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By the late '70s, Alice Coltrane had largely gravitated away from jazz, incorporating Hindu chants and hymns into her music to reflect a newfound sense of creative omnipotence. However, in April 1978, she would return to her roots, performing at University of California, Los Angeles to make her first and only live album.

Transfiguration, featuring drummer Roy Haynes and bassist Reggie Workman, showcases Alice's many compositional talents and fierce improvisatory abilities. Throughout this double LP set, her playing evokes the time spent in her late husband John Coltrane's band and the avant-garde music of her earlier years.

As biographer Franya J. Berkman writes, "Her up-tempo keyboard work here is the most exciting of her commercial career. With its rapid-fire transpositions of short figures; its long modal passages, rhythmic play, and timbral inventiveness; its sustained energy and burning pace; and the unrelenting support of Haynes and Workman, she takes leave of the jazz business with a truly breathtaking swan song."

Alice Coltrane would not revisit jazz on record for another 26 years, turning instead to spiritual music made with students at her Vedantic Center and self-releasing a series of cassettes under her Sanskrit name, Turiyasangitananda. It is hard to imagine a better farewell than the intense and spellbinding Transfiguration.

We announce the joyous return of the spacecraft known as IQ+1 to Planet Earth.

After more than six years, which its members spent on experiments, improvisational side-missions, solo excursions, and hunting for material, we can finally welcome a third mission, following on from the highly acclaimed Tvárí v tvár (Face to Face, 2011) and IQ+1 (Polí 5, 2013).

The current line up – George Bagdasarov, Veronika Hladká (PIO), Jaroslav Tarnovski (Gurun Gurun, Wabi Experience, Jipangu), Petr Vrba (Rouilleux, Poisonous Frequencies, PIO), Michal Zboril (PIO, B4), and Katerina Bilejová – adheres to the philosophy of free improvisation. There is no captain to determine its momentary course, nor genre restrictions, nor sonic or musicianly hierarchy. The strategies remain unchanged, as does the instrumental variety, and the authentic excitement of live performance.

Mappa editions presents IQ+1’s third album, titled Conversaphone Plus, as the result of several séances recorded at the end of 2017. Every submersion in its depths is an unrepeatable experience. The organic sonic material is constantly contracting and expanding, adapting itself to the listener’s context, escaping beyond the horizon, creating mimicries, and enticing us to bubbling, popping, and jingling polyrhythms to then release its protective toxins. All six pieces boil on the narrow edge of chaotic decomposition and celestial order in which every sonic detail has its precisely determined position. Field recordings permeate the instruments on an equal footing, making it difficult to identify the sound, instrument, or player, so that each time the record is turned over, a new adventure begins. Federsel (B4, Handa Gote, Gurun Gurun) took care of the connective tissue between the pieces and the balanced post-production architecture.

Avoiding irritating instrumental exhibitionism, and egocentric deafness, Conversaphone Plus is nothing less than an uncompromising electro-acoustic testimony to the vitality of the Czech improvising scene. And it is nothing more than an attempt to connect sonic geology with astral listening.

Open the window a little – a messenger from the spacecraft known as IQ+1 is descending through the opening.

‘Joyrobix’ is Brummy-abroad Joe Snape’s flooring return to Slip: a songbook of nimble,
aching pop that wrings raggedy solace from dejection and displacement. Begun as a
danceable refix of pieces for chamber ensemble toured the last three years, production
on ‘Joyrobix’ stalled sharply in 2016. Instead of a self-confident exercise in documentation,
the record twisted into a darker, more lyrical original: a period portrait of dislocation and
burnout following Snape’s move to the US in 2015.
There’s still plenty of fun to be had. Between the adult contemporary guitars, gospel
grooves, and Broadway melisma, the tropes of a musical America are present, correct,
and indefatigably uptempo.
But even at his most playful, Snape sounds like a musical mind running on fumes, the
optimistic experimentalism of 2015’s ‘Brittle Love’ audible only through a weary cloud, and
the black dog never altogether quieted. Nor could it be: ‘Joyrobix’ sounds like a working-
out – here manic, there taciturn – of a New World dream gone sideways.

KINLOCH (sounds like "kin-law") NELSON studied classical guitar privately with Stanley Watson in Rochester NY, jazz guitar with Gene Bertoncini at Eastman School of Music, and music theory at the University of Rochester. In 1973, he began teaching both privately and at The Hochstein Music School in Rochester where he was on the faculty for twenty-five years. In 1985, Nelson co-founded the Guitar Society of Rochester, which during its ten-year run presented many of the world's greatest guitarists. Nelson is the author of a book, Alternate Guitar Tunings. He currently teaches privately, conducts guitar workshops and maintains a performance schedule. Nelson came to the attention of Tompkins Square via Duck Baker, who visited Rochester in 2018 supporting his own Tompkins Square archival release, Les Blues Du Richmond : Demos & Outtakes, 1973-1979.

