quête:john b

Clap Hands, Here Comes Charlie! is a studio album by “The First Lady Of Song” or “Queen Of Jazz” Ella Fitzgerald, with Lou Levy on piano, Herb Ellis on Guitar, Joe Mondragon on bass and Gus Johnson on drums. This LP is recorded on June 22 & 23 1961 in Los Angeles.

The debut album from accomplished guitarist and songwriter Jason Isbell, formerly of Drive By Truckers (DBT), is reissued with 4 unreleased tracks from the original recording sessions. The addition of those 4 extra songs finds Sirens Of The Ditch clocking in at 15 total tracks. Sirens Of The Ditch's mystical quality can be partially attributed to the FAME recording studio (Aretha Franklin, Duane Allman, Otis Redding) in Isbell’s hometown of Muscle Shoals, AL where the album was recorded. Co-produced by Isbell and Patterson Hood (DBT), Sirens Of The Ditch features Isbell singing lead vocals and playing guitar throughout, joined by Shonna Tucker (Formerly of DBT) on Bass and Brad Morgan (DBT) on drums. Several musicians pop in for cameos including Spooner Oldham and David Hood (Patterson's father) on "Down In A Hole", John Neff (Formerly of DBT) on "Dress Blues" and Patterson himself guests on "Shotgun Wedding". "a strong debut, full of the kind of confident, charismatic songwriting that just can't be taught." - Pitckfork “Isbell could be roots rock’s Flannery O’Connor.” - Spin

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

Daryl Runswick is a musical polymath, a top Jazz double bass player he has played with the likes of Stan Sulzmann, Alan Branscombe , Henry Lowther and Tony Coe to name but a few but is also a TV composer, was bassist and then pianist for Cleo Laine and Johnny Dankworth and is also a highly regarded contemporary classical composer. In Young Man Songs we find Daryl in song writer mode, teaming up with lyricist Kerry Lee Crabbe, these songs come from the 80 when Daryl was a young man trying to sell his musical wares these are more than demos, beautifully recorded and performed, echoes of Bacharach but ultimately Daryl has his own unique musical voice.

This album, except for one track, dates from the 1982 sessions, wonderfully recorded by John Burns.

Bill Evans and Jim Hall had first recorded together in July of 1959, during the making of John Lewis’ LP Odds Against Tomorrow, and the two musicians also participated on Gunther Schuller’s Jazz Abstractions (recorded in December of 1960). However, those were big band albums and had no space at all for any real interaction between the pianist and guitarist. Undercurrent, presenting them as a duet, was their third studio encounter and one of their most rewarding collaborations. 180-GRAM BLUE COLORED VINYL - THE COMPLETE ALBUM + 2 BONUS TRACKS

Matt Berry releases a unique collaboration with esteemed Library Music label KPM. KPM is renowned for providing the musical bedrock for so many classics of British TV and international cinema, using the best British composers such as Keith Mansfield, Alan Hawkshaw, John Cameron and Alan Moorhouse to do so. ‘Simplicity’ follows in the footsteps of these giants and is a worthy successor to them. Alongside his formidable acting career, Matt Berry has released a series of acclaimed albums on the Acid Jazz label. Ranging from the folk stylings of ‘Kill The Wolf’, the ambient electronica of ‘Music For Insomniacs’, to the psych rock of ‘Blue Elephant’, these have marked Berry out as an impressive musician and recording artist in his own right. Embodying the form of KPM’s original LPs geared towards film and television pitching, the album consists of 11 sharp and vibrant instrumentals, which will no doubt be heard in productions for many years to come. Released in special collaboration with Acid Jazz, the album is presented in a beautiful graphic sleeve, with notes that allude to the original KPM releases, for something that is instantly hip and familiar, yet unmistakably new.

