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Cut from the original tapes, remastered – top quality pressing!
Comes with obi, 'Grand Prix du Disque 1958 - Académie Charles Cros', plus black and white photo insert.

In 1957, Miles Davis is in Paris for an engagement at the Club Saint-Germain and a wonderful concert at the Olympia Theatre. Once in Paris, Miles came into contact with many members of the modern existentialist cultural environment in the neighborhood of Saint-Germain-des-Près. These include the director Louis Malle who had just finished his first movie : "Ascenseur Pour L'échafaud". Jean-Paul Rappeneau, a Jazz fan and Louis Malle's assistant at the time, suggested asking Miles Davis to create the film's soundtrack. A private sceening has been organized.

On December 4 1957, Miles Davis brought three French Jazzmen - Barney Wilen on tenor saxophone, René Urtreger on piano, Pierre Michelot on bass and his american compatriot Kenny Clarke on drums - to the recording studio Le Poste Parisien without having them prepare anything. Miles Davis only gave the musicians a few rudimentary harmonic sequences he had assembled in his hotel room. This recording was made at night in a most informal atmosphere.

The soundtrack was not released on it's own in the USA but ten songs from this soundtrack were released as one side of the album "Jazz Track" which received a 1960 Grammy nomination for Best Jazz Performance, Solo or Small Group.

"Ascenseur Pour L'échafaud" has become a great achievement of artistic excellence.

HH is the brand new album featuring Lionel Loueke playing the music of his long-term mentor, the legendary Herbie Hancock. Lionel Loueke is one of the most singular, compelling and innovative artists of his (or any) generation on the international scene. Known for his ability to “transform the guitar into a virtual Afro-Western orchestra” (Jazz Times), he is a musician who transcends genre to create unparalleled sounds. In a deeply personal tribute, Lionel takes Herbie’s best-known compositions (including Cantaloupe Island, Watermelon Man and Rockit), to create music that is entirely fresh and new.

Repress!

Blue Train is a studio album by John Coltrane, released in January 1958 on Blue Note Records.

Recorded at the Van Gelder Studio in Hackensack, New Jersey, it is the onlyBlue Note recording by Coltrane as session leader.

includes the complete “Blue Train” album plus the complete album “Lush Life”.

“Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane’s career, but of the entire genre of

jazz music as well.” - Lindsay Planer, AllMusic

An unexpected turn in the career of Argentina's jazzman Jorge Navarro, this daring jazz-funk album begins with a take on Led Zeppelin's Black Dog.

2020 Reissue of "Here Be Dragons" - the second album of The Kilimanjaro Darkjazz Ensemble from 2009. Not existing anymore since 2012 The Kilimanjaro Darkjazz Ensemble & The Mount Fuji Doomjazz Corporation now finally make all long-time sold out releases available again on all formats (cd, vinyl, digital).

"Here Be Dragons is a timeless piece of music. Composed and created with total musical freedom, unrestrained by any genres or artistic restrictions, resulting in what is definitely, in my opinion, TKDE's best release." (Jason Kohnen / TKDE / TMFDC / Mansur)

"Here Be Dragons is an intelligent and nuanced record, full of swells and sighs, utterly epic yet incalculably subtle, existing somewhere between keen, intuitive live improvisation and the best-laid plans of mad scientists. Experimental music is rarely this consistently captivating." (Pop Matters)

2020 Reissue of "Anthropomorphic" - the third work of The Mount Fuji Doomjazz Corporation (the improvisation alter ego of The Kilimanjaro Darkjazz Ensemble) from 2011. One session - almost 60 minutes.

PART I. "Anthropomorphic" means ascribing a human form to a non-human entity. In this case, this non-human entity is music. Being born is human. "Anthropomorphic" is born from the amniotic fluid of Eelco Bosman's guitar layers. Comforting, quiet. The innermost peace is the peace of the womb. Breathing is human. Hilary Jeffery's trombone starts to breathe. The first deep breath of many breaths. Infrequent breathing, irritated breathing, return to equilibrium. Endless organic cycles.

THE MOUNT FUJI DOOMJAZZ CORPORATION is a live improv jazz/drone/doom sideproject consisting of the THE KILIMANJARO DARKJAZZ ENSEMBLE members Gideon Kiers, Jason Köhnen, Charlotte Cegarra, Hilary Jeffery, Eelco Bosman, Nina Hitz, and Sarah Anderson and various interchanging guest musicians including Ron Goris. Following DOOMJAZZ FUTURE CORPSES! and SUCCUBUS, "Anthropomorphic" constitutes the third released session of TMFDC.

PART II. Growing is human. Nina Hitz' cello is growing on the mother soil of Jason Köhnen's guitar and Gideon Kiers' electronics. Strong body, solid body. Opening his eyes and capturing the light. Innocent receiving turns into the determined lookout of Sarah Anderson's violin. Clouded awareness, conflict, clear awareness. The dissonant revolt of the mind against the body.

Since the members of TMFDC live scattered among Rotterdam, Paris, Berlin, and London, they rarely tour. This in turn makes each of their single shows a special event, and if they do play a show, they don't mind longer trips. Consequently, it is not a surprise that "Anthropomorphic" has been performed and recorded in three parts in Utrecht / The Netherlands, Wroclaw / Poland, and Moscow / Russia.

