Pop & Rock Vinyl New Releases - News

'Let Me Ride / Still D.R.E' is the second 7' single from multiinstrumentalist Sly5thAve's 'The Invisible Man: An Orchestral Tribute To Dr.

Dre' LP. This instalment offers a rework of Dre's notorious 'Let Me Ride' and the timeless 'Still D.R.E'.

The A-Side leads with 'Let Me Ride (feat. Jimetta Rose)' (despite being labelled as Still DRE..) This uplifting arrangement reimagines one of the closest tracks to

Sly5thAve's heart from Dr. Dre's iconic 'The Chronic' album. He explains: 'One of my favorite things about arranging hip-hop/pop music for an orchestra is

the opportunity to build up and take the composition through different worlds that are not completely unrelated but also not readily apparent.' Under his direction,

the undeniably smooth arrangements amplify the lessons in Dre's music which are held at their core. The B-Side holds 'Still D.R.E', Sly5thAve co-opts the timeless hook originally

released on Dr. Dre's '2001' album, amping up the score with guitars, symphonic cymbals and vibrant horn parts. Praising the original, he explains: 'The piano

riff and the production are undeniable'. Sly5thAve strives to find a balance between Dr. Dre's vison and his own interpretation, taking care to fine tune

the musical phrasing his approach pioneers a fresh way to shape the score. 'The challenge on this arrangement was pulling it into a new world that added

something to the original. Hence, the re-harmonized slow intro' Sly5thAve explains. Taken from Sly5thAve's 'The Invisible Man: An Orchestral Tribute To Dr. Dre'

which is already on its third pressing. Label artwork inspired by Dr. Dre's famous Aftermath vinyl designs used on releases by artists such as Dr Dre,

Eminem and many more. Wrongly labelled in a truly old-school style! (SIDE A - Still DRE plays Let Me Ride // SIDE B - Let Me Ride plays Still DRE)

Previous support from tastemakers such as Lauren Laverne, Gilles Peterson (BBC 6Music) & Jarobi White (A Tribe Called Quest), to Noisey, NPR, and The Fader.

Tradition futuristic Cumbia travelsound through Caraibs, Africa, Andines, Spain, India, ... Superb open minded compilatio nbringing loads of bloody good tune... and a pure spirit :! ENJOY !

Here's something to set the pulse racing: a collaborative debut album (on Sound Signature, no less) from London broken beat veterans Dego and Kaidi Tatham. As with their previous joint releases on 2000 Black, Rush Hour, Eglo and, of course, Sound Signature, it's the duo's love of rich, jazz-fuelled musicality, sun-kissed melodies and loose, languid rhythms that shines through. There are naturally nods towards disco, boogie, jazz-funk, Afrobeat, hip-hop and classic "bruk", with a stellar cast list of guest musicians and vocalists swinging by to lend a hand. If Herbie Hancock decamped to Ladbroke Grove and made an album with Bugz In The Attic, it would probably sound like this. In our book, that's a very good thing indeed.

Here Introduce Amsterdam's fame Kid Sublime's new album The Padded Room.

Kid Sublime well known as the carrier of member of Rednose Distrikt ,that made fantastic fusion sounds of Hip Hop Jazz Beatdown sound.

Here Features soul vocalist Damani LeidsmanFlute player Han Litz(Kindred Spirits Ensemble)Percussion player Jos De Haas(New Cool Collective)Atlanta's soul collective The Dangerfeel Newbies.

Kid Sublime delivers fantastic black Dance Music Album with essence of SoulJazzFusionLatin..

This is quite LTD pressing .

Don't miss this

"Soul Jazz Records" are re-releasing keyboardist Eddie Russ's seminal debut deep jazz LP 'Fresh Out' in a limited edition - coloured vinyl of 1000 Copies worldwide. (Within download code)

Eddie Russ was an important figure to emerge from the vibrant underground jazz scene that thrived in Detroit in the early 1970's, existing in the cultural and economic desolation of the city after the departure of Motown in the late 1960's.

This scene included the musical collective Tribe (within members like Wendell Harrison, Marcus Belgrave, Phil Ranelin, Harold McKinney and Doug Hammond) and Kenny Cox's Strata Records. Eddie Russ's Fresh Out was first released in 1974 on the independent Jazz Masters record label.
 
