to listen to when I am happy or sad, when I feel like dancing or meditating. The tunes we play are my own reflections on what I love the most - a free spirit, courage, innovation and all the beautiful things life gives us. I hope our music can reach people’s hearts and evoke all the spectrum of colours and emotions that only the arts can do.” - Alina Bzhezhinska

 Reflections is released on double LP vinyl, limited edition CD & digital formats.