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This is a limited repress of this original classic, coming on a wicked little 10" and on gorgeous purple vinyl! Gloriously remastered, and totally unmissable...

There was a regrettable time in Turbo's history when our email filters would prevent anything called Groovedeep from reaching our senior A&R braintrust. We felt we needed to shield their sensibilities and sanity from demos by acts like The Rhythm Pilgrims and Loop Addict, but it ended up costing us potential stars like SonicVisions and Beatweaver. Someone had to stand up and say no more.

With this benighted era behind us, Turbo is proud of itself for presenting you with this pair of decidedly modern bangers from international supergroup Groovedeep, comprised of Toronto's Ciel and DC's James Bangura and Jackson Ryland.

"Funk Solo" packs 145 beats into each and every minute of a delirious techno mindbeast, with remixes from icons such as Shed, Batu, and Mark Broom taking the vibe in all the right various directions. Meanwhile, the bottom of the B-side is a "Big Bass Mix" for those of us who are compelled to slather ourselves in bass-boost ultrasound gel and nestle into the club sub-woofer where the low frequencies massage our kidneys and sacrum and the twinned demons of treble and vision cannot touch us I mean not even close brother.

The leader of the internationally acclaimed Wojtek Mazolewski Quintet reveals a more intimate, personal side in his solo project. Solo, the new album from Wojtek Mazolewski, offers a chamber-like, cinematic and deeply atmospheric listening experience.

Solo Jøns' new work for Musex Industries, scheduled for release on vinyl on 8 October, comes with eight tracks that explore the pulse of contemporary electronic music with a unique perspective and solid production. Between the raw rhythms, urban textures and a direct approach to the dance floor, the producer unfurls a repertoire that connects influences from the past with a fresh and forceful vision of the present. This LP moves between raw techno roots, industrial nods and moments of melodic exploration, consolidating Solo Jøns as a unique voice on the national scene.

Neba Solo, whose real name is Souleymane Traoré, is a true living legend of Malian music. His voice and balafon playing are unique, instantly recognizable, and deeply cherished throughout Mali.

He gained international recognition with his iconic track CAN 2002, composed for the famous African Cup of Nations. This success opened doors to global stages, leading to tours in the United States, Asia, and Europe. Prestigious labels such as Cobalt and Secousse supported this exceptional period in the artistic journey of this musical genius.

For many years, Neba Solo has closely collaborated with Yaya Diarra, the sound engineer of the legendary Bogolan studio in Bamako. Diarra played a key role in preserving and recording the works of the balafon master from Sikasso. He was also the one who invited Dom Peter to work on a bold and resolutely modern project: an album with more electronic sounds, enriched with drum machines, offering a new artistic direction to Neba Solo’s compositions.

Dom Peter and Yaya Diarra immersed themselves in the studio to conceive and produce this album, titled TUMA DUMA. The result is a perfect alchemy, where electronic rhythms blend seamlessly with traditional percussion, redefining the richness of Malian musical heritage.

These nine tracks explore classic themes of the Mandingue repertoire while showcasing Neba Solo’s unique way of narrating both everyday life and universal stories

Warehouse Find

Introducing Niff’s new imprint, the first Fuori Orario Ep “Non Solo Moda” is by Dean Denali, an alias of Italian producer Filippo Bena, with four tracks blending Techno, House and Breakbeat.

'Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format.
'After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings.
'An active and respected member of New York’s experimental and creative music community, Novoa prepared extensively for this session through months of solo performances - mostly in Brooklyn - leading up to the recording. These included a standout solo concert at the Brooklyn edition of the New York Forward Festival, where her approach to the solo format fully crystallized.
'On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience - raw, cinematic, and emotionally charged.
'Eva Novoa Solo (I) is the first installment in a planned trilogy of solo recordings. Across six original pieces, Novoa approaches the solo piano format with boldness, rhythmic fire, and fearless energy. Her percussive use of the instrument, expansive dynamic range, and deep command of tone transform the piano into both an emotional soundscape and a cinematic narrative.
'Recorded in Fall 2024, Eva Novoa Solo (I) captures an intimate session and deeply emotive music shaped by mature technical mastery and a highly compositional approach. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs, vocals, and whistle, revealing an expansive and deeply personal sonic universe.
'Originally from Barcelona, Spain, Eva Novoa has cultivated her distinctive musical voice since childhood. Now firmly rooted in New York, she has performed internationally and collaborated with some of the most adventurous voices in jazz and beyond.'

It happens very rarely that you can praise a records without any reservations, this is the case here!!!



A lot of ink has flowed across the page since the Vogue/Swing release (1955) of that founding solo record. The repertoire was made up of pieces that Thelonious was playing in New York over that period, but in trio or with a quartet, here his music shows nakedness, i should say crudeness, whisch is completely overwhelming. It is a balck and white photograph of what is happening inside Monk's head; its sharpness is enthralling, as everyone has known for more than sixty years.



We enter the world of one of the most original artists. Monk, at 37, is at the peak of his art.

For their first musical outing of 2012, Dubkasm take a walk down the avenues of digital 80s reggae, showcasing the fresh vocals of Rudey Lee and Solo Banton. 8 bit sounds meet tough JA riddims, with shades of Jammy's, Gussie Clarke and Steely & Cleevie, expertly mixed by UK veteran Nick Manasseh with razor-sharp precision. A key figure in Bristol's reggae ancestry, Rudey Lee helped connect the Bristol Sound with its dub origins through collaborations with legendary pioneers Smith & Mighty during the 90's. On his first outing since his appearance on Pinch's debut album 'Underwater Dancehall', Rudey takes us back to his reggae roots with 'Emotion', a soulful dancefloor bubbler with a conscious edge. Solo Banton, ever powerful in his hard-hitting delivery, proceeds to nail the message home with 'Are You Ready', a no-compromise deejay version taking things to a higher level. This cut guarantees a rewind in any dancehall, building on Solo's hit-after-hit track record, proven through his work with Jahtari, Maffi and Reality Shock.