Out February 22nd, Grammy-nominated Hot 8 Brass Band "Take Cover" as they bring their iconic hip hop and brass grooves to classic tracks from Joy Division, Michael Jackson, George Benson and The Jacksons. This EP features recent single "Give Me The Night" & "Love Will Tear Us Apart"

This EP features recent single "Love Will Tear Us Apart" - which received support from Rolling Stone, Songlines, John Kennedy (Radio X), Craig Charles (BBC Radio 2 and 6 Music), Ed Adoo (BBC 5Live), Gilles Peterson (BBC 6Music) and Laurent Garnier (Worldwide FM) - and new track "Give Me The Night".

A cat may have nine lives, but Peter Cat Recording Co. has a multitude of dimensions. Formed in New Delhi around 2010 by the crooner Suryakant Sawhney, it's a group that's mutated over time, shedding members and accruing more, always evolving musically with each album: from gypsy jazz to psychedelic cabaret; ballroom waltzes to epic space disco; bossa supernova to uneasy listening. What's more they play jajj, which you've almost certainly never heard of. 
'Gypsy jazz is the description we used around the time of our first album Cinema that we sound nothing like now,' says Sawhney, before adding: 'At the time I was really into Strauss.' 

Portrait of a Time 2010 - 2016 is the first taste many Europeans will have of this highly original, musically capricious and deeply inscrutable New Delhi four-piece. The compilation helps you get to know a band who are essentially unknowable, not that that will stop you from trying. Furthermore, in a capital city known for its mystery, madness and mayhem, Peter Cat Recording Co. is something of ananomaly there too. 

While Suryakant's crooning is spookily reminiscent of a hipster 50's Sinatra, it was more his intention to ape legendary Bollywood playback singers like Kishore Kumar, Mohammed Rafi and especially Hemant Kumar. There are diverse American influences in the mix too, including Sam Cooke, Etta James and even Tom Waits, and time spent in San Francisco studying film may have contributed to the cinematic melange. Thrown together it becomes something unique that equates less to a listening experience and more to an out-of-body experience. 

They were signed to new French record company Panache after label boss Alexandre Rabia was trawling through YouTube one day and happened upon their remarkable promo for 'Love Demons'. It's a mind-blowing eight minute epic featuring the desert, one camel, a movie theatre, swirly organs over coruscating beats, dancing girls, more police and a cavernous pit that then-bassist Rohan Kulshreshtha falls into. 

You can try to compartmentalize them all you want, but just when you think you've got them pegged, they will evolve and transmogrify and the description you have in your hand will slip through your fingers like sand. Who knows if Peter Cat Recording Co. has nine lives, but you can listen to a past life on Portrait of a Time, and a future incarnation - much of it recorded in Paris - will be available in the autumn. Just remember, unlike a cat, you'll never put them in a box. 

Shukai presents its debut release — music for television film The Air Seller by Victor Vlasov, which has never been released before. Recorded in 1967, the same year as the film was broadcasted on Soviet television. The Air Seller directed by Vladimir Riabtsev is a black and white film based on the eponymous sci-fi novel by Alexander Belyaev, first published in 1929.

WHAT IS SHUKAI

Shukai (Eng. Hunt, Look for). Archive record label focused on bringing back to life the lost tapes from 60-90s — soviet music for films, television, library music.

With a celestial voice that's been streamed over 3 million times thanks to acclaimed features with The Kite String Tangle, Golden Vessel and label mate Sampology, Brisbane-based artist Tiana Khasi (Kah-see) shares her debut EP, 'MEGHALAYA', out 29 March via Soul Has No Tempo.

The Sampology-produced debut is a rich tapestry of styles and influence, with inspiration drawing from themes of self-empowerment, family and heritage, collaborating with contemporary musicians while studying jazz. ''Meghalaya' is both geographic and spiritual. It's a place I creatively resort to seeking affirmation of my identity and for true holistic inspiration. I wanted to create a body of work that honestly showed where I was at musically and personally. I felt the growing pains of being a young woman, mixed race/Australian born and studying jazz. I was neither here nor there.'

'Nuketown', the first single from the forthcoming release, is out now following global premieres with Complex UK & London's Worldwide FM. Upon hearing early mixes, Gilles Peterson handpicked the track to feature on his most recent compilation, Brownswood Bubblers Thirteen, via Brownswood Recordings. Touted by local tastemakers and HypeMachine blog Purple Sneakers as "the debut single we didn't know we needed", 'Nuketown' has found airplay with national stations triple j & Double J, placement in Spotify's Just Chill playlist, rotation with Sydney's FBi Radio, and enthusiastic support from community radio and online media around the country and beyond.

"A flawless example of the kind of music we can expect from Tiana going forward. [Nuketown] creates something completely original, drawing elements from jazz but never chasing a particular sound or vibe. Everything comes naturally, taking you on a journey with the instrumentation matching the ebbs and flows of Tiana Khasi's sweet vocals. It serves as an exemplary debut for the young artist, and can only mean better things are on the horizon." - Complex UK

A keystone artist in her hometown whose live reputation precedes her via her work fronting local jazz/hip-hop collective Astro Travellers, Tiana Khasi's voice has been praised as "elegant" (Life Without Andy), "most dope" (Audiosteez) and "as venomous as it is honey-sweet" (Happy). A trained jazz vocalist, Tiana's unique sound is heavily influenced by her Samoan and Indian heritage, and has seen her support Jamaican-American "TrapHouseJazz" sensation Masego, Swedish soul artist Fatima and acclaimed Australian collective 30/70.