PART III. Evolving is human. Hilary Jeffery's trombone returns from his trip. Jason Köhnen's bass, Eelco Bosman's guitar, and Ron Goris' drums lay the groundwork. Gideon Kiers' electronics reinforce the atmosphere tinted by Charlotte Cegarra's sparse vocals. Sarah Anderson's violin dares a rare melody. Free will is human. The instruments exchange their roles and dominate their players. Space. Dimension. Form. Function. The anthromorphism, the true and deep nature of improvisation, is complete.

Despite being recorded in three segments, "Anthropomorphic" is a coherent single entity and is based on a plan, like all the TMFDC improv sessions. Following this plan, TMFDC have created another mesmerizing, exalted, disturbing, and atmospheric piece of art. Always activating different talents of its many members, no album of TMFDC or their studio counterpart THE KILIMANJARO DARKJAZZ ENSEMBLE resembles the other, and "Anthropomorphic" makes no exception.

Now this might be exotic for ears used to Western pop and rock music but probably not for too long if these ears have a
fondness for deep and haunting melodies. Formed in 1971 as the first ever Mongolian rock band at the behest of the ministry of
culture, that wanted to establish Mongolia’s very own BEATLES, it took about ten years to get an album out, which is their sole
record up to today and fetches prices up to 500 € and more for a copy in great condition. Here we finally have a reissue on the
newly formed EVERLAND PSYCH label, a sub division of EVERLAND MUSIC. I must add, the first ever full reissue. And another gap
for collectors of exotic yet accessible popular music will be closed. Musically we have to expect female and male fronted pop
and rock with a late 60s feeling. All music is handmade by musicians who know their craft. From the thick and complex
arrangements emerge quite a few melodies so sweet and soaked in joy, that you cannot sit back and listen. You gotta jump up
and dance to these moving tunes. Some tracks also have a deeply melancholic atmosphere with this distinctive Asian feeling to
the vocal harmonies. The production is earthy, the album really sounds like a 1960s recording which happened in a kind of live
set up in the studio and this is probably what really happened back in 81, when these songs were laid down to the reels. This
stuff has been at least a bit retro fashioned when it originally saw the light of day, but then there were many other bands from
allover the world, that adopted musical forms of expression which had been popular in Western pop music already some time
ago. Psyche and 60s garage aficionadoes will love the Farfisa organ sounds and occasional fuzzed out lead guitars. The synthies
alone give it a more up to date expression, but all in all it does not feel like a 1980s record at all. While getting further and
further into the album, even some tracks with male lead vocals appear, while most songs here have a lady chanting. Fans of
Asian and oriental rock and pop of the 1970s will love this record for sure. From Korean garage rock to Persian beat to Anatolian
folk rock there are at least spiritual similarities to be found here. With each song you drift further away from your position in
Western hemispheres and before your inner eye vast veldt landscapes emerge and you begin to feel the free spirit of the
Mongolian world. This album definitely has is own special kind of beauty and brings utter joy to music fans who also love Erkin
Koray, 3 Hür El, Baris Manco, this typical Turkish 70s melodic rock, which is most similar to what SOYOL ERDENE create. Heart
warming, well crafted rock music from a place far away.

In summer 2019 Everland Music will release a mindblowing boxset with Osamu Kitajima's first 5 highly acclaimed and superrare
albums All 5 albums are taken from the ORIGINAL MASTERS, provided by Mr. Kitajima himself. Osamu Kitajima was born in Chigasaki, Japan on February 3rd 1949 and studied classical guitar and piano already in his childhood days. Later on in the 1960s, when Beat and Rock music became the hot stuff in the popular music circuit, he joined his cousin’s band “The Launchers” with his brother, before graduating from university. Osamu’s cousin, Yūzō Kayama, is a famous Japanese film actor and musician. In 1971, when Osamu was already a successful composer of TV advertising jingles, he moved
to England for a year and developed an obsession for British Rock music, especially in the Psychedelic field. The Beatles, The Bee
Gees, Jimi Hendrix, Deep Purple and The Zombies became his major influences and inspired him to start a solo career under the
name „Justin Heathcliff“, which he adopted for it’s typical English sound. His 1971 eponymous album was a typical Pop Psyche
effort for it’s time, but not long after he returned home to Japan, Osamu abandoned the English sounding name and further on
merged Western Progressive and Electronic music with Japanese Folk sounds.
Shinchugoku (1972)
This is a beautiful early 1970s Psychedelic Folk Rock effort, on which Osamu Kitajima cooperated with Fumio Miyashita (aka FAR
OUT) and members oft he very popular FAR EAST FAMILY BAND, to create a bunch of mind altering colorful tunes with a mellow,
yet intense approach.
Benzaiten (1976)
This album is called his masterpiece by many aficionadoes of 1970s Progressive Rock, with it’s mixture of haunting Japanese Folk
elements and skillfully played spacey Rock music that takes you on a spiritual journey to the center of your mind.
Osamu (1977)
His third album marks another change in direction. Still Japanese elements and some haunting melodic Space Rock elements
flow gently into another, but by incorporating Jazz, Funk and even Reggae, Osamu broadens the whole musical colour palette by far.
Masterless Samurai (1980)
Osamu completely abandons the Space Rock aspects here and takes a turn into Jazzrock with a Progressive edge, that he still
combines with these totally exotical sounding Japanese Folk elements.
Dragon King (1981)
The step from Masterless Samurai to Dragon King has not been such a big one as it has been with the albums before. We
experience a softer version of Osamus Jazzrock / Japanese Folk Fusion, that often even shows Soul Pop aspects, typical for it’s
time.