Ed Solo & Deekline par up gain for the next installment of the always awesome Jungle Cakes label. Some feel good sticky Sensi reggae DNB bass goodness, paired with some Special Ghost Town action on the flip. This for now is a vinyl only release.

Athens-based percussionist and sound artist Yorgos Stavridis makes a stark, physical debut for Heat Crimes with »Solo Percussion«, a set of one-take improvisations that approach percussion as a field of friction between body, objects, space, and sound. Working with membranes, metals, found objects, and feedback systems, Stavridis foregrounds timbre, texture, and spatial presence, collapsing distinctions between instrument, environment, and recording apparatus.

Microphones and speakers are treated as unstable instruments in their own right, introducing opaqueness, resistance, and feedback into the performative chain. Scrapes, low-end pressure, brittle metallic chatter, and sudden bursts of resonance emerge through close bodily engagement with surfaces and materials, each piece documenting a specific configuration of objects, gestures, and acoustic conditions. Performed and recorded live, »Solo Percussion« captures sound in its most contingent state; situational, physical, and irreducibly present. Eschewing narrative, pulse, or formal development, the record sits squarely in Heat Crimes’ lineage of process-led, uncompromising sonic research, where listening becomes an active, tactile act and sound itself is the primary event.

Solo Suono is the first collaboration between saxophonist Filippo Ansaldi and electronic musician Simone Sims Longo, both based in Cuneo, Italy. Solo Suono is an album between acoustic gesture and electronic treatment, beyond the classical while starting from the classical. Breath, amplified mechanics, residual sounds, expressive freedom, and different forms that integrate electroacoustic composition. Passing through looped gestures, electronic processes, and concrete sound explorations, it investigates textures that blur the line between organic and synthetic, emphasizing subtle timbral shifts, evolving patterns, and the interaction between chance and structure. Fragile, immersive, and at times meditative, the music opens a space where the listener can inhabit both the immediacy of performance and the expanded sound world of electronic manipulation. Solo Suono is a phrase open to multiple interpretations, a naïve description of music.

This is a very limited 10" press of these amazing original remixes...in blue smoked vinyl with a special edition sleeve! And I have to add, these remasters sound incredible!

This is a very limited 10" repress of these amazing remixes, in green smoked vinyl and with a special edition sleeve!

Mj Lenderman is the project of Asheville native, Jake Lenderman, whose 'Boat Songs' was released to wide acclaim on Dear Life Records in 2022. Now Dear Life is proud to offer a vinyl reissue of MJ's 2021 label debut, 'Ghost of Your Guitar Solo,' a collection of nine songs recorded and performed entirely by
Lenderman, and one live band track. The record was written and recorded quickly, songs often being fully constructed and recorded within frenzied single day sessions. Songs were born out of freewheeling jam sessions with his roommates, with Lenderman often freestyling lyrics that would later become the
foundations of the finished songs. Lenderman would write 20 disconnected lines a day, scrapping most of them but preserving a few to be used later. This process aided in what became an extremely prolific writing period for the artist in the spring of 2020. The record sounds like country music being played by a noisy punk band, unkempt and imperfect like the characters in his songs. Here, Lenderman broadened his lyrical scope beyond solemn introspection, adding humor to scenes larger than his own life. He points to authors Harry Crews and Larry Brown as inspirations, both of whom were southern, self-taught writers who balanced empathy, humor, and darkness. This leads to the erosion of the line that separates humor and sadness. The resulting songs are about over-
indulgence and drug/alcohol abuse, full of self-loathing and pity while celebrating the absurdity of it all.

Mit To The Source öffnet Christoph Stiefel einen Raum, in dem Musik nicht nur gehört, sondern erlebt wird. Jeder Ton seines Soloalbums auf dem Klavier ist wie ein Atemzug - bewusst gesetzt, tief empfunden und voller Resonanz. Die Aufnahmen entstanden in zwei akustisch sensiblen Räumen, in denen Klang und Stille gleichberechtigt miteinander kommunizieren. Stiefel spielt nicht, um zu beeindrucken - er spielt, um zu berühren. Die Musik entsteht intuitiv, fließt durch ihn hindurch, ohne Plan, aber mit voller Hingabe. Nebengeräusche wie Atmen oder Rascheln sind keine Makel, sondern Zeugnisse eines echten Moments, eines Menschen, der sich ganz dem Klang hingibt. To The Source ist ein musikalisches Bekenntnis zur Reduktion, zur Essenz, zur Wahrheit. Es ist ein Album, das nicht erklärt, sondern fragt - und dabei tief bewegt.

Strut now present a new single vinyl reissue of Vambe"s privately pressed original album from 1982, Drumgita Solo. A self-taught drummer, inventor, and sonic experimentalist, Vambe is a unique figure in British music. The creator of his own instrument, the drumgita (pronounced "drum-guitar") or string-drum, Vambe intended to create a kind of music that had never been made in order to pursue access to the fourth dimension. The album plays with time, mixing hypnotic, trance-like drumgita pieces with the same segments played backwards. You can hear echoes of African drumming traditions, minimalist repetition, and tape-manipulated musique concrète - but ultimately, the album defies genre. It is a solitary voyage, spiritual and futuristic.

Hans Solo schlägt einen weiten Bogen von old-schooligen Hommagen an seine Pionierzeit, über klassische Rap-Tracks, bis hin zu dubbigen Fingerdrumming Songs und elektronischen, minimalistischen Soundkollagen. Auf einer fast 80-minütigen Zeitreise im wahrsten Sinne des Wortes geht Solo textlich wie auch musikalisch durch alle Höhen und Tiefen des gesellschaftlichen Miteinanders und bildet somit einen alles verbindenden roten Faden.

Reality Shock & Solo Banton are back once again, with a soundsystem anthem entitled Sound Teachings

Produced by Kris Kemist for Reality Shock Records, with support from CultureMix Arts’ Reggae Collective, Sound Teachings is a celebration of global soundsystem culture; a call to honour the past whilst embracing the future.