Beat Bronco Organ Trio play Soul Jazz, the sound of the 60's popularized by artists such as Jimmy Smith, Grant Green, Jimmy McGriff and Reuben Wilson. With a warm and solid sound, the Madrid combo breaks into the scene with a groovy funky 45. The Mid-tempo Jazz Funk cut "Easy Baby" on one side and the dancefloor burner "Geriatric Dance" on the flip. Soon on a turntable near you.

Gabri Casanova, Hammond.

Lucas de Mulder, Guitar.

Antonio "Pax", Drums.

Recording & Mixing - Santi "Sweetfingers" Martín.

Mastering: Victor García.

David Axelrod, Michel Legrand, Stefano Torossi, Piero Umiliani, Franco Micalizzi, you say Well, yes! This album arranged by two Norwegian guys, Thomas and Lars aka Coastal County, is just that; funky, jazzy, moody tracks, just taken out from a 60's cult exploitation movie. Combining the classic soundtrack grooves with italian library funk and top it with some Norwegian mountainside melodies, you get something quite unique; Coastal County.

"I Remember When" is the sixth album from Tokyo based nostalgic ambient soloist Ex Confusion.
The album finds Atsuhito Omori bringing Ex Confusion back to n5MD after a release each with Plancha and Orchid Tapes. 'I Remember When' finds Omori carefully carving music out of hazy memories. Emotive, abstracted, and overcast (as the cover art itself alludes to). Omori excels at his brand of heart to hands clouded ambient by utilizing faded repetition with ghostly percolating guitars printed to old formats. Omori has been doing this type of minimalist modern compositional ambient for nearly a decade but never has it sounded so focused in its conception.
As a bonus to an album of such understated beauty Omori includes a recent collaboration with Thomas Meluch's Benoit Pioulard pseudonym which further adds to the faded photograph characteristics of "I Remember When."

Captured During Two Sunny Afternoons In September 2017, The Fourth Lp By The Much Respected And Collected Duo, Hampshire And Foat, Takes Us To A New Level Of Direct Performance. Recorded Live, With No Overdubs, In Two Churches Situated In Saint Lawrence On The South Coast Of The Isle Of Wight, And Mixed Direct Live Onto A Vintage Stereo Nagra Iv-s And Akg C24 Stereo Microphone, Every Nuance Of The Performance Is Laid Bare. Only The Ambience Of The Room And The Artists' Skill Make The Recording What It Is.

For A Brace Of Sun Soaked Days, Warren And Greg Were Joined By Their Long Time Musical Partners, Phil Achille And Eric Young, And A Cadre Of Local Musicians And Friends, Creating An Album That Truly Captures The Magical Ambience Of The Churches And Surrounding Landscape - Even The Birds In The Church Steeple Can Be Heard At Times. Tracks Are Named After Local Landmarks, Secret Beaches, And Rural Paths That Warren And Greg Hold Dear. The Duo Wanted To Make Something Special And Collectable For This Unique Ambient Jazz Folk Gem, So The Cover Has Been Produced In A Beautiful Late '60s Private Press Style And, Limited To 500 Copies On Vinyl.

Amazing and unique private soul/jazz-funk fusion LP, 'New York To L.A.: Coasting' is the first release (1980) on Andrew Scott Potter and David Eric Tillman's PO/ET label. Sublime from the beginning to the end, it has become, just like their second and final release '...Space...Rapture...', a sought-after collector's item.

Andrew and Eric both come from Chicago. They met in the early 70's, shortly after Eric's discharge from the U.S. Air Force. They played together on the local jazz scene for several years (among others, with Maulawi). During that period, Andrew also toured with Minnie Riperton and Eric toured with The Dells, Linda Clifford and others. In the late 70's Eric left Chicago for Los Angeles, when he began touring with The Temptations. Since moving to California Eric has played and/or recorded with a variety of artists, including, Willie Bobo, Justo Almario, Alex Acuna, Norman Connors, Billy Paul, GAP Band, Linda Hopkins, Billy Higgins, O.C. Smith, and many others.

After expanding its roster and musical scope into jazzier terrains with Jukka Eskola Soul Trio, Timmion now introduces Sami Linna Quartet. Led by guitarist Linna, this international group of elite players paves way for their full length album with the single release "Mode For Tomorrow" b/w "Umoya".

The single hints to what's to come with a deep modal tune referencing 1970's spiritual jazz on the A-side, and groovy soul jazz on the flip. You can immediately hear that these compositions have been crafted with thorough understanding of the tradition, but with passion and capability to breath them to life in this modern age.

The lineup is truly something to write home to. Linna himself has over 20 years of experience working in the Finnish jazz scene, same as saxophonist Jussi Kannaste. Organist Mikko Helevä plays in Jukka Eskola Soul Trio as well as a host of other top jazz groups. But it is drummer Dana Hall who's is the most seasoned member of this experienced troupe. Namedropping might seen lame, but in this case we'll take it there as Hall has worked side to side with Joe Henderson, Kenny Barron, Bobby Hutcherson, Ray Charles, Horace Silver, and Benny Golson to name a few.