"15th anniversary pressing of The Maine’s debut album, Can’t Stop Won’t Stop. The album includes the single “Into Your Arms” and fan favorites “Everything I Ask For” and “Girls Do What They Want.” After its initial 2008 release, the album debuted at #40 on the Billboard 200 and #4 on the Independent Albums chart. Reflecting on the album's legacy, frontman John O’Callaghan told Alternative Press, “this album might be the rawest form of who our band is.” The LP is housed in a gatefold jacket. "

Clear Marble Vinyl. Fairport Convention are an English folk rock band, formed in 1967 by guitarists Richard Thompson and Simon Nicol, bassist Ashley Hutchings and drummer Shaun Frater (with Frater replaced by Martin Lamble after their first gig.) Vocalists Judy Dyble and Iain Matthews joined them before the recording of their self-titled debut in 1968; afterwards, Dyble was replaced by Sandy Denny, with Matthews later leaving during the recording of their third album. Denny began steering the group towards traditional British music for their next two albums, What We Did on Our Holidays and Unhalfbricking (both 1969); the latter featured fiddler Dave Swarbrick. For Liege & Lief Swarbrick joined full time alongside drummer Dave Mattacks. Both Denny and Hutchings left before the year's end; the latter replaced by Dave Pegg, who has remained the group's sole consistent member to this day. This album is from their 1974 tour of the USA recorded live in Denver.

Clear Marble Vinyl. Fairport Convention are an English folk rock band, formed in 1967 by guitarists Richard Thompson and Simon Nicol, bassist Ashley Hutchings and drummer Shaun Frater (with Frater replaced by Martin Lamble after their first gig.) Vocalists Judy Dyble and Iain Matthews joined them before the recording of their self-titled debut in 1968; afterwards, Dyble was replaced by Sandy Denny, with Matthews later leaving during the recording of their third album. Denny began steering the group towards traditional British music for their next two albums, What We Did on Our Holidays and Unhalfbricking (both 1969); the latter featured fiddler Dave Swarbrick. For Liege & Lief Swarbrick joined full time alongside drummer Dave Mattacks. Both Denny and Hutchings left before the year's end; the latter replaced by Dave Pegg, who has remained the group's sole consistent member to this day. This album is from their 1974 tour of the USA recorded live in Denver.

Released 29th September 2017 on Tricki-Woo Records, Peach is the third full-length proper by Atlanta-based duo Larkin Poe.

A national musical treasure" The Guardian // Steven Adams, formerly of The Broken Family Band releases new album DROPS on Fika Recordings in November 2023. Since calling time on TBFB at the height of their success, Adams has released half a dozen albums under various names (Singing Adams, Steven James Adams, Steven Adams & The French Drops), his witty, incisive lyrics and melodic sensibilities taking in DIY indie rock, folky introspection, and off-kilter pop hooks. Originally from South Wales, Adams now lives in East London. “Every record I’ve made has been in a hurry of some sort” says Adams of his new album, “and with this one I took my time”. DROPS is the first album to be credited to him as a solo artist since 2016’s Old Magick, his first new music since 2020, and his noisiest record to date. Armed with a new batch of material, he began by upping sticks to the Welsh countryside to experiment with drummer Daniel Fordham and bassist David Stewart - both formerly of psych oddballs The Drink. The trio then took the songs to Big Jelly, a converted chapel on the south coast, with co-producer Simon Trought (Comet Gain, Johnny Flynn, The Wave Pictures) to lay down the basic tracks for DROPS. Eschewing a full band set up (“I wanted to concentrate on one thing at a time”), recording sessions in East London followed with Laurie Earle (Absentee) on guitar and Michael Wood (Hayman Kupa Band, Michaelmas) on keyboards. Adams then took the recordings home and to the French countryside, to work alone. “I finally got my head around home recording in 2020, while things were a bit quiet. Once I worked out how to record things I realised I didn’t have to think about time. I could let the songs evolve and change once we had the basic tracks down. After a while I started to think of them as paintings; trying something one morning, painting over it in the afternoon and attempting something completely different… it was about enjoying the process, making some bangers, playing around... and giving Simon the producer a mess to sort out when it came to mixing the record". Whenever Tom from Fika Recordings checked in to see how the album was progressing Adams would reply, “it’s taking ages but it’ll sound like it was recorded in an afternoon”. The result is a dynamic and spirited collection of songs, with Adams's love of 90/00s US underground rock (Pavement's Bob Nastanovich is a fan) to the fore. DROPS is a sonically compelling piece of work: from bleak/exultant opener Out to Sea and the motorik Living in the Local Void to the weirdly funereal Fascists (where Adams imagines the “little skip in our steps” that we’ll have upon outliving some baddies), and Day Trip's psychedelia in miniature. There are also moments of tenderness: the avalanche of empathy on closing track Cheap Wine Sad Face, and I Tried to Keep it Light’s “worse things could happen… I don’t know how, but give me time”. Adams says: “I'm preoccupied by the passing of time and the way it affects how we feel. This record is about time and bewilderment and trying to make sense of things". “…astonishing tenderness in its simplicity … brilliant lyrics.” Q Magazine //“…the tunes are instant and uplifting, but the real wallop comes from the lyrical imagery.” The Guardian // “…barbed modern life chronicles.”