Solo Banton's lyrical flow is as commanding as ever, his wordplay paying tribute to the soundsystem pioneers who laid the foundation and the sounds of today who continue to fly the flag for the culture. Kris Kemist’s heavyweight production, featuring Wailers drummer Carl Benjamin, gives this record a fresh yet nostalgic sound, complete with obligatory dub mix on the B side.

Martha Argerich - eine Legende am Klavier
Der Begriff „lebende Legende“ trifft auf Martha Argerich zu, deren schillernde Mischung aus Virtuosität, Einfühlungsvermögen, Eklektizismus, Großzügigkeit und faszinierender Aura sie zu einer Pianistin von unvergleichlicher Faszination macht. Die in Argentinien 1941 geborene und in Wien ausgebildete Pianistin, die 1965 den Chopin-Wettbewerb gewann, ist zu einer manchmal schwerfassbaren Figur geworden, deren Auftritte und Aufnahmen mit Spannung erwartet werden. Martha Argerich ist zudem eine großzügige Mentorin für junge Künstler, insbesondere durch ihr ehemaliges Progetto Martha Argerich beim Lugano Festival in der Schweiz. Nun erscheint eine Auswahl ihrer berühmten Solo-Klavier- und Kammermusikaufnahmen auf Vinyl.

Shai Maestro ist einer der einfallsreichsten und einflussreichsten Pianisten seiner Generation. Seit seinem 2011er Debüt mit seinem Trio hat er eine unverwechselbare musikalische Stimme entwickelt - fließend, ausdrucksstark und zutiefst lyrisch. Sein künstlerisches Können hat ihn zu einer treibenden Kraft des zeitgenössischen Jazz gemacht. Er verbindet Improvisation, Komposition und globale Einflüsse zu einem Sound, der sowohl filmisch als auch zutiefst persönlich ist. Nun präsentiert er sein erstes Klaviersoloprojekt beim renommierten Label naïve. Das Album 'Solo: Miniatures & Tales' bewegt sich zwischen Komposition und Improvisation und lässt uns in die reiche Palette an Nuancen und Sensibilitäten eintauchen, die die einzigartige Klangidentität des Pianisten prägen. Mit seinen jüngsten Veröffentlichungen bei ECM Records, produziert von Manfred Eicher, reiht sich Maestro in die Riege legendärer Pianisten wie Keith Jarrett, Paul Bley und Chick Corea ein. Sein Quartett erweitert weiterhin die Grenzen des modernen Jazz. 2025 begibt sich Shai Maestro auf eine neue Reise: Seine erste Soloaufnahme markiert den Beginn einer fortlaufenden Reihe. Dieses Projekt erforscht die empfindliche Balance zwischen Struktur und Spontaneität und spiegelt seine sich entwickelnde Beziehung zu Komposition und Improvisation wider. LP-only auf schwarzem Vinyl!

Deutsche Grammophon veröffentlicht Shostakovich: The Piano Concertos | Solo Works, in einer mitreißend virtuosen Einspielung von Starpianistin Yuja Wang. Das Album krönt den zehnjährigen, mit vier GRAMMY Awards® ausgezeichneten Schostakowitsch-Zyklus des Boston Symphony Orchestra und erscheint anlässlich des 50. Todestages des Komponisten. Zu hören sind die Interpretationen der Pianistin mit dem BSO unter Leitung seines Chefdirigenten Andris Nelsons. Yuja Wang spielt Shostakowitschs kontrastierende Klavierkonzerte – Nr. 1 in c-Moll und Nr. 2 in F-Dur (sie »meistert beide Werke mit Ausdruckskraft und souveräner Technik« – Boston Globe) sowie eine Auswahl der teuflisch schwierigen Präludien und Fugen des Komponisten, selektiert von der Pianistin selbst. Diese wurden in Wangs ersten Studiosessions seit vielen Jahren aufgenommen und zeichnen sich durch faszinierende Virtuosität aus.

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo Moderna is back with his female alter ego singer Krage, for a perfect fusion of Afro-Latin and Caribbean rhythms with modern synth pop. Highly entertaining, Clever and unique blend of organic sounds, samples and vintage synths tweaking, "Daïsm" is a fun and enjoyable journey to the frontiers between electro, mento, dub, rocksteady, contemporary African rhythms and cumbia with a twist.

Certainly not your average tropical music. This new album is definitely a step up for the eccentric artist, as he's now reached the next level of mastering the fusion of genres and the art of blending organic sounds with electronic elements. Solo Moderna is one of the few “electro” artists you can immediately recognise when you hear one of his songs. In the creative process of “Daïsm”, Solo Moderna met his soulmate singer, Krage, who sings in a delightful mixture of English, French, Spanish and Jamaican Patois. Together, they found their very own way of expressing their love for nature and diversity through universal language.

Five Leaves Left - Echoes on Solo Pianois the new project from pianist and composer Demian Dorelli, a tribute to Nick Drake's debut album

Decima Victima were a Spanish band that, during their short-lived career between 1981 and 1984, developed a very personal sound reminiscent of Joy Division, The Cure and other British post-punk bands. Despite commercial success evaded them, rarely has any Spanish band achieved such a high degree of quality and coherence in their music and personality. Although included in our past release MR 305 (2010) as part of a limited edition boxset, this is the first time their second album "Un Hombre Solo" (1984) gets an official reissue in its original single LP format. For this edition, the sound of the original tape recordings has been cleaned and improved and the artwork has been slightly modified following the band's ideas.

Eurorack tweaker, 8-bit master, king of carnival madness, Dutch producer Solo moderna is back with his female alter ego singer Krage, for some 80s flavored, chiptune infused, electro-latin bangers. Unofficial Electo-Funk anthems? Sweaty remakes from outta space? who knows.. the only unquestionable thing here is that loads of fun await the crowd when dropping this tasty 7” on the turntable. Certainly not your average tropical music, though.