Both tracks get a single edit treatment here and the full length versions will be available on the coming album. This is not jazz for the faint hearted, but the real deal meant for real people.

Everywhere At The End of Time is the first in a series of Six albums by The Caretaker to be released over the next 3 years, slowly cataloguing the stages of early onset dementia.
Each album will reveal new points of progression, loss and disintegration, progressively falling further and further towards the abyss of complete memory loss and nothingness...
Viewing dementia as a series of stages can be a useful way to understand the illness, but it is important to realise that this only provides a rough guide to the progress of the condition.
Drawing on a recorded history of 20 years of recollected memories this is one final journey and study into recreating the progression of dementia through sound.
As the first in the series, and despite its typically frayed loop construction, this volume is the most lucid, as subsequent instalments will continue to move into faded obscurity and
material erosion. .
How will The Caretaker sound falling apart What if anything will be remembered and recalled from its past history How will it all end

For the second of six albums issued under the title Everywhere At The End of Time,
The Caretaker's fictional first person account of life with early onset dementia takes a
more wistful tack as our protagonist gradually realises that all is not well and begins to
rummage deeper into the recesses of his memory, masking emotions of grief, loss, fear
and uncertainty by deeper dwelling in the recesses of a decaying mind.
As The Caretaker's short term memory functions begin to more rapidly erode, the loop-
based punctuation of previous instalments begin to subtly unravel, leading his mind
to drift off and ponder fuller segments of tea dance strings and horns which appear
uncannily more inviting, seductive, and now even more tangible than the abbreviated
reels of earlier editions.
Loop points wilt away in autumnal greys and russet rustles as new information becomes
more difficult to process, back pedalling down memory lane toward an opaque smudge
of half-forgotten/remembered spaces, places and un/familiar faces which provide more
comfort and clarity than the world around him.
It feels strange to recommend undergoing this experience, albeit in such an
impressionistic and detached manner, but it somehow feels like a conversely
enlightening one for these strange, disingenuous and unpredictable end times that we
inhabit right now..

The third of a six album cycle cataloguing The Caretaker's fictional first person account of life with early onset dementia, presenting some of the last coherent memories before confusion fully rolls in and the grey mists fade away. In this crepuscular, autumnal phase, recollections phosphoresce and wilt in advancing stages of entropic decay, steadily approaching a winter of no return.
Continuing to mirror the progression of dementia, using nostalgia for ballroom as an allegory of the disease, The Caretaker's musical flow in places becomes more disturbed, isolated, broken and distant. Singular memories, and all their connotations, begin to atrophy and calcify, crumbling away with each rotation of the record - sometimes in curt scene cuts, others in quietly breathtaking reverbed fizzles; like tea lights extinguished,
never to flicker again.
These are the last stages of awareness before we enter the post awareness stages, where those memories become completely detached from comprehension. On stage 3, the haunted ballroom's repertoire becomes increasingly muddled, pealing off in recursive contrails from the gestures of Back There Benjamin, to snag on the stylus in starkly reverberant knots on Hidden Seas Buried Deep, or worn down to calloused nubs such as To the minimal great hidden, and Sublime beyond loss, all leading up to some of the project's most uncanny detachments in Libet Delay and the coruscating brass shimmer of Mournful Cameraderie, which beautifully suggest the mercurial nature of memory and its recollection.

James Allsopp - Sax | Conor Chaplin - Bass | Dave Storey - Drums

Bosco is the debut release for fast-rising drummer and composer Dave Storey, who - with his longstanding Trio collaborators James Allsopp (saxophone) and Conor Chaplin (double bass) - takes the listener on a thrilling and immersive journey across eight original compositions and one (not-so-standard) standard.

Over four years of musical activity, beginning as impromptu duo jams between Allsopp and Storey, the trio has honed their approach towards celebrating the elements they love in classic jazz lineups and recordings, and maximising the space for communication and interaction, without even the need for sheet music. The performances are as immediate and bristling with energy as this might suggest, evoking many of the monolithic names associated with the tenor trio, yet the music still sounds fresh and individual; classic and familiar forms such as the blues are subject to subtle deviations and extensions, evidenced in the tricksy and playful 'Twisty' and the slithering boogaloo of 'Old Blue Nose', playing with the listener's expectations and providing satisfying surprises, a feeling akin to rediscovering an old friend after many years. The reverence and respect of the jazz tradition are ever-present across the album, but the musicians are never unduly beholden to its dogma, which results in music which is unpretentious - perhaps unfussy - but never throwaway or without considerable weight, shining a light on the considerable talents of each member of the trio.

The immediacy of the music is equally served by the studio method, recorded in a single session straight to 2 track tape with no edits, an approach authentic to many classic jazz recordings which can be daunting to even the most seasoned and road-hardened bands. This all contributes not only to beautiful audio fidelity, but also the most accurate image of a live band that one can hope for in a studio recording, emphasising the immaculate playing of all the musicians, and their remarkable propensity for telling full stories together in short spaces of time (the lengthiest takes on the album are under five minutes).