Repress !

The long-awaited reissue of the best ever album of rare Eastern and psychedelic Jazz music by this famous Hungarian guitarist
Gabor Szabo, originally released in 1968. For the first time as extended edition with 2 bonus tracks: radio versions of Fire Dance
/ Ferris Wheel from the 1969 7” single 7”. Deluxe 8-sided Digipak CD and Gatefold Vinyl come with long, exclusively written
inner notes by the famous researcher and biographer Douglas Payne. Remastered by Martin Bowes at Cage Studios (UK).
Gabor Szabo was one of the most original guitarists to emerge in the 1960s, mixing his Hungarian folk music heritage with a deep
love of jazz and crafting a distinctive, largely self-taught sound. Born in Budapest, on March 8, 1936, Szabo was inspired by a Roy
Rogers cowboy movie to begin playing guitar when he was 14 and often played in dinner clubs and covert jam sessions while still
living in his hometown. He escaped from his country at age 20 on the eve of the Communist uprising and eventually made his way
to America, settling with his family in California.
He attended Berklee College (1958-1960) and in 1961 joined Chico Hamilton's innovative quintet featuring Charles Lloyd. Urged
by Hamilton, Szabo crafted a most distinctive sound; as agile on intricate, nearly-free runs as he was able to sound inspired during
melodic passages. Szabo left the Hamilton group in 1965 to leave his mark on the pop-jazz of the Gary McFarland quintet and the
energy music of Charles Lloyd's fiery and underrated quartet featuring Ron Carter and Tony Williams.
Szabo initiated a solo career in 1966, recording the exceptional album, Spellbinder, which yielded many inspired moments and
"Gypsy Queen," the song Santana turned into a huge hit in 1970. Szabo formed an innovative quintet (1967-1969) featuring the
brilliant, classically trained guitarist Jimmy Stewart and recorded many notable albums during the late '60s. The emergence of
rock music (especially George Harrison, Eric Clapton, and Jimi Hendrix) found Szabo experimenting with feedback and more
commercially oriented forms of jazz.
During the '70s, Szabo regularly performed along the West Coast, hypnotizing audiences with his enchanting, spellbinding style.
From 1970, he locked into a commercial groove, even though records like Mizrab occasionally revealed his seamless jazz, pop,
Gypsy, Indian, and Asian fusions. Szabo had revisited his homeland several times during the '70s, finding opportunities to perform
brilliantly with native talents. He was hospitalized during his final visit and died in 1982, just short of his 46th birthday.

Guilherme Coutinho started playing at the age of five and, at the age of seventeen, he was already part of "Os Mocorongos" and "Os Iguanos", both as an amateur. But he soon became a group leader, playing in several nightclubs in Belém (Pará), until he settled in the Paraense Assembly, where he lived for more than 15 years. He was a musician who played for high society, he was a businessman who had the best instruments, besides always making his own arrangement for the songs. His favorite formation was piano, bass, and drums, as well as a singer. But, for some time, he even used a recorder as playback to give greater sound texture.

The first performance was at Pinheirense in Icoaraci. The 1970s were at the height of the clubs in Belém, such as the Tuna, Yacht Club and the Paraense Assembly.

At the carnival, there was Guilherme at the head of his group, with rhythmists and a brass section, playing not only the greatest hits but supporting local composers. He was the musical director of Leila Pinheiro's first professional show, at Teatro da Paz. In his career, he released three albums: "Guilherme Coutinho and Curtição", "Busca-se" and "Guilherme Coutinho and Grupo Stalo".

Guilherme's last two shows took place on Friday, August 19, 1983, at the Theatro da Paz, through the Pixinguinha Project, and at the old Gemini Blues nightclub. On the morning of Saturday, August 20, Guilherme Coutinho died of a heart attack.

"Guilherme Coutinho e o Grupo Stalo" was released on the ''Erla', an obscure Brazilian label, which curiously pressed only 7" singles, but this Guilherme Coutinho album is an exception. An LP that became one of the most sought after in Brazilian music. It was generating a cult around you for sound innovation, a kind of Lo-Fi Tropicalism.

"ASFALTO SELVAGEM" LP is one of the rarest soundtracks ever made in Brazil, arranged by João Negrão. Truly a hard to find item!

Asfalto Selvagem is a 1964 Brazilian film directed by J.B. Tanko, a drama based on the first part of the novel "Asfalto Selvagem: Engraçadinha, Seus Pecados e Seus Amores", by writer Nélson Rodrigues.

Following up on their debut LP Kick Drunk Love for Marcel Vogel’s Intimate Friends imprint a few years back, we are proud to present the next installment in the sporadic KAMM legacy: Cookie Policies.

Far more sonically rich and musically adventurous than its predecessor, Cookie Policies sees the band make bold strides into new territories where classically hardwired categories such as jazz, indie rock, and electronica melt into one another with immaculate, timeless ease.

The band members’ positions are more clear cut as well this round, with Marc David Barrite (aka Dave Aju, who also did one of his coveted mix engineering jobs on the LP) on prominent lead vocals in many of the pieces, Alland Byallo on trumpet, Kenneth Scott on synth bass, and Marc Smith adding guitar sections while the others shared the arranging and programming duties. This makes for a deeper continuation of the otherworldly combination of their known individual production styles, as well as a musical whole truly greater than the sum of its parts.