This double sider stands as a foretaste for the album release in May 2024, that will unite this pair in a perfect fusion of Afro-Latin rhythms and modern synth pop.

Black vinyl 180g made only in 100 numbered copies.

This record is different. It is different from what might be expected of Jan Emil Mlynarski by those who know him, from sold-out shows and platinum albums of his bands – Jazz Band Młynarski – Masecki and Warsaw Dance Combo, as an old-timer, curator and reenactor of pre-World War II Warsaw's plush dancehalls and backyards folklore. Quite likely they may not recognize him until the last song, when he removes his shaman mask and bows down: Yeah, that's really me, folks, your good ol' Jan Emil, the entertainer. They might not have even known that he ever played drums because in his flagship bands, clad in a white tux in the former or in a Peaky Blinder hat in the latter, he sings and plays mandolin banjo. In fact, Młynarski has been a drummer for a lot longer than a singer. He stands clear of the jazz mainstream but is active on the progressive scene. A record he contributed to, trumpeter Tomasz Dąbrowski's 2022 release The Individual Beings, was recognized by Downbeat magazine as "excellent" and awarded the highest rating of five stars.

However, this is the first instrumental record to bear his name. As an album by a drummer, it stands out from other records, especially as it features drums as the principal content rather than the performance by a band with a drummer as the leader. It's all about drums, there is neither an articulate melody – because the melodies that are there are only micro-linesencased in ostinato modules – nor is harmony as an intentional chord progression – because whatever harmony-wise there is, is rather a product of the counterpoint of overlapping voices. All sounds other than the drums make only a riverbed through which runs a raging stream of rhythms. And indeed, this record took off just with this stream. At first all the drums were recorded live onto an analog tape, all at once, without overdubs or editing. After that, synthesizer riffs were added, and the record was ultimately assembled on tape without the use of computers or complex postproduction, which sets it apart from most releases today.

Młynarski the drummer acknowledges that he follows the trail beaten by Art Blakey, Max Roach, Roy Haynes, and Billy Higgins, but he walks it in his own strides. He treats the jazz drumming with specific reversed engineering by decompiling the jazz drum kit originally compiled by the pioneer jazz drummers from an array of instruments that had made their way from a jungle to New Orleans, first to Congo Square and then to street brass bands.

This takes him back to the jungle, his drums don't sound like jazz drums, the snare is rare, and the hi-hat and ride aren't there at all. Instead, there are drums and bells from Nigeria, Ghana, Burkina Faso, and Côte d'Ivoire. He doesn't sound like a jazz drummer either, but like a gang of drummers, each playing their own rhythm, and it's hard to believe that all this is the work of one man.

Not only his drumware comes from the jungle, but also the software – his approach to rhythm and time. Its essence is polyrhythm and ostinato. The polyrhythmic matters were unveiled to Młynarski and Piotr Zabrodzki, his creative partner in many projects and co-composer/producer of this album, by the legendary eccentric veteran-drummer Władysław Jagiełło, who introduced them, aged thirteen, to his concept and practice of "17 Latino rhythms at once". Ostinato, an obstinate repetition of a phrase or rhythm, "arrests" time, turning its linear course into cyclical in-place rotations. This is specific not only to African music but also to cultural music of other regions and differs from Western artistic music in that it does not "run" to fulfil an aesthetic intention but "stays" to provide the framework for recurrent routines of communal proceedings.

So, this record is different. And, if you are different too, this is the record for you.

"Louane is back with ""solo"", a new album that shows us a new side of the artist. She asserts herself, fully embracing her emotions, without fear of trying new things or putting herself in danger. After an 11 year career, we discover a body of work in which the artist reinvents herself and experiments more than ever. This new album celebrates the many facets of her personality, offering her, thanks to those who accompany her, a new freedom allowing her to express her individuality. A solo climb, without nets, with the strength of her conviction and talent.
Available on CD and LP. "

Warehouse Find

"In the core of the album’s creation, lies my fascination with unveiling the piano overtones by harnessing the properties of complex systems, which emerge when competing oscillations of strings interact with room acoustics, microphone placements, the piano's pedals, and its soundboard. Through long forms, incremental gestures, and nuanced timbral artifacts, the album aims to distort the perception of time and invite an introspective experience of multiple and expanded temporalities." - Zoe Efstathiou.

Zoe Efstathiou, pianist and electro-acoustic composer, originally from Greece, has lived in Sweden since 2015. Her interest shifts between the intricate relationships of the overtones of acoustic instruments, electro-acoustic textures, and the sonic potential of light installations. Her music interpolates the momentary with the ever-evolving, exploring ideas related to time, expectation and memory.

Limited White VInyl Version
Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Solo Paraiso will be available on vinyl for the first time in 10 years and Digitally for the first time.


Solo Paraiso is Molly Nilsson’s mini-album from 2014 recorded during a 6 month residency in Buenos Aires, Argentina.
For it’s 10th Anniversary, Night School and Dark Skies Association is making the most sought after long player in Molly Nilsson’s catalogue available again on a new format with new artwork designed by Molly Nilsson and Jonas Raam.
Pop music rarely comes as honest and heartfelt as when delivered by Molly Nilsson. Having traveled around the world singing to the romantic and the doomed, Nilsson found herself in the Summer of 2014 in Buenos Aires. Inspired by the crumbling urban landscape and the heavy hearts that populate it, Sólo Paraíso is not only an ode to a specific time and space but a musical novella that meditates on youth, idealism and belonging. The soundtrack to a summer you thought you had when looking over bleached out old photo albums.