Throughout the record, leader Storey plays with great musicality and maturity, resisting the urge to stamp his authority too aggressively on his bandmates, not overcrowding soloists but rather focusing on excellent tone and time (the hook up between him and Chaplin is joyously buoyant) whether coaxing more from his bandmates through slick comping, trading choruses with Allsopp on his own 'Cautious Tortoise' or supporting the beautiful and poignant melody on the session's only non-original, Strayhorn's 'A Flower is a Lovesome Thing' with elegant brushwork. His compositions are also effective vehicles for the trio's approach, from the jubilant blues of 'Cautious Tortoise' and the album's title track, evoking the dappled light and darker shade of the titular forest, to the more anarchic, angular approach of 'YoYo', the set's bustling closer.

This is a courageous and highly-skilled debut from an exciting young musician and composer, a joyful set of impeccable jazz which rewards deeper listening. Time and again.

Ten more cuts of unacquainted and elusive synth squat-pop, angular funk, metallic jazz and fraudulant disco from the self-propelled imprints and global co-ops. this elasticised series combines rare, unknown and untravelled wax nuggest of night club punk, art school Zeuhl and quasi-political pop united by soldering irons, C-60s and sarcastic synth tones. The second volume in the Plastic Dance series compiled by Andy Votel and Doug Shipton - featuring exclusive liner notes by Andrew Weatherall.

"Greetings sisters and brothers. Let's talk about reductionist revolution and the kicking in of doors. Let's talk of iconoclasts and culture bombs. Let's talk about moral panic and censorship. Let's talk about punk rock.
On second thoughts let's not bother. The white noise is already deafening and actually, thinking about it, the Sex Pistols were really a heavy metal band with a funny singer and the whole shebang eventually, as all revolutions do, succumbed to conservative dogma and self parody. And anyway, as Dr Cooper Clarke said, 'punks were just hippies with zips'.

Instead, sisters and brothers, let's talk about the dangerous counterrevolutionaries who went out and bought a cheap synth and a rudimentary drum machine. The ones that got what 'punk' was really about. The democratization of art. A democratization unhindered by rules concerning the means of production. A democratization forged in the blazing fire of unrestricted influence. A democratization free of perceived notions of 'talent'. Sniffing Glue said learn three chords and form a band, Throbbing Gristle said why learn any chords at all... I am an artist because I say I am. More Marcel Duchamp than Malcolm McClaren.

So, sisters and brothers, who do you think led the counter-revolution Well I'll tell you. It was the man who stormed the Bastille and kicked the door down in the first place and he did it on the 16th July 1977. With the help of Tommy Vance. John Lydon's playlist that night on Vance's show included Tim Buckley, The Creation, Augustus Pablo, Bobby Byrd, Neil Young, Lou Reed, Peter Hammill and Can and put paid to any punk rock 'year zero' claims. Meanwhile, locked out of the studio, Malcolm had to listen to the counterrevolutionary manifesto being broadcast across the metropolis. Mark that date in your diaries, sisters and brothers: 16th July, the anniversary of the birth of 'post punk'. Just over a year later in October, Lydon rammed the point home with the release of Public Image, a personal and musical manifesto in 7' form.

The music on Plastic Dance 2 is the strangely coloured, distorted and frighteningly beautiful fruit of the seeds planted on that fateful day. Lessons learned and inspiration taken from the sonic aesthetics of dub, knowing that not all disco sucked and that even jazz was allowed. Music shaped by wonky approximation and appropriation. The artists on Plastic Dance 2 were artists because they said they were. Listen to their work and you'll know they were. Listen in transcendent wonderment as George Attwell creates alchemical space funk in his home studio... as a future Mock Turtle and members of The Manchester Music Collective channel Robert Calvert and Bill Nelson... as Korzynski comes on like a Jeff Mills remix of Terry Riley. Listen in the wide-eyed joy of being as Stabat Stable's drum machine runs amok to the accompaniment of discordant organ stabs... as a future founder of 808 State channels Albert Ayler alongside a galloping synth arpeggio.

Andrew Weatherall"

Full tracklist:

George Atwell - Meat Grinder
Vibrant Thigh - Walking Away
Stabat Stable - IIO
Cos - Einstein
Beach Surgeons - Chicken Skin Planet (Edit)
Cosmic Overdose - Råttan
Andrzej Korzynski - Zombie House
Ti-Tho - Die Liebe Ist Ein Abenteuer
Gerry And The Holograms - Jeep (Version)
PragVEC - Welcome Home

1958's Music For Torching With Billie Holiday is the quintessential torch singer album. Sultry, smoky, and nearly perfect, this is the great Billie Holiday at her absolute peak. Featuring the subtle and perfectly complimentary work of guitarist Barney Kessel, pianist Jimmy Rowles, and trumpeter Harry Edison, with an amazing cover from the legendary David Stone Martin, this is one of the greatest jazz vocal albums of all-time, beautifully repressed by Wax Love.