Born in Roma in 1959, Guiseppe “Peps” Cotumaccio arrived in South Africa when he was two years old. He was the mastermind behind the band “Sweet Reaction”, singing and playing keyboards.

In the early 80’s, the group used to back various artists including one of the South African top singer “Neville Nash”. Both artists were on the same record label: Music Team. Throughout his lengthy career, Peps has collaborated with Johnny Clegg, Ronnie Joyce, Sipho "Hotstix" Mabuse, P.J. Powers, Mark Alex, Neville Nash, and Mara Louw just to name a few.

The lead singer of the band, Dion Williamson, started performing in Johannesburg’s nightclubs and got quickly very successful, always in demand! People loved his gravel and sensual voice as he used to sing some of Joe Cocker’s popular songs. Unfortunately, during the Apartheid, the South African Government were not allowing black and white audiences, and the band split.

On this BIG5 Boogie#2, Enoch Ndlela produced 2 Modern Soul killer tracks.
Recorded in 1981, "Take it easy", where the music is evidently influenced by Willie Hutch (Easy does it - 1978) offers Dion a way to fully explain himself doing his own version of the tune. And what an explosive result!

On the same side of this 12”, our 2 Frenchies in Cape Town aka Simbad & Fred Spider enjoyed delivering us a fat broken beat version of the track, while the very “En Vogue” Aroop Roy from London turned it into a funky house summer hit.
Side B starts with a superb composition from the band: “African Sunrise” where Dion Williamson is on top, this tune is a bomb!
To finish this E.P, the well-known Kid Fonque from Johannesburg, who freshly moved to London working for the glorious house record label Defected, couldn’t wait to produce a super groove deep house refix. The result is a second essential dancefloor release from Voom Voom Records!

One of Ireland’s finest exports, Deeper Grooves look to Cork for their next release, as Southbound Sounds join the family with a four tracker of sumptuous deep house featuring a remix by John Daly.

Comprised of Alan Keane and Greg O’Connell, Southbound Sounds have a penchant for the grooves emanating from the hallowed grounds of Chicago, New York City and Detroit, yet laced with a distinctive Cork character. Deep house done right, the A side holds ‘Educator’ and ‘Keep It Movin’, the former a punchy, lights down low groover, with the latter channeling a basement body vibe.

On the flip John Daly digs deeper, serving up a hypnotizing remix of the title track, before ‘Upstairs’ rounds out the package bringing that sun-kissed, hazy house feeling – perfect for a warmup or warm down.