Sólo Paraíso has the feel of a bridge between the more lo fi, first phase of Nilsson’s career and the expanded sonic scope she has employed in the last decade. Recorded quickly, with instinct and feeling of paramount importance over rectitude or perfection, amongst the eight tracks of this mini LP are some of the biggest fan favourites of her career. As with all Molly Nilsson songs, each of these tracks is bursting with perfect moments. Opener Summer Cats sails over sun-kissed piano chords, chasing the sun eternally as it dips over the horizon, while show-stealer Blue Dollar draws parallels between the doomed Argentine economy and the failure of a love affair. It’s the most feel-good, romantic peon to an economic downturn you’ll ever hear. As Molly says “why is it so damn easy to break all the things that are so damn difficult to make?”
Using cracked synths, shimmering piano, heat-stroked drum machines and above all her direct, from-the-heart vocal delivery, Nilsson’s songs have never been so precise and on-point. For fellow doomed romantics, Sólo Paraíso is the perfect sound for an imperfect Summer.

Recorded in 1971, Solo Guitar Volume 1 was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked. He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years — Incus 2 and 2R — with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars and Willem Breuker. All this music is here, plus a superb solo performance at York University in 1972; a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence and wit.

Contemporary classical composer Sophia Jani and violinist Teresa Allgaier announce their new collaborative work Six Pieces for Solo Violin on Squama Recordings. Characterized by its calmness and poise, each movement focuses on a particular technical aspect, bending the boundaries of the instrument while maintaining the illusion of simplicity.

Sometimes the most complicated thing anyone can do is to try to create something that feels uncomplicated. Arvo Pärt, ballet, a delicious meal we didn’t cook ourselves, Ella Fitzgerald, a safe place to lay our heads at night, a quiet pine forest – … In all these things, it takes a lot of effort to make us feel as if something is effortless.
– David Lang (from the liner notes)

Solo Throat is the first solo LP from vocalist, composer and movement artist Elaine Mitchener. Drawing on the work of African-American and African-Caribbean poets Edward Kamau Brathwaite, Aimé Césaire, Una Marson and N. H. Pritchard, these twelve new vocal compositions disrupt semantic sense, play with the margins of lyrical translation, and give rise to new voicings. Elaine Mitchener is a veteran of vocal expression in the global Black Avant Garde, traversing free improvisation, cross-disciplinary music theatre and contemporary composition with clarity and joy. Most recently, Mitchener has been improvising and composing with the written word as source material - challenging classical ensembles with her piece (“the/e so/ou/nd be/t/ween”), and commissioning composers Matana Roberts, Jason Yarde and George Lewis to respond to the work of Sylvia Wynter (“On Being Human as Praxis”, Donaueschinger Musiktage, 2020). Her performance of Umbra poet N.H Pritchard’s text FR/OG at OTO in 2021 was a revelation - a solo vocal recasting of the powerful visual-material form that Pritchard uses to disrupt semantic ‘sense’. Building on this performance, Solo Throat takes the work of Pritchard alongside poets Edward Kamau Brathwaite, Aimé Césaire and Una Marson as its source material. Its compositions are a loose translation - a carrying from text to voice which holds multiplicity and celebrates the transformative power of literary possibility. Surrendered to the spacing and repetition of consonants and vowels, Michener’s exceptional phonetic freedom gives rise to a sensuous experience which intensifies the roles of rhythm, timbre and breath in expressing meaning. Solo Throat comes together as much through difference as similarity. Mitchener’s own solo improvisations sit alongside the work of Brathwaite, Césaire, Marson and Pritchard, forming a constellation of unlikely alignments which make no aesthetic conclusion. Instead, Solo Throat is a site of encounter, an irreducibly plural de-composition of words into a heterogeneous assemblage of sounds and impulses, emphasising what Anthony Reed calls, “the play on and the surplus of margins of lyrical translation to resituate other pathways of expression”. Just as the poets cited use white space to complicate our act of reading, so Mitchener utilises silence and multiphonics to complicate the act of voicing and the way we listen. Genre: Experimental / Vocal / Poetry

Main Title (The Taking Of The Pelham One Two Three) (Edit) by David Shire b/w One Way Glass (Edit) by Manfred Mann Chapter Three | Galaxy Sound Company, Solo 500 — SOLO500-502 | I am excited to share a sneak peek test pressing of the third & latest entry in @galaxy_sound_company’s Solo 500 series, which digs deep in the jazz-funk crates for killer breaks ya need in yo bag.

Side A is an edit of the jazz-funk intro track “Main Title” from the original soundtrack of 1974 gritty subway hijack film The Taking Of The Pelham One Two Three. The soundtrack with its funk, jazzy score has been a well that hip-hop artists have repeatedly drawn from. Most notably, “Krazy Kings Too” by Company Flow, “Suprize Packidge” by Mix Master Mike, & “I’m Set” by Goodie Mob.

Side B is a subtle edit of “One Way Glass” by Manfred Mann Chapter Three, which is taken from their self-titled 1969 LP. Manfred Mann Chapter Three were a British experimental jazz rock band, 1969 to 1970, founded by South African keyboard player Manfred Mann & long-time partner Mike Hugg, both former members of the group Manfred Mann. The track was sampled by many, most notably by The Prodigy for their 2009 track “Stand Up” & on “Headbanger” by Krafty Kuts in 2011.

Career trajectories are rarely linear or make logical sense. Life is always unpredictable so all you can do is put in good work and keep at it. Joh Chase is a testament to this. Over the past two decades, the Seattle-raised, Los Angeles-based artist has persistently honed their songwriting and toured, opening for acts like Noah Gunderson and David Bazan. This dedication comes out entirely in their songs, which are so timeless, confident, and inviting they can only come from someone who’s devoted their whole life to their craft. Chase’s new album SOLO feels like a turning point for them: it’s the culmination of a lifetime of writing, losing, loving, and doing it all yourself. The LP adventurously toes the line between genres and sensibilities but it’s all filtered through Chase’s charming and fully-formed vision. SOLO is a testament to Chase’s do-it-yourself ethos throughout their entire career—they chipped away, self-funded tours, and crowdfunded this LP. But by finding their voice, they now no longer feel alone. “This is the most support I've ever had in my life,” says Chase. “I do not feel alone at all. There’s so much energy and generosity here around these songs.” Though it’s not their debut, SOLO feels like a reinvention for an artist: a daring reintroduction for a timeless talent. “I spent my life making music and trying to do it about 10 different ways,” says Chase. “Now this one feels like it. This album feels like a leveling-up of my music in general. When I look at it now, I realize this is the first record that's really me.” “Mesmerizing, infectious, joyful, and heartbreaking; this is the best new album I've heard in a decade. Joh Chase has arrived