The king of West Coast Jazz caught in Milan during his first European trip. The band assembled for these sessions features some of the best Italian Classic Jazz musicians of the time. The basic quartet includes Chet Baker (trumpet) Renato Sellani (piano) Franco Cerri (bass) and Gene Victory (drums). However, that unit is often upgraded to a sextet with Glauco Masetti (alto sax) and Gianno Basso (tenor sax). The cool spirit of Baker's music lives through some inspired fluid performances of American Bop classics such as Miles Davis' "Tune Up" and Charlie Parker's "Cheryl Blues."

In the last few years London has become the centre of the Jazz Renaissance. A

new burst of energy and attitude brought by young musicians, equally inspired

by the likes of John Coltrane, Pharaoh Sanders or Sun Ra, as well as

Madvillain, J Dilla, Flying Lotus and Floating Points, has brought a welcomed

freshness to the London Scene. This exciting new environment brought a group

of young musicians together, all with a mutual desire to discover a new form of

expression. Together they created Cykada.

One of the great tenor sax player Hank Mobley's most well-known releases, Workout is a beautiful piece of hard bop American Jazz music originally released in 1961. Featuring the brilliant work of a handful of young guns as his backing band - guitarist Grant Green, pianist Wynton Kelly, bassist Paul Chambers, and drummer Philly Joe Jones - this set includes 4 Mobley originals and a smoky version of "The Best Things In Life Are Free." Essential.

Nina Simone is one of those rare artists whose greatest work might have been her live recordings. A consummate interpreter of other's songs, it was on live recordings that she really stretched out her sound and truly found her most powerful voice. This 1962 live recording was her 3rd live album for Colpix and the loose, swinging trio that backs her perfectly compliment her versions of classics like "House of the Rising Sun", "Bye Bye Blackbird", and Olatunji's "Zungo". A perfect live recording from one of the masters.

Ray Charles' 1957 album The Great Ray Charles is his second long player for the legendary Atlantic Records. An instrumental jazz album, it was released 2 years before Charles became an international superstar with the hit recording "What'd I Say". Though Charles was already nearly a decade deep into his recording career he'd yet to have a massive hit and was a difficult artist to pin down as his tastes ranged from jazz to pop to R&B. Featuring longtime band member David "Fathead" Newman and with help from the arranging and songwriting genius Quincy Jones, this is a beautiful, swinging, and laid-back jazz album necessary for any fans of Ray.

The Incredible Jimmy Smith, one of jazz music's most popular artists of all-time, recorded this classic piece of swinging and soulful organ grooves in 1960 with the help of long-time bandmates Stanley Turrentine on sax, Kenny Burrell on guitar, and Donald Bailey on drums. One of his catchiest early titles, this is pure party music, the perfect compliment to a summer BBQ with a cold beer. Classic.

The cello, although considered a minority instrument in the history of jazz and improvisation, has carved itself a niche, both in the USA (Fred Katz, Calo Scott, Abdul Wadud, Diedre Murray, Peggy Lee) and in Europe (Tristan Honsinger, Maarten Altena, Denis Van Hecke, Ernst Reijseger). Alongside Didier Petit, Jean-Charles Capon is one of the French virtuosi on the instrument, which he began playing professionally at the beginning of the 60s, before creating the Baroque Jazz Trio. His name was rapidly linked to different cult groups for who he became the guest star (Confluence, Perception, Speed Limit), but also with many more or less well-known (free) jazz musicians including David S. Ware (with whom he recorded the impeccable duo From Silence To Music), Philippe Maté, Michel Roques, André Jaume or Joe McPhee (as part of Po Music). Jef Gilson helped get his career under way (they recorded together as far back as 1968) before Pierre Barouh, boss of Saravah records with who Jean-Charles Capon played alongside Brigitte Fontaine and Areski, offered him the opportunity to record his first album: L'Univers-solitude.

In the company of Swiss percussionist Pierre Favre, Jean-Charles Capon demonstrated, in all registers, a level of invention way beyond a traditional rhythmic and melodic background, with the fluid phrasing a perfect complement to his extended range. It is not for nothing that Jean-Charles Capon admires Duke Ellington, John Lewis and Gabriel Fauré, as can be heard on his later highly personal versions of "Mood Indigo", "Django" and "Après un rêve". As for Pierre Favre, he is not there just to make up the numbers: his timbral research and combinations of complex rhythms offer the French cellist wonderful interaction throughout this remarkable album which had finally been given a dignified rerelease.

The fluidity of the phrasing, timbral research, complex rhythmic combinations and rare sense of improvisation make this one of the best modern jazz recordings on the Saravah label in the 1970s.

First ever vinyl reissue - 500 copies - Gatefold sleeve - obi strip - Licensed from Saravah

We're proud to welcome the new Paris-based punk jazz duo La Récré to the BMM roster ! Drummer Cédric Laban and keyboardist Émile Sornin (aka Forever Pavot / Born Bad Records) make sure to bring you hot rhodes-filled grooves to start off spring season ! La Récré clearly created their own innovative touch by tackling themes such as school breaks and playground fun-time, helped by their long experience in the Paris music scene. To sum this up, La Récré's debut EP is a groovy explosion of nostalgia and infantile energy condensed in 4 stunning punk jazz and hip-hop inspired tracks.

Their first EP has been issued for a very limited quantity on 10 inch records for the Record Store Day and will be available in France's bests record shops on April 13th.