The set starts off with “Bird Call”, whose opening ode to Morricone ok corral-meets-samurai showdown riffs flow into a loose and drifting psychedelic boom bap blip, building until a glorious change-up of key and energy brings the track to its peak and deconstructed back down. “Rachel, the Largest Bullfrog” then takes things in a sweeter, slightly more traditionally-structured direction where dusty indie-folk ballad vibes intersect with an array of twisted cosmic tones, bits of computer keyboard percussion, and deep rolling sub bass. “Buckle Down” then moves things back away from acoustic restraints into a beautiful synth-laden musing on potential regret, with an ultra-potent horn section from Byallo vs a nasty stacked Roland SH-101 finish.

“CCBPGC” cools things off for a few minutes with an ambient field recording slice-and-dice motif, which slowly but surely evolves into a slinking jazz noir groove from another dimension. The more traditional song structures return on the lovely “La Luna”, where Barrite’s pen and soulful voice take to nautical longing themes over apropos waves of sonic textures. The ebb and flow of the verse/chorus sections eventually rise and give way to an absolutely gorgeous denouement. “Shleem” then takes us into pure unadulterated soaring sci-fi soundtrack ambient blast-off bliss, while the epic closing track “The Soft Glow of Electric Sex” gives a hearty nod to early masters of sprawling psychedelic jam sessions, from Pink Floyd and Can to In A Silent Way-era Miles and Liquid Liquid, while bringing it clearly into futurist millennia. The gradual evolution of the piece into its grand finale is the stuff we true music-lovers live and die for. We hope you enjoy the ride as much as we do.

Grammy award winner & multi grammy nominated Luisito Quintero grew up with the Latin American and African tradition of percussion. His father is just as much a percussionist as his uncle Carlos Nene Quintero and his cousin Roberto Quintero . He became a member of the Orquesta Simfonica de Venezuela , but soon appeared with ensembles such as Grupo Guaco and El Trabuco Venezolano and toured with Oscar D'León .

He then moved to New York, where he initially worked with Latin jazz musicians such as Willie Colón , Eddie Palmieri , Tito Puente and Celia Cruz . He then turned to the fusion of jazz, funk, salsa and African music and performed with George Benson , Herbie Hancock , Ravi Coltrane and Toshiko Akiyoshi , but also with pop musicians such as Gloria Estefan and Marc Anthony.

His First album “Percussion Maddness” was produced by Louie Vega & LQ and was released on BBE Records. Now 8 years later, re-released on Vega Records with 4 new tracks also produced by Louie Vega will be released on a double pack vinyl in two parts, one a double pack 12” and the second a double pack 7” vinyl. Enjoy the Brazilian, Jazz, African, House, & Afro-cubano sounds of Grand Percussionist Luisito Quintero on this very special vinyl release.

When Mildlife’s debut album, ‘Phase’, was released in 2018 it didn’t so much explode on to the scene as ooze. Their mellifluous mix of jazz, krautrock and, perhaps more pertinently, demon grooves, was the word of mouth sensation of that year among open-minded DJs and
diggers searching for the perfect beat.

By the end of 2018 they’d been nominees for Best Album at the Worldwide FM Awards (Worldwide’s Gilles Peterson was a notable champion) and won Best Electronic Act at The Age Music Victoria Awards back home in Melbourne. Their progress post-‘Phase’ was cemented with a UK deal with Jeff Barrett’s Heavenly, who released ‘How Long Does It Take?’.

With ‘Automatic’, the band have made a step-change from their debut. It’s more disciplined, directional and more danceable. As on ‘Phase’, they are unafraid to let a track luxuriate in length without ever succumbing to selfindulgence. The arrangements, tightly structured thanks to Tom Shanahan (bass) and Jim Rindfleish’s fatback drumming, permit space for the others to add spice to the stew, topped off with Kevin McDowell’s ethereal vocals as Mildlife effortlessly glide between live performance and studio songwriting.

“This is very pleasing” - Justin Robertson
“Love them all!” - Prins Thomas
"Great sound” - Severino (Horse Meat Disco)
“Special!” - Rob da Bank
“Heavenly rock” - Don Letts (6 Music)
LP pressed on heavyweight vinyl with printed inners.

Super-loud vinyl!

original style !! superb LP !

From the fertile electronic, post-folk depths of Colombian music, the tasty "Colombian Singles series" has emerged to cast light on a blooming, rapidly expanding scene. The series is envisioned as a showcase for the country’s growing number of producers who, drawing upon their Indigenous, African and European roots and cultures, are creating new approaches to electronic dance music. Hailing from the countryside near Bogotá, where the huge city reaches down into its more tropical surroundings, Los Bulldozer is the perfect combo to inaugurate this new musical adventure. Led by the unearthly guitarist Fabian Morales and his mind-bending experiments, Los Bulldozer have their own particular way of bringing international influences like Soukous, West-African blues and post-punk to the already exquisite musical diversity of key Colombian styles such as Currulao, Champeta, and Reggaeton. Partly produced by the German godfather of global beats Daniel Haaksman, highlights on this first volume include the heavy indie dance cut ‘Pepa’, emotive Pacific blues guitars and eerie haze of ‘Currulaomali’, and the industrial reggaeton ‘Commin Down’. And there’s (a lot) more... Not your usual sun-kissed summer vibe, but a deeper, moody interpretation of the dualities felt under equatorial latitudes.