"Ein Großmeister der Pianoballaden" schrieb der Rolling Stone zu Martin Bechlers Solo Liedern, "betörend und souverän".
An zwei ausverkauften Abenden in der Kölner Kulturkirche wurde eben diese Magie in beeindruckender akustischer Kulisse eingefangen.
Der Kopf der Kölner Indie Abräumer Band Fortuna Ehrenfeld führt in einem der seltenen Solokonzerte beeindruckend intensiv sein Publikum durch die Aggregatszustände eines Schrammenlebens.
Blut, Schweiß, Tränen.

"Ein Großmeister der Pianoballaden" schrieb der Rolling Stone zu Martin Bechlers Solo Liedern, "betörend und souverän".
An zwei ausverkauften Abenden in der Kölner Kulturkirche wurde eben diese Magie in beeindruckender akustischer Kulisse eingefangen.
Der Kopf der Kölner Indie Abräumer Band Fortuna Ehrenfeld führt in einem der seltenen Solokonzerte beeindruckend intensiv sein Publikum durch die Aggregatszustände eines Schrammenlebens.
Blut, Schweiß, Tränen.

Far Out Recordings proudly presents the new album from Brazilian guitarist and composer Fabiano do Nascimento: Mundo Solo.

Recorded at his home studio in Los Angeles (2020) the album is fundamentally the sound of a man alone with his instruments.

Utilizing a variety of guitars, including 6, 7 and 10 strings, Oktav guitar and electric baritone guitar, alongside a host of pedals and synthesizers, Fabiano tracked imagined landscapes with expressive, expansive improvisations, which tend toward the more ambient and atmospheric reaches of his recent output.

Adopting Hermeto Pascoal’s concept of Universal Music, a rejection of nationalistic tendencies in order to express all of one’s musical influences all at once, Fabiano avoided leaning too heavily on any particular musical language, without denying his own musical roots.

After studying classical piano as a child, the Rio de Janeiro native discovered the guitar aged 10. Studying under his late uncle, Lucio Nascimento, he eventually left Brazil for LA, where he soon became an in-demand player for his distinct and authentic sound. He has since released seven albums under his own name and collaborated with renowned Brazilian artists including Arthur Verocai and Airto Moreira, as well as experimental US saxophonist Sam Gendel.

Mundo Solo (Do Nascimento’s eighth), was recorded in one take per track, with occasional overdubs and a few appearances from collaborators and friends Julien Canthelm (drums on Etude 1), Ajurinã Zwarg, (percussion on CPMV) and Gabe Noel (Bass on Curumim).

Fabiano Do Nascimento’s consummate mastery of his instrument has afforded him a freedom of expression few can claim. Blending the emotional with the elemental, Mundo Solo is a stunning snapshot of solitude and the beauty which can blossom within it.

Mundo Solo will be released on vinyl LP, CD and digitally on the 24th November, via Far Out Recordings.

Tuff City anthology of early Hip-Hop solo performers with insert 7" half on red, half on yellow vinyl featuring Spoonie Gee, T-Ski-Valley, Ultramagnetic MC’s featuring Kool Keith, Grandmaster Caz, etc. Tuff City is pleased to present the best possible reissue program of Hip-Hop's first decade. These reissues were made as a tribute to Hip Hop’s 50th Anniversary. Each volume represents an important facet of performers on Tuff City: The Solo MC’s, The MC Crews, The DJ’s and The Female MC’s.

Each volume features an inner sleeve with liner notes and bonus 7” insert. Each pressing consists of 750 on red vinyl and 750 of an opaque color specific to the volume (Yellow, Gold, Blue, Orange). A bonus 7” single is slipped in the cover encased in a Tuff City logo sleeve in the style of its iconic 12” singles. The series was also conceptualized as a multiset release to stand side by side with the classic Old School Rarities series (The Funky Drum Jams, The Electro Jams, The Linn Drum Jams & The Disco Jams) issued by our Ol’ Skool Flava imprint.

The Solo MC’s kicks off with Harlem’s pioneering Spoonie Gee’s influential “Spoonin’ Rap” from 1979. “Catch The Beat” from T-Ski Valley captures the post-Disco Bronx era of Rap. The side closes with the underground personality Funkmaster Wizard Wiz whose “Knucklehead Rappers” came after he broke from The Undefeated Three. Brooklyn’s Jimmy Spicer delivers a 14+ minute marathon “Adventures of Super Rhyme (Rap).” Grandmaster Caz from Cold Crush is paired with the Fantastic’s Whipper Whip for “To All The Party People” Captain G Whiz from Freddy B’s Mighty Mic Masters closes with his solo 12” track “All The Way Live.” The bonus single features a Kool Keith solo from the Ultramagnetic MCs backed with Grandmaster Caz by himself doing “I’m What Is and You’re What Wants To Be.” Track Listing: A1 Spoonin' Rap-Spoonie Gee; A2 T-Ski Valley-Catch The Beat; A3 Funkmaster Wizard Wiz-Knucklehead Rappers; B1 Adventures of Super Rhymes-Jimmy Spicer; B2 Grandmaster Caz with Whipper Whip-To All The Party People; B3 All the Way Live-Captain G. Whiz; Single A: Ultramagnetic MC's-Kool Keith Wild; B: Grandmaster Caz-I'm What Is Your What Wants To Be

Diese 3-LP Faksimile-Edition von Bremen-Lausanne, nun als Teil der gefeierten Luminessence-Vinyl-Reihe von ECM wiederveröffentlicht, enthält die beiden Solokonzerte von Keith Jarrett vom März und Juli 1973.