Heritage finds Mark de Clive-Lowe in the process of grand introspection about his Japanese heritage, with specific tracks as memories from the past illustrating the right history of Japan. The albums have a sweeping, almost majestic feel with signature electronic soundscapes throughout.

Day turns to night as Mark de Clive-Lowe's Heritage II takes us from the meditative zen of Heritage into a world of jazz and Japanese roots culture fused with hip hop, drum'n'bass and broken-beat.

On Heritage II, de Clive-Lowe is joined by a cast of world-class musicians: Josh Johnson (Leon Bridges/Esperanza Spalding), Teodross Avery (Talib Kweli/Mos Def), Brandon Eugene Owens (Terrace Martin/Robert Glasper), Brandon Combs (Moses Sumney/Iman Omari), Carlos Nin~o (Build An Ark/Lifeforce Trio) and Tylana Enomoto (Kamasi Washington/Bonobo) - who all contribute stellar performances in support of de Clive-Lowe's music.

Although his albums are full of the same qualities as those of many other star saxophonists / flautists playing spiritual jazz, Frenchman Michel Roques is often classed as a "supporting artist" or a "musicians' musician", forever in the background, and often left out of the reference books. Adding to this lack of recognition is the fact that he was seriously under-recorded: five albums as leader in a career of almost twenty years does not amount to much!

Thankfully, in 1972, Pierre Barouh, boss of Saravah records made up for the injustice by offering him the opportunity to record ''Chorus'' in studio, providing a continuity with the equally brilliant ''Safari'' made four years earlier. An ambitious work, ''Chorus'' owes much to the unusual 'augmented' rhythm section, the inner structure of which is none other than that used in the Parisian trio of pianist Mal Waldron at the end of the 1960s: namely Patrice Caratini on bass (completed by the cello of the amazing Jean-Charles Capon) and Franco Manzecchi on drums (seconded by the percussion of Humberto Canto). Another notable singularity is that Michel Roques had the excellent idea of excluding the piano, traditionally employed in this kind of context. This didn't prevent ''Chorus' from being played on French TV in 1973 with a piano replacing the cello, and a different voice reciting the beat-style poems of Nicole Roques, that of actor Jacques Degor, occasional collaborator with Jef Gilson but far less convincing than Bachir Touré, wisely chosen for this recording for his style inherited from Afro-American preachers and capable of holding his own with the wild improvisations.

In its own way, ''Chorus'' is one of the key albums mixing free jazz and spoken word 'à la française'. It is also a militant concept album which has lost nothing of its political force.

First ever vinyl reissue - 500 copies - Gatefold sleeve - obi strip - Licensed from Saravah

Melting jazz, rock and zeuhl influences, French unit POTEMKINE released its first album in 1976.

Far from their early days as a garage cover band, this masterpiece is the beginning of a singular musical odyssey lead by the Goubin brothers.

A must-have for every MAGMA or WEATHER REPORT fans out there.

The ultimate GAMM classic is finally re-pressed on a beautiful dinked 7inch and with the the original artwork too!

Not much to say except that this is a no brainer for any decent DJ...

With a hybrid jazz based on African grooves, Ethio-oriental melodies and psychedelic dub this Belgian five-piece creates an atmosphere where ancient and modern sounds fuse into a powerful, hypnotic and groovy sensation.

Receiving critical acclaim for their second album 'Artifacts' (2017), the Belgian quintet are pleased to announce the release of their much-anticipated third album entitled 'Future Flora', released 12th April via Sdban Ultra on vinyl / cd / digital.

Piloted by saxophonist/flutist/composer Nathan Daems (Ragini Trio, Dijf Sanders, Echoes of Zoo), the input of notorious musicians, drummer Simon Segers (MDC III, De Beren Gieren, Stadt), cornet player Jon Birdsong (dEUS, Beck, Calexico), keyboardist Wouter Haest (Voodoo Boogie) and bassist Filip Vandebril (Lady Linn, The Valerie Solanas) leads to the specific universe that only Black Flower is able to create.

Where debut album 'Abyssinia Afterlife' (2014) and 'Artifacts' (2017) bathed in an atmosphere of psychedelics, mythical figures, ancient sounds and modern cultures, new album 'Future Flora' refers to the power of plants and their importance for the future.

"'Future Flora' is a metaphor for the importance of feeding and watering powerful and revolutionary ideas and initiatives that can save our world. You can compare it with plants that fight between the paving stones of the city for their future. These "urban warriors" need water to survive and grow. Their future and ours depends entirely on how we look at the plant world", says Daems.

Black Flower's musical cross-pollination of sounds and rhythms remain on 'Future Flora', but there is still room for a more Western touch with Romanian and Maloya (Réunion) influences. Daems developed his own arrangements where Western, Oriental and Ethiopian scales and chords are fused together to create a real mix of traditional instrumentation and modern electrical vibrations.

The strong underlying groove is omnipresent, but the room for psychedelics, folklore and experimentation grows. Songs like new single 'Hora de Aksum' combine modern western rhythms with doses of Balkan eccentricities while 'Future Flora' takes you on a psyche-delicious 21th century Ethio-dub-jazz trip with echoes of Mulatu Astatke and Fela Kuti.