“‘Bashed Out’... will also likely be her breakout... get ready to hear a lot more from her.” - Stereogum  This Is The Kit is the much beloved musical project of Kate Stables, born in England and based in Paris. ‘Bashed Out’ was produced Aaron Dessner, a member of The National known for both minting indie icons (Sharon Van Etten, Local Natives) and, more recently, becoming a producer to stars like Taylor Swift and Ed Sheeran. Dessner’s former client Sharon Van Etten called This Is The Kit her “favorite new artist” in Pitchfork.  The backing band gathered for ‘Bashed Out’ combines the talents of This Is The Kit’s touring members alongside session players drawn from the Brooklyn music scene: Bryce Dessner, Thomas Bartlett (Doveman, The Gloaming), Matt Barrick (The Walkmen) and Ben Lanz (Beirut, The National) made key contributions.  Since this LP’s initial release Kate made significant contributions to The National’s 2019 album/film ‘I Am Easy To Find’ and became a touring member on subsequent live dates. In 2020, ‘Bashed Out’’s title track became a streaming hit after an impactful needle drop in a key episode of Netflix’s ‘Sex Education’ series.  This music is honest, human and humane - a folky-lovely slowrumble. It’s rock but of the groovy, hangover-friendly, stoner variety. Stables’ voice hearkens back to the singer-songwriter era - her distinctive, cutting vocals up front in the mix.  The Line of Best Fit has the band as an “essential fixture of British folk music for the past 10 years… one of a handful of truly innovate songwriters working with the British folk template today.”  For fans of Joni Mitchell, Bon Iver, Sharon Van Etten, Father John Misty, Gillian Welch, Laura Marling, Natalie Prass, Jose Gonzalez.  This is the first time ‘Bashed Out’ has been widely available on vinyl since 2019.  ‘Green Eyed Muddy Puddle’ eco-vinyl variant.  Heavy touring in UK, Europe and North American to support the June 2023 release on Rough Trade, ‘Careful Of Your Keepers’.

Die nächste Veröffentlichung in der Reihe der Steve Hackett-Vinyl-Editionen ist sein 18. Studioalbum "Wild Orchids", das zum ersten Mal überhaupt auf Vinyl erhältlich ist. Ursprünglich im Jahr 2006 veröffentlicht, wurde Steve auf diesem Album von bekannten Persönlichkeiten wie Roger King, John Hackett, Rob Townsend, Gary O'Toole sowie dem Underworld Orchestra begleitet, das den Sound mit herrlichen Streicher- und Bläsersätzen bereicherte. Das Album enthält Steves Cover von Bob Dylans "Man In The Long Black Coat" sowie "Reconditioned Nightmare", eine Neuaufnahme des Titels "Air Conditioned Nightmare" von seinem 1981er Album "Cured". Erhältlich als Gatefold 180g 2LP.

Dirty Electronics (John Richards) and Oliver Torr met in a bar in Prague. One thing led to another. After collaborating at Prague Quadrennial to create a sound-installation in a repurposed ice-hockey arena, gigs followed. They vowed to make an album together, which
finally happened in the geographical space between Prague, London, Brno and Athens. The album brings together disparate spaces and connected artists as a distorted memory trace.
Improvised group scenarios and abrupt electronic episodes are placed side-by-side in a brutal marriag

INFODUMP Recordings, a Tokyo-based independent music label, releases a new EP produced by the label owner Takuro Hasumi. A Japanese outsider artist Pinkski created the illustration of the new EP’s cover art.

“A 3 track ep from Takuro Hasumi that dives deep into the mystical weirdness of house music. Out-there melodies and synths come together on a bed of machine funk grooves that demand you shuffle your body and mind too. My fav here is Ticktack, a house track from a wonky, chunky parallel universe.”
John Osborn (DRED RECORDS)

Matt Tolfrey’s Leftroom imprint makes a triumphant return here with a remix package featuring Mathew Jonson, Silverlining, Maher Daniel and Sakro, all reworking cuts from his 2020 ‘All Shapes And Different Sizes’ LP. Across the past two decades the UK’s Matt Tolfrey has been at the forefront of the underground House and Techno scene, releasing material on many seminal labels in the industry such as REKIDS, Cocoon, Music For Freaks, Crosstown Rebels, mix compilations for fabric and Classic, and of course his very own Leftroom which returns here following its last vinyl release back in 2020 from Detroit’s Norm Talley and Ataxia.