Sie stehen am Anfang der inzwischen legendären Reihe von Jarretts Solo-Erkundungen auf dem Klavier und haben auch heute nichts von ihrer musikalischen Kraft und Faszination eingebüßt. In einer im Begleitheft enthaltenen gemeinsamen Anmerkung schreiben Keith Jarrett und Manfred Eicher: „Wir sind der Meinung, dass dieses Album sich selbst und dem Publikum in jeder Hinsicht treu bleibt und dass wir in dem Wissen zufrieden sein können, dass wir hier eine Aufnahme geschaffen haben, die das Erlebnis dieser Abende einfängt, beinahe, als wäre man vor Ort.“

Vor fünfzig Jahren wurden die Solo-Concerts – über zwei Stunden Solo-Klavierimprovisationen – auf der ganzen Welt überwältigend positiv aufgenommen: Die Musik wurde mit Auszeichnungen überschüttet und im Time Magazine, der New York Times, Down Beat und Stereo Review in den USA, Jazz Forum in Polen und Swing Journal in Japan als Album des Jahres gefeiert.

In Deutschland gewann es den Großen Deutschen Schallplattenpreis. Die Begeisterung hat nicht nachgelassen – in einer aktuellen Umfrage zu Jarretts Gesamtwerk im britischen Mojo-Magazin wurde das Boxset Bremen-Lausanne auf Platz 1 gewählt:

„Dies ist das Nonplusultra des Solo-Live-Konzerts von Jarrett in all seinem improvisatorischen Reichtum.“

Die dreifache Grammy-Gewinnerin Hilary Hahn präsentiert ihre neue Aufnahme von Eugène Ysaÿes sechs Sonaten für Violine solo op. 27. Inspiriert durch J.S. Bach schrieb der legendäre belgische Geiger und
Komponist Eugène Ysaÿe im Juni 1923 das erste Werk eines Zyklus aus sechs Sonaten. 100 Jahre später hat Hilary Hahn, „eine der wichtigsten Geigerinnen unserer Zeit“ (The New York Times), diesen Zyklus aufgenommen – angetrieben vom bevorstehenden 100-jährigen Jubiläum.

„Ich staune immer wieder über mein Glück, in dieser musikalischen Traditionslinie zu stehen“ sagt Hahn.
„Vor 20 Jahren waren mir diese Stücke irgendwie fremd, sie schienen Geheimnisse zu enthalten, die ich niemals enträtseln würde. Jetzt denke ich, ich kann diese Sonaten in seinem Geiste spielen und mir dabei trotzdem absolut treu bleiben.“

Eugène Ysaÿe (1858-1931), der weithin als einer der ersten modernen Geiger gilt, schuf technische und künstlerische Maßstäbe für sein Instrument, die bis heute gelten. Koryphäen wie Franck, Debussy und
Chausson komponierten bedeutende Werke für ihn. Im letzten Jahrzehnt seines Lebens konzentrierte sich Ysaÿe mehr auf das Komponieren. Er begann mit dem Schreiben der sechs Sonaten für Violine solo, nachdem er den ungarischen Virtuosen Joseph Szigeti Bachs Partiten und Sonaten für Solovioline spielen hörte. Hilary Hahn fasst ihre Bedeutung zusammen und beschreibt sie als „legendär, sie haben Generationen von Geigern geprägt und sind eine wunderbare Hommage an das Instrument“.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 2nd single released on Selected Works and encompasses breaks, Lo-Fi hip hop and house music influences. Tee Illa blends a wide range of musical genres and combines influences such as Hip Hop, house and Breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

Tee Illa is a musician and beat maker based in Pretoria South Africa. This is his 2nd single released on Selected Works and encompasses breaks, Lo-Fi hip hop and house music influences. Tee Illa blends a wide range of musical genres and combines influences such as Hip Hop, house and Breaks music with South African, Afro Futurism and Traditional African music into his own brand of exciting electronica. Coloured and standard black vinyl, comes with art print.

A tale of two Indians recorded in Cologne, Stockholm & Berlin.
Anurag Choudhary & Pawas Gupta are Non Solo.
Friends from more than two decades, these gentlemen decided to bring together their knowledge of music at Anurag's apartment in Stockholm back in 2008. Anurag’s life journey took him to Stockholm,
Sweden and Pawas’ culminated in Berlin, Germany; both cities a cultural and a musical powerhouse in their own right. Anurag, a professionally trained Flautist (bamboo Flute or “Bansuri”) in the traditional Hindustani Classical Music and Pawas, someone who has been exploring the realms of electronic music since 1997 as a DJ and releasing records under different monikers since 2007 decided to bring in their forces on a gloomy Stockholm afternoon.

You may ask, why Non Solo? Well, for obvious reasons!
In traditional Indian classical music you are trained as a soloist, mastering a single instrument and each instrumentalist has a deep understanding of the common syntax and rules of engagement that produce some brilliant duets. Both Anurag and Pawas have been pursuing their solo music careers and mastering their craft. However, ‘Non solo’ brought these two (soloists) together to collaborate on something that has not been done before in this way so two soloists coming together and forming NON SOLO.
It all started over a “Fika” which translates to “ a concept, a state of mind, an attitude and an important part of Swedish culture. Many Swedes consider that it is almost essential to make time for fika every day.
It means making time for friends and colleagues to share a cup of coffee (or tea) and a little something to eat” in Anurag’s favourite Cafe, not to forget his exquisite palette for Coffee. After a short brainstorming on how to create something new and fresh without it being too cliched and with the help of impeccably roasted coffee beans that were freshly brewed, the men decided to jam it out to see where this goes.