"The general feeling that dominates is that of strength and perseverance. The feeling that we have to fight for our future and that we have to do it now! The whole album is interspersed with this atmosphere and sounds swirling, haunting and ecstatic. For those who once saw Black Flower live at work, this energy will be extremely recognizable", he adds.

Smalltown Supersound Präsentiert Unveröffentlichte Aufnahmen Des Heute 58-jährigen, Norwegischen Ambient-meisters Erik Wollo Aus Der Zeit Zwischen 1986-1992. Inspiriert Von Jon Hassell, Brian Eno, Harold Budd Und Klaus Schulze, Fing Wollo Damals An, Mit Moderner Midi-technik Spacig-kosmische Klangkulissen Zu Erzeugen, Die Später Einen Massgeblichen Einfluss Auf Den Cosmic-sound Norwegischer Produzenten Wie Lindstrom, Björn Torske Und Prins Thomas Haben Sollten. Die Aufnahmen Auf "sources" Wurden Von Helge Sten (deathprod) Auf Basis Der Originaltapes In Seinem Audio Virus Lab Gemastered.

Whether the drummer mimics the machine or the machine mimics the drummer is no longer a question for cultural critique or estrangement theory: rhythmitised assembly on the factory line concerns only a minor part of today's working world. More important is the animistic core question: Is the subject (drummer) contained in the beat or does he lose himself to the beat Or does he follow an experimental setup that functions like a composition or a conceptualist experiment, that allows for both, considers both - Diedrich Diederichsen

Jan Jelinek, electronics Sven-Åke Johansson, percussion

recorded live at SYN/CUSSION Festival, Radialsystem Berlin, 07.05.2017

JAZZ DUO. New full length album by Wojciech Bakowski out now on DUNNO Recordings.

DUNNO: How was 'Jazz Duo' created

Wojciech Bakowski: It was made at home with an old equipment. I really do not like to develop in this regard.There are a lot of recordings from stock, more than on 'Telegaz'. Generally, I like working with some foreign style and mix it with my stuff, preferably on the principle of
incompatibility of the atmosphere. This has been my method for a long time. Combining contradictory emotions is not just about knocking the listener out of their senses, it's also supposed to create some kind of harmony. I listen to stock on my web browser while playing or listening to my recordings. Sometimes I mix only stocks with one another. This is how the song is made, to which I add my own thing. Later, I adjust the text, sometimes I also play out live instruments, such as bass.

Johnny's disk record is an independent jazz label run by the owner of jazz cafe kaiunbashi no johnny located in rikuzentakata city in iwate prefecture, japan.

the legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. albums such as 'farewell my johnny / left alone' and 'aya's samba' has reached cult status among fans as some of the best works to come out of the japanese jazz scene.

following a cult classic jazz fusion album on bourbon records, king kong paradise delivered an album of alternative, left-field balearic rock that was way ahead of its time.

an anomaly that sticks out in johnny's disk's catalogue, the rare record may appeal more to new wave, reggae and rock fans than jazz heads—in fact, i wouldn't be surprised if people like dj harvey or theo parrish dropped this oddity in their sets.

if you dig the kind of weirdness that's being reissued by music from memory, you might find this record intriguing.

Formed in Tokyo in 2017, Ronin Arkestra brings together some of the finest and most creative players in Japan's Jazz and and electronic scene. The collective includes members of Kyoto Jazz Sextet, WONK, Cro-Magnon, Root Soul, Sleepwalker, Sauce81, Kyoto Jazz Massive and, of course, band leader Mark de Clive Lowe.

Kicking it all off is 'Stranger Searching', where lush electronics meet beautifully executed Jazz in full story mode. A constantly driving beat push this track along through its various chapters, with each member of the band given time tell their tale. Horns from Shinpei Ruike, Kohei Ando and Wataru Hamasaki tie everything together in beautiful harmony.

'Redeye Reprisal' hits hard right from the top. With soaring horn lines and beautifully soulful keys from Mark de Clive Lowe, it is drummer Hikaru Arata who is given time to shine in this piece. Wild patterns add to the frenetic nature of the piece, creating drama and mystery before it safely delivers you home.

Flip the record and we are back in story mode again. 'The Silk Road Prelude' is Japanese Jazz at its finest. A solid theme gives definition to this piece, with the horns once again providing all the drama you need. Carefully interspersed with beautiful guitar playing from Tsuyoshi Kosuga, and interwoven electronics from Sauce81, drummer Nobuaki Fuji and bassist Shinju Kobayashi control the groove with exquisite detail.

The final track needs no introduction. 'A Love Supreme' is what legends are made of. Beautifully reimagined by this fine group of musicians, this is the Sunflower moment, a group showing its full dedication and respect for the Jazz masters. A band of Ronin, dedicated to follow the sun until it sets.

Boyoom Connective will release a mini-album by the talented producer duo Okvsho. Their EP Traphouse Jazz discovers jazzy hip-hop beats, brings it together with organic sound and adds some deep going lyrics on top. If you store world music, hip-hop and jazz this EP you don't wanna miss.