Cosmic Visions Of A Latin American Earth: Venezuelan Experimental Rock In The 1970s & Beyond

This Is The Second Collection Of Music From Venezuela In The 1970s And Beyond To Be Released On Soul Jazz
Records. The Album Once Again Features Innovative Figures In The History Of Underground Venezuelan
Music, Mostly Unknown Outside Of Their Home Country - Their Music A Blending Of Progressive Rock, Jazz,
Experimental Electronics And Disco Created Mainly In The 1970s During A Time When The Country Was Both A
Cultural And Economic Powerhouse In Latin America.
While Much Of 1960s Venezuelan Rock Music Emulated British And Usa Styles, And Salsa Dominated The
Dancefloors Of Latin America, The 1970s Saw The Evolution Of A New Generation Of Creative Local Artists Such
As Vytas Brenner, Daniel Grau, Aldemaro Romero, Un Dos Tres Y Fuera Who
All Explored The Possibilities Of Mixing Together Rock With Elements Of Electronica, Funk, Jazz, Latin Rhythms
Simultaneously Exploring Their Links With Venezuelan Roots Music, Creating A New Sound Which Blended A
Multitude Of New And Old World Influences, Uniquely Venezuelan.
Most Of These Artists Featured On Venezuela 70 Remain Practically Unknown Outside Of Venezuela's
Borders And Yet Their Progressive Forward-thinking Music Is Some Of The Most Sophisticated In The World - A
Stunning 'melting Pot' Mix Of Sounds From The Cosmic And Psychedelic Rock Of Vytas Brenner To The
Moroder-esque Disco Experimentation Of Daniel Grau, And The Tropical Funk Of Un Dos Tres Y Fuera And
Beyond.
Aside From The Relatively Known Vytas Brenner And Daniel Grau, Most Of The Music On This Album Is
Incredibly Rare (even In Venezuela)! The Album Is Released As Heavy Double Gatefold Vinyl With Full Colour
Inners, Exclusive Text On Artwork, Cd With Slipcase And Large Booklet, And Digital Album.



Pensamiento

Tiempo De Siembra






(el Niño Anciano)



Moliendo Café





Way Home)

Una Por Una

Telepathic Afro-Caribbean improvisational trumpet-and-percussion duo Aquiles Navarro & Tcheser Holmes are longtime friends, collaborators, and tireless hustlers on the creative music scenes of New York City. Heritage of the Invisible II follows Navarro and Holmes's rise to prominence as members of free jazz collective Irreversible Entanglements. In March 2020 in The Nation writer Marcus J. Moore said "Irreversible Entanglements' fearless music takes to task the police, American politics, capitalism, and racism." The revolutionary ethos that drives Irreversible Entanglements is no less present in Navarro and Holmes's duo work, though their duo finds them much more wholeheartedly and jubilantly embracing their Latin and Afro-Caribbean foundations.

The blues roots grow surprisingly deep in the Finnish music scene. From this fertile ground rises singer Emilia Sisco, who debuts on Timmion with her phenomenal single "Don't Believe You Like That". With her strong background in fusing blues, r&b and jazz, Emilia apparently slips also nicely into the dark soulful grooves of Cold Diamond & Mink.

In "Don't Believe You Like That" Emilia sets herself into the role of a mistreated lover, who still tries to see a speck of hope in the doomed relationship. By dubbing herself, and accompanying the lyric with graceful harmonies, she succeeds in building a powerful beat ballad, that should appeal to the darker end of the dance floor.

There's a special lane in history for soul music this understated. It's cool and intimate at the same time, like there's something dangerous lurking under the surface. So roll up something nice, if that's your thing, and hop along for the ride.

The music has gotten thick, guys give me tunes and they’re full of chords” declared Miles Davis interviewed on The Jazz Review in 1958, and added: “I can’t play them...I think a movement in jazz is beginning away from the conventional string of chords, and a return to emphasis on melodic rather than harmonic variation. There will be fewer chords but infinite possibilities as to what to do withthem.”
Miles proved his assertion to be true on Kind of Blue (Columbia, 1959), an album that remains one of the most iconic and influential jazz albums of all time.


• LIMITED EDITION CLASSIC LP
• HIGH-DEFINITION PREMIUM VINYL PRESSING
• 180 GRAM VINYL-AUDIOPHILE PRESSING
• INCLUDES 1 BONUS TRACK

THE BEST-SELLING JAZZ ALBUM EVER AND THE MOST IMPORTANT MODERN JAZZ LP!

Comet Records presents the Tony Allen & Africa 70 reissue series with the classic late seventies first four solo albums of Tony Allen remastered and restored: Jealousy, Progress, No Accomodation for Lagos & No Discrimination, all coming in an heavy Deluxe Tip-On Jacket.

Recorded with Afrika 70 at the height of their power as Fela Kuti’s band, these are seminal recordings in the pantheon of Afrobeat history. Once again, Comet Records has the opportunity to shine a light on the sheer musicality and originality of the humble drumming giant. Tony Allen’s passing in April 2020 sent a shockwave across the world, as fans and collaborators from Lagos to Brooklyn and everywhere in between mourned the loss of a generous and powerful being, the kind of being we thought would live forever. Thankfully, we have the gift of Tony’s timeless music, starting with these four special solo albums, through which his musical voice guides our dancing feet and full hearts forever.