Up first on remix duties is Canadian machine maestro Mathew Jonson who remixes ‘How It’s Gonna Be’ featuring Tim Fuller, offering up his signature twitchy synth work, robust analogue drums and cinematic leads running alongside the original’s hooky vocal lines. Maher Daniel steps up next to remix ‘Feel The Same’, opting for an intricate electro tinged drum workout, wavey subs and hypnotic vocal chants.

London’s Silverlining then reworks ‘Fantasy’ featuring Shaun J. Wright next, diving deeper via a skippy, swinging drum groove, airy dubbed out chords, snaking bass groove and soulful, intricately processed vocal licks. Lastly to round things out, Sakro remixes ‘Under The Skin' featuring Lil Mark, the Mexican artist reshapes the original with his unique drum-led, groove driven style, fusing crisp snares and shuffled percussion, alongside an amalgamation of choppy bass hits, bleepy synths and sweeping atmospherics.

George Coleman (born March 8, 1935) is an American jazz saxophonist best known for his work with Miles Davis and Herbie Hancock in the 1960s. Coleman was born in Memphis, Tennessee and learned to play the alto saxophone in his teens. After his work with Ray Charles, George started working with B.B. King in 1953 and switched to playing the tenor saxophone.

George Coleman was a member of legendary outfits such as Max Roach’s quintet, The Slide Hampton Octet, Miles Davis’ Quintet and The Chet Baker Quintet. The list of his collaborations is impressive to say the least, Mr. Coleman recorded and performed with greats such as Freddie Hubbard, Herbie Hancock, Charles Mingus, Ahmad Jamal, Idris Muhammad, Pharoah Sanders, Ornette Coleman, Melvin Sparks, ArtBlakey…and many others.

Coleman was named an NEA Jazz Master, was added to the Memphis Music Hall of Fame in 2015, and received a brass note on the Beale Street Brass Notes Walk of Fame. George Coleman’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Atlantic, Prestige, Strata-East, Muse, Verve and Impulse!

On the album we are proudly presenting you today: Amsterdam After Dark (Recorded in 1978 at the famous NY Sound Ideas Studio and released on Timeless Records in 1979) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album.

The all-star line-up includes Sam Jones (Dizzy Gillespie, Duke Ellington, Ben Webster) on bass, Billy Higgins (Donald Byrd, Thelonious Monk, John Coltrane) on drums and Hilton Ruiz (Roy Brooks, Rashaan Roland Kirk, Sonny Rollins) on piano. Most players featured here were also part of the legendary ‘Eastern Rebellion’ collective responsible for releasing multiple ground-breaking albums over several decades.

Amsterdam After Dark shows off George Coleman’s mastery of the sax, his brilliant vintage techniques and deep soulful tones. Coleman plays from the heart and is on top of his game. Expect both original compositions as well as standards, beautiful ballads with elegant (yet fierce) solos alternating between the instruments, growling blues-oriented themes…this is a contemporary sounding Hard Bop & Post-bop crossover album and a must have for any self-respecting jazz fan or collector!

**LIMITED/HAND NUMBERED 200 COPY RELEASE ON HANDPRINTED SLEEVES** A limited edition of 200 records. Each sleeve is hand printed & numbered on recycled Kraft card by esteemed artist John Pedder. There’s also a card insert with an extra print and sleeve notes written by the music journalist Joe Muggs. ’Yarni is all about tactile, real, physical experience and the creations that result. Now, alongside printmaker John Pedder, he’s making that more explicit than ever. Yarni and John swapped musical and visual influences, each feeding the other; songs and art developing as a single process. From The Clash to the Bauhaus movement, references merged, and in particular, Anni Albers became a touchstone for both. Every physical copy of this EP is different, the geometry of John’s prints echoing Ben’s music. The loping hip-hop jungle of the title track, the airborne house groove of “Red Meander”, the footworking jitter of “Agitator II”, the cerebral dancing of “Rummy” – all are inspired by John’s artistry. The EP is brought to you via Sound Records, a label focused on artistry, process, and artifacts – things you can feel, hold and treasure. Here’s hoping you’ll hold it too, and feel the joy that has been put into it from the very start.