The first attempt resulted in the second track on the record “Svar” which means “note or tone” which was a one take track. Motivated and excited, they both decided to continue working on this project.
A few months later Anurag visited Pawas' previous Studio in Cologne to record, where Sarang, Tandav and Bhoop were born. Even though the creation had happened, they felt it wasn't the right time to put
it out there just yet. However, time flew by and after almost 14 years of waiting, the men came back to what they had created and decided it was now the time to release it.
The title track “Sarang” is inspired by raga Brindavani Sarang, where Anurag infuses the romantic and mystical flavour of this raga with his flute and Pawas brings his deep repertoire of electronic grooves and
atmospheric sounds to create an intelligent track that touches the listeners.
Svara is inspired by raga Hansadhwani (translated ‘svan song’ or ‘sound of swan’) is an endearing melange of Indian classical and house music.
Tandav is a high energy track based on a variation of Sarang raga. With Pawas’ in-depth knowledge of both Indian classical percussion and electronic music….. This track combines multiple rhythmic layers
manifesting in one exhilarating track that is filled with polyrhythmic cadence and interludes.
Bhoop is melancholy and nostalgia infused into one melodious offering inspired by raga Boopali laid over a bed of organic drums and bass.

The Feel:
Svara is falling in love, the feeling you get when you are walking after that first wonderful date, smile on your face and so much anticipation and joy in the heart for all that excitement that is about to come.
Sarang is being in love, when you start to experience all those emotions you didn’t know even existed inside your heart. It is a complete journey.
Bhoop has a tinge of melancholy, longing and missing each other , while Taandav is coming back together after a long time away from each other. Re-discovering each other and re-experiencing all those
emotions at an even deeper level and celebrating the togetherness, be it in friendship or relationship.
Non solo is first in its kind to bring the melodious/musical depth inspired by the raga traditions to the exhilarating rhythmic world of deep house and electronica.
Available now in your favourite digital store and on limited edition Vinyl with an exquisite typographic artwork by Shantanu Suman in collaboration with Masala Movement's Manoj Kurian!

FORTUNA EHRENFELD sind aus der deutschsprachigen Indie Szene nicht mehr wegzudenken. Martin Bechler hat sich mit seiner eigenwilligen Poesie ein eigenes Genre geschaffen und zieht mit unverbrauchter Gelassenheit einen nach dem anderen Pfeil aus dem Köcher.

Mit 'Solo I.' liefert er sein kleinstes aber auch sein klarstes Album ab.
Für die Freunde der schwebenden Fortuna Klavierballaden ist diese Platte der (zweite) Himmel!
Jetzt endlich auch als Vinyl erhältlich!

Storyville Records is proud to present Michel Petrucciani – Solo in
Denmark

This album features French piano prodigy Michel Petrucciani in a solo recording
from Silkeborg Church, 1990. MP was one of the most popular pianists in the
1990’s due to his extraordinary technique, his astounding musical outlook and
extremely dynamic playing style. His music is simply timeless and magical,
seemingly coming straight from his soul. As he is often quoted: “I’m not playing
to your head, but to your soul. When I play, I’m like a bird flying over the landscape,
and I can land anywhere.” Recorded on June 23, 1990 at the Riverboat Jazz
Festival in Silkeborg, Denmark, this album is a tour de force that leads the listener
through a series of the most iconic motifs in jazz, all of which are deconstructed
and transformed by an outstanding craftsman and embellished along the way by
a true master. And he also allows himself to insert unexpected twists and turns
that are guaranteed to make the listener smile. Pay special attention to his small
rhythmic and melodic tags, little hints for the well- trained ear. They reveal a
musician who never grows complacent or takes himself too seriously. Here, the
totality of MP’s talents are exhibited in an intimate setting, where he stuns the
crowd with his inventive and blindingly rapid playing. The music emanating from
the man simply grabs everybody’s attention. Arrangements by jazz legends like
Duke Ellington, Thelonious Monk and Miles Davis gets the cheeky Petrucciani
treatment with his rather audacious approach to ‘established’ jazz standards. MP
had the ability to effortlessly travel through the history of jazz on his piano,
fascinating his audience in the process. This church concert clearly displays why
MP quickly developed into a truly exceptional member of the international jazz
scene. For MP, joyful playing with the music was a necessity of life. He lived and
breathed for the opportunity to show it his love and respect. And all we have to do
is open our ears, mind and soul and accept the gems from a musical individualist,
who has made an indelible impression on millions of jazz listeners around the
world. Solo in Denmark is simply another chapter in the remarkable story of a
man, who perceived himself as a servant of the music. BIOGRAPHY Michel
Petrucciani was a highly charismatic and high- spirited character, despite being
hindered by a genetic disease called osteogenesis imperfecta or brittle bone
disease. He was extremely short, standing at three feet. Luckily, his hands were
perfectly normal, but he had special modifications to reach the piano’s pedals. He
started playing in the family band with his guitarist father and bassist brother. At
the age of 15, he had the opportunity to play with Kenny Clarke and Clark Terry,
and at 17 he made his first recording. MP moved to the US in 1982, where he
convinced Charles Lloyd to get out on the road again, and tour with his quartet.
Behind the grand piano, MP was a giant with h

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that


session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."

Micah is a special one. His playing has a restlessly inventive and futuristic tilt while simultaneously remaining deeply rooted in the history of the music – all delivered with curiosity, patience, humor and care. I make a point to hear him as often as I can, as he always inspires and is constantly evolving. Micah is one of the most exciting musicians of his generation. One who has a unique style as well as all the tools needed to make a major contribution to the world of jazz piano.

"When we decided to produce Micah Thomas, the project involved a recording of five titles only. In the first part of an approximately one hour session, Micah beautifully played first takes of up to ten titles, with fantastic artistic fervor and great freshness. Taken by surprise, joy and admiration, we decided on the spur of the moment to change our initial plans, so we could capture the magic of that

session for a little longer. Here is the result, a 12 titles double vinyl that takes you back to October 31st, 2020 at Big Orange Sheep studio in Brooklyn, NY. Twelve songs when we encountered the art of Micah Thomas as a solo pianist for the first time."