Produced by Fela Kuti in 1975, Tony Allen’s first solo album with Afrika 70, Jealousy, is like the man himself: light on its feet yet deeply settled, spacious yet bursting with magical talent. On the title track “Jealousy,” Tony is joyously in his element, conducting one of the mightiest bands in the world - he is the head chef, and the band is cooking. The second track, “Hustler,” features one of the most iconic solos in drumming history, a rare glimpse into Tony’s gift of musical phrasing - it is possibly the best example of Tony’s ability to literally
speak through his beloved drumset.

Tony Allen possessed magic within him, which he spent his entire life sharing with us through his drumming hands, tapping feet and generous heart. That magic is ever-present and strong on these formative solo albums - they are must-haves for Afrobeat fans across the globe.

Rena Scott, vocalist extraordinaire of international acclaim, treats us to a soulful, jazzy single pulled from her musical vault!

Following the success of her 1979 debut LP, Rena was hired to replace Randy Crawford as singer for The Crusaders, then at the peak of their fame. Alongside legends Joe Sample, Wilton Felder and Stix Hooper, with sidemen Eddie Watkins on bass and Barry Finnerty on guitar. Rena went on to tour across the US and Europe, performing to crowds of up to fifty thousand at many top R&B/Jazz festivals, including the fabled Montreux.

DRIFTIN’ ON A DREAM was penned in 1982 by Rena herself and the late, great Skip Scarborough, and recorded in 1983 with The Crusaders. Though their saxophonist, Wilton Felder, had included it as an instrumental on his own ‘Gentle Fire’ album that year, Rena’s captivating original vocal version was never released in any form until now, 37 years later.

On the B Side we present KICK IT, another previously unreleased track recorded in 1995; a ‘Between The Sheets’ styled groover.

Beautifully presented in a picture sleeve, this is a ‘must have 45’ for the discerning record collector.

Critically acclaimed jazz reissue on the Disques Vogue label. Red vinyl with white splatters. Specialist marketing.

An anagram is a word or phrase formed by rearranging the letters of a different word or phrase. Don Glori, AKA Gordon Li, takes this concept and applies it to his name as well as his music. Deconstructing the sounds and elements of the music that he loves and recontextualising them into his own signature sound. Carefully considered compositions that facilitate heavy doses of improvisation, Don Glori's music reflects a deep fascination in jazz, house and Brazilian music. Tied together by his inimitable spirit and dedication to making it groove.'Dawn Calling' is Don Glori's first offering to the world, recorded live to tape over two sweltering summer days in February 2020, it captures Don Glori and his band at their best. They wear their influences proudly - touching on elements of jazz, brokenbeat, house and Brazilian music. The record traverses between melancholic, textural landscapes with spiritual jazz overtones through to enchanting group vocals and again metamorphosing into synth laden grooves built entirely around the rhythmcentric marriage of the bass and drums.

From Don Glori: "I was lucky enough to record this EP with some of my closest friends and oldest musical collaborators. I'm particularly proud of this body of work as I think it is the truest reflection of my influences and musical aesthetic that has been captured so far. The decision to record this straight to tape was surprising to those who knew the music but it was a necessary choice in order to capture the spirit and energy that we've developed and honed through the live show. From start to finish, Tim, Lachlan and Selene's contributions are both tasteful and impressive - giving each other enough space, taking risks and knowing exactly when to step out and when to step up. This intangible connection that is familiar to so many musicians only happens when everyone approaches the music with open ears and hearts. I can't thank them enough for giving me their time and talent!"

Called “a killer album of funk and soul” in an internet reminiscence, Magnum’s combination of jazz and funk were advanced for their

time when the album came out originally in 1974. The sound is still fresh almost 30 years later with songwriter and vocalist Michael Greene’s groovy organ licks played against Harold Greene’s smooth bass. The eight-member group collaborates on many songs, bringing a variety of sound that ranges between sweet soul ballads and aggressive funk. Producer Cal Wade generates all the heat and light that bring to mind Tower of Power and made this a lost funky classic for a quarter century. Their small but devoted following has persistently requested the album in its original vinyl form. This remastering by Tom Moulton brings out the music digitally in its full stereo strength.

Oldies fact: Phoenix Records was a West Coast label distributed nationally by Jamie/Guyden. The label’s only two groups were Magnum and Great Expectations.

Favorite Recordings presents Jazz Traficantes by LE DEAL, a new musical adventure from the finest French jazzmen with Florian Pellissier (Piano & Fender Rhodes - Camaraõ Orkestra, Cotonete,
Aldorande, Setenta), Yoann Loustalot (Flugelhorn – Bruit Chic, Old & New Songs, Aerophone, Lucky Dog), Théo Girard (Upright Bass – Pensée Rotatives, Discobole) and Malick Koly (Drums - The Wallace
Roney Quintet). Needless to say, they’re used to play all over the globe and quite often to New York. During one of these
trips to the Big Apple, they discovered that the legendary Van Gelder studio (where most of Blue Note, Verve and CTI albums were recorded) was still active and opened so they decided to book a few days session.

Here is the story told by Florian Pellissier: “The tracks had been written the night before. We were going to run through them and then record. A simple plan. Van Gelder had passed a while back, but he left the keys and secret codes with his faithful assistant Maureen before heading off to create the right sound up in heaven. Nothing had changed in the atmosphere or configuration, not even the way the mics were placed. The studio and its wooden beams still exuded New York’s sixties jazz, dimly lit streets and clubs where anything might happen past midnight. Maureen knew just how to capture the ambiance of the sessions and bottle the energy without spilling a drop, taking infinite care to collect each cymbal tone, drum roll and trumpet phrase, without losing a single vibrating bass string or the slightest keyboard pause.”

Indeed, the four contrabandists succeeded to deliver an outstanding album, filled with themes that’ll get stuck in your head, just like in the 19 minutes long performance “Mexican Junkanoo Suite” and its three
parts. But more than just beautiful melodies, LE DEAL truly managed to bring a sense of drama to their compositions, going into the deepest emotions through gutted arrangements, improvising with great attention to the articulation of their ideas. From the beginning to the end, musicians and engineers did their best to emulate the proper vintage sound. Jazz Traficantes could prove once and for all that
French Jazz can indeed cross the borders. The album will be available as Tip-On Deluxe Vinyl LP but also on CD & Digital with a bonus track, “Noche en la Carcel”

Influenced by the modal jazz of John Coltrane, Pharoah Sanders, McCoy Tyner and Rahsaan Roland Kirk, Ambiance was an excellent but little known post-bop group that was active in Los Angeles in the late 1970s and early 1980s. Ambiance reflected the spiritual outlook of its founder and leader Daoud Abubakar Balewa, a saxophonist/flutist who also played African and Latin percussion and was heavily influenced by world music.

The debut album by Gil Scott-Heron, reissued on vinyl for the first time utilising the original masters. 180g vinyl pressing in heavyweight reverse board sleeve.

Small Talk At 125th And Lenox' was the start of a 45-year recording career for Gil Scott-Heron. He became one of the best-loved and most respected artists of the late 20th Century, but never again released an album as simple and hard-hitting as this. Recorded in 1970, Small Talk' featured Gil and three percussionists performing his poetry, the rhythmic backdrop and the style of his delivery making it more than a spoken word record. Today it is seen as a classic that stands head and shoulders above similar albums recorded at the time.

Gil was resolutely a poet, and there is little doubt he could have made his career as an author, as he had originally planned. Throughout the album he writes as a reporter, viewing his community, attempting to make a difference. Better-known today in the band version from his next LP, the original version of 'The Revolution Will Not Be Televised' here is enthralling and compelling in its own right. 'Whitey On The Moon' contrasts the money being spent on the space race against the poverty of the housing projects, while 'Paint It Black' compares the black situation in the northern and southern states. There are also three songs, including the Donny Hathaway-esque 'Who'll Pay Reparations On My Soul', that hint at what was to come.

Gil had gone to Flying Dutchman owner Bob Thiele hoping to record his music. The producer didn't have the funds at the time, so compromised with this album. Its success prompted him to put Gil and his songwriting partner Brian Jackson in the studio to record with some of New York's finest session players. The resulting Pieces Of A Man' album pointed the way forward for Gil's career, but Small Talk At 125th And Lenox' was a spectacular start.

Tape / Cassette


'Scribble' is truly a befitting name for this collection of miniatures created by composer and sound designer Jacob Sachs-Mishalanie. Recorded at his home this past Summer, the short, sweet pieces really are like aural scribbles in a notebook. Slightly chaotic and seemingly unintentional, the 7 tracks exhibit a childlike wonder, a fascination with how various sounds or rhythms work (or don’t work) in tandem.

At the time of writing, Sachs-Mishalanie was particularly interested in exploring loose evolving patterns, utilizing sounds that feel both natural and synthetic - for instance atmospheric field recordings, uncanny MIDI xylophones, and clumsy samples of his own voice. The resulting pieces each explore a singular environment, in which various elements (often quite literally) bounce off each other. There is no obvious logic to how these pieces evolve and behave, but there is something uniquely captivating about these recordings - they are surreal, yet eerily familiar.

Jacob Sachs-Mishalanie is currently a PhD candidate in music composition at the CUNY Graduate Center, where his research focuses on the music of Pierre Schaeffer. He also teaches Music Technology courses at Hunter College and Brooklyn College, creates Max for Live devices, scores and sound designs for theatre, and records and mixes chamber music.

All Sounds by Jacob Sachs-Mishalanie. Recorded at Home in Brooklyn, NY, Summer 2020. Mastered by Angel Marcloid A/V. Artwork and layout by Paulina Ufnal & Janek Ufnal.

Field Recordings: (1) G Train 9.18.2018 / (2) Roasted Carrots at Home 3.8.2020 / (4) Arcade in Kyoto [7.25.2019] / (5) Backyard Bugs at Home [8.12.2020] / (6) Rain at Home [5.1.2020]

Check this serious jazz biz rework of Sun Ra's classic 'Space Is The Place' by the mighty SMBD !!

Already receiving heavy spins by Gilles Peterson and some other influential jazz cats for a while now...dancefloor jazz is back!

The third artist album on Omena is here, 'For The Dreamers' by Saine.

An effortless blend of crisp beat-work and delicate textures, the album feels equally suited for playing out loud or for those hazy summer night headphone marathons.

Album artwork by Rickard Ljungdahl Eklund
Label artwork by Ivo Kiusalaas (bildansvarig)
Mastering by Andreas Saag

Outstanding and legendary Italian Library album out of the vaults of Cometa Edizioni Musicali featuring tones of mental Jazz-Funk and Psychedelic beats. The listener is constantly kept by the incredible music that swings between Psychedelic Funk, Esoteric Jazz and Cinematic/Love themes. Tracks like "Love For Sale", "Privacy", "Metropolis Notte" and "Dopping 2000" are simply timeless, with a stunning sound that perfectly plunges in the universe of great 1970s vibes and golden Italian library/film music of the time. Originally issued on Limited Edition serie for collectors, this gem has been repressed on 180gr. wax again with improved sound quality remastering from the original master tapes.

180gr Vinyl + CD

On a collision course with earth from the furthest reaches of the universe, The Colours That Rise announce their debut album “Grey Doubt’ on the inimitable Rhythm Section International. Comprised of producer duo Simeon Jones and Nathanael Williams, The Colours That Rise have previously turned heads with 2017’s “2020” EP released on Breaker Breaker (the label credited with breaking Ross From Friends).
Returning with their most accomplished offering to date, “Grey Doubt” features acclaimed guests such as Yazmin Lacey, Yussef Dayes and Andrew Ashong, each respectively complementing the incredible musicianship on display here, capturing the true zeitgeist of present day UK. Combining live instrumentation and analogue synths, intricate, intertwining textures and melodies run deep throughout this beautifully crafted afrofuturist voyage, exploring the darkest recesses of the galaxy, through weatherbeaten and asteroid damaged synth waves and broken drum patterns reverberating out into the vastness of space.
Pre-announcement single ‘Home Time’ has picked up steam with support across BBC 6 Music and 1Xtra through the likes of Benji B, Tom Ravenscroft, Jamz Supernova and Mary Anne Hobbs, who awarded it as her ‘Near Future’ track. The duo are also set for a live performance at Rhythm Section’s showcase at SXSW 2020.

From 1963 to 2014: "Peace Chant - raw deep and spiritual jazz" exhibits 51 years of music. A well matched anthology with sounds to dive into, hard rhythms to dance to and vocals to meditate on.

The Tramp Records crew has compiled 9 tracks in nice order and dramaturgy. Some tunes you might have never heard before unless you own one of the rare original vintage vinyl records. Peace Chant is released on two separate LPs with own catalogue numbers and on one CD. Some songs I can't get out of my mind:

The previously unreleased "Don't Give Up Your Smile Today" is opening the compilation. It's from Das Goldene Zeitalter, a band that didn't survive - but whose members had a huge influence on German jazz, soul, afrobeat and funk within the last years merging into groups like The Poets of Rhythm, The Whitefiled Bros., and The Malcouns. Boris Geiger aka. Bo Baral sings a Pharoah Sanders like tune, his voice deeply resonating, the rhythm section heavily grooving.

After the first three woolly recorded tracks Walt Bolen's "Peace Chant" with its dry and funky sounds with flute, two guitars and percussion is quite a pleasure to listen to. Organ and voice are Bolen's who used to play the keys in San Fernando Valley church when he was a child. "Peace Chant" was recorded for his own Ar-Que label in 1972 and is one of the few cuts with him as a leader. He has played sessions and clubs for years and today he is sitting at the church organ again.

This publication's oldest recording dates back to 1963: "Mozambique" by Luna Brothers Trio, a Caribbean and hypnotic instrumental. For my jazz trained ears it is rather unusual that the güiro (the gherkin played with a stick) is being played throughout the entire song. Heavily laid back cowbell, concas and timbales and the slightly detuned piano are wonderful! "Mozambique" sounds like from another star but its origin is Los Angeles, where the brothers Fred and Ricardo Luna had their night club band. You could imagine a bast skirt strip and at the same time the great Raumpatrouille (Space Patrol) landing on German B&W TV screens in 1966.

Hozan Yamamoto recorded crime jazz with the Japanese bamboo flute shakuhachi. He belonged to Tony Scotts "Music for Zen Meditation" in 1964, played with Ravi Shankar, avant-garde jazz bassist Gary Peacock and appeared at Donaueschingen Festival for contemporary music. Tokio university's open minded lecturer recorded the funky and modal "Spotlight on Sapporo" in 1972.

‘Hörtest-Edition IV - Visions of Jazz’ is a listening experience to be cherished. It offers a specially curated programme which can be compared across different media and in various formats. Enjoy an audiophile adventure in perfect sound quality: the 180gram LP, cut at half speed, has been subject to the most exacting demands during the pressing process, rendering the quality of a turntable audible. Compare the special features of vinyl with the strengths of a conventional audio CD, or alternatively feast your ears on the sound quality attainable in the hi-res world of 24-bit. For this listening experience, ACT has curated a selection from its current releases by renowned artists, all recorded and produced to the highest standards and with an uncompromising focus on sound quality.  Test… compare… but above all, enjoy the music. Under the motto ‘Visions of Jazz’, ‘Hörtest-Edition IV’ presents a multi-faceted kaleidoscope of current jazz.  This ‘Hörtest-Edition’ includes gatefold 180g LP, CD and 24Bit high resolution digital download files. Curated and compiled by Marco Ostrowski.