As well as including the classic jazz dance cut The Lope Song, Eddie Russ's Fresh Out featured the debut of the group The Mixed Bag who subsequently recorded for both Tribe and Strata Records. Eddie Russ released two further classic jazz funk albums in the late 1970's, See the Light and Take a Look at Yourself. 

I Marc 4, the brilliant quartet that collaborated with Ennio Morricone, Nino Rota, Armando Trovajoli, Gianni Ferrio, Piero Piccioni, Piero Umiliani, Alessandro Alessandroni, and their fantastic sound, now again available on a unique and really representative release, their holy grail session: G.L.P. 1007 from 1971. The best and most valued volume of the GLP series featuring the fantastic modal madness of "André", "Peroche", "Suoni Distorti" and the milestone 'Alfio' feat the flute by Alfio Galigani. The music goes from insane Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with plenty of Fuzz guitars, amazing Hammond job, and totally catching drum Breaks. An insane trip into early gold Italian Psychedelic and Underground vibes with loads of laden beats and grooves with the mark of the legendary Italian quartet. Simply essential!

This rather mysterious Jazz recording, which dates back to 1971, was quickly put together in a studio session sandwiched between RAI orchestra rehearsals, film soundtrack recordings and various other projects that make up this incredible musical library, all recorded in that period by our best musicians. The unique particulars of this record are that the musicians are not named, except for a mythical 'Plakoti' but also the rights and the tapes seemed tohave strangely disappeared. After a period of accurate research, thanks to Maurizio Majorana (bass player for the Marc 4) we have been able to find the original recordings and also the musicians that played on it. Even though this recording was accredited to the Marc 4, by semi-official sources of the time, strangely enough only two of them are effectively present on this record Antonello Vannucchi on the Hammond Organ, Vibraphone and Piano and Roberto Podio on the Drums. The other two musicians are Giovanni Tommaso playing his mythical 'Pedrazzini' (ndr) double bass who already played together with Vannucchi as part of the famous 'Lucca Quartet' and then as the bass player of the group 'Perigeo' and Enzo Grillini, part of the Rai orchestra and a favorite guitar player of both Armando Trovajoli and Gianni Ferrio who, at the time, was considered one of the best Italian Jazz guitar player and who rarely recorded music outside of the RAI orchestra. The style of this record, thanks to this very particular group of musicians, contrary to many other Library recordings, is very jazzy and the very special sound reminds us of the Jazz organ of the Verve/Blue Note labels made in the Sixties. The Seven Men Label, another characteristic of this new edition, born from a partnership of 7 mysterious producers and musicians in order to produce background music, in fact, only produced four recordings and they are : '1' that you are already listening to, 2, AKA 'Il Cinghialetto' directed by Gianni Ferrio and played by the very best popular and classical musicians of the day, as the soundtrack of a theatre piece written by Grazia Deledda and to conclude there are two recordings made in the 1970's written by Bruno Canfora: 'Musiche di scena n°1' and 'Musiche di scena n°2'. To have been able to bring this recording out again, knowing about its ups and downs and how it was made, is even more important now, as we have been able to add yet another gem to the numerous reeditions of the 'Italian Library Music' over these past years.

Universal Beings is jazz drummer / producer Makaya McCraven's new album - his most ambitous, elegant and refned work yet.
Recorded at 2 intmate live sessions and 2 pop-up 'studio' sessions across the 'new' jazz hotbed cites of New York, Chicago, London, and Los Angeles, Makaya collaborated with an all-star cast of improvisers (15 musicians in total,
including Shabaka Hutchings, Nubya Garcia, Je Parker, Miguel AtwoodFerguson,Tomeka Reid, Brandee Younger and Carlos Nino) to create source material for the signature style of 'organic beat music' producton he debuted on the groundbreaking 2015 release In The Moment.
The result is this epic, 2xLP/CD set that represents another breakthrough in Makaya's career as a recording artst, as well as a defnitve new work of the excitng global groundswell of next-generaton, Black musicians re-vivifying and
re-artculatng 'jazz' in 2018.

Astral Jazz On Vinyl LP!

Includes The Magnificent "Upper Egypt And Lower Egypt"!

Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in jazz. Harmonically rich and heavy with overtones, Sanders' sound can be as raw and abrasive as it is possible for a saxophonist to produce. Yet, Sanders is highly regarded to the point of reverence by a great many jazz fans. He made his name with expressionistic, nearly anarchic free jazz in John Coltrane's late ensembles of the mid-'60s. The hallmarks of Sanders' playing at that time were naked aggression and unrestrained passion. In the years after Coltrane's death, however, Sanders explored other, somewhat gentler and perhaps more cerebral avenues — without, it should be added, sacrificing any of the intensity that defined his work as an apprentice to Coltrane.

Coltrane's ensembles with Sanders were some of the most controversial in the history of jazz. Their music represents a near total desertion of traditional jazz concepts, like swing and functional harmony, in favor of a teeming, irregularly structured, organic mixture of sound for sound's sake. Strength was a necessity in that band, and as Coltrane realized, Sanders had it in abundance.

Sanders made his first record as a leader in 1964. Tauhid is his first album after the death of John Coltrane in 1967.

"Tauhid marks the 1966 Impulse debut of tenor saxophonist Pharoah Sanders, who had already gained fame as a flame-throwing saxophonist of the 'new thing' playing with John Coltrane. However, Sanders' tenor appearance doesn't saturate the atmosphere on this session, far from it. Sanders is content to patiently let the moods of these three pieces develop, whether it be through the percussion of Roger Blank and Nat Bettis, guitarist Sonny Sharrock, or his own piccolo. For those looking for Sanders' patented screeching tenor throughout, Tauhid will disappoint." - Al Campbell,

"'Upper Egypt And Lower Egypt' is so perfect that the rest of Tauhid tends to get forgotten, but the four shorter tracks which complete the album, totalling another 18:08, are also magnificent. 'Japan,' inspired by Sanders' tour of the country with Coltrane's band in the summer of 1966, is as pretty as pink lotus blossom. 'Aum' and 'Venus,' the first with Sanders on alto, are tougher and further out, before the concluding 'Capricorn Rising' re-establishes the album's peaceful opening vibe... In retrospect, the first cut was indeed the deepest, and for many devotees Tauhid remains Sanders' astral jazz muthalode, and 'Upper Egypt And Lower Egypt' his finest (quarter) hour." - Chris May, All About Jazz

"No longer bothered by the restrictions of convention, Sanders travels a course of rhythm here that re-appropriates its structure with every introduction of a new and different instrument. 'Upper and Lower Egypt' are forceful currents of hybridized energy, combining a skilled and disciplined structure in playing and a wild and unfettered sense of rhythm. Unregulated by any constrictive ideas of musical communications, Sanders performs with the abandon of an artist who is perfectly willing to let anyone sit down at his table, provided that they eat what is being served with a clean palate and an open mind." - Imran Khan, Pop Matters

South London virtuoso keys wizard Joe Armon-Jones returns with two freaked out dub versions, re-rubbing two entries from his debut for Brownswood earlier this year. 'Starting Today Dub' is stripped back and stretched out to maximum effect. 'Mollison Dub Vocal Version (Feat. Asheber)' spaces out the original and adds in extra vocals from West London dub staple Asheber.

His debut album, Starting Today, came out in May 2018. Part of the vibrant young jazz scene in London, it brought together a bunch of players under that umbrella. It was praised by Pitchfork, Loud and Quiet and CLASH. In the words of The Wire, it's "bass-rich music hustle straight out of the London soul-jazz-dance lineage.

OK:KO is a fresh quartet from Helsinki led by drummer Okko Saastamoinen. The band's spiritual and searching sound is characterised by their highly personal musical language and genuine teamwork, honed by continuous touring in between the band's 2017 debut and their second album "Syrtti", to be released on Helsinki's We Jazz Records on 22 February.

The ensemble includes some of the most sought-after talents of the young generation of Finnish jazz. Soulful sax player Jarno Tikka continues his rise to the top after his strong effort on the previous We Jazz LP, Alder Ego "II". Bassist Mikael Saastamoinen (no relation to Okko) is the current "Rising Star" of Helsinki's We Jazz Festival with his solo project Perussastamala, and while pianist Toomas Keski-Säntti may be the least known name here, he makes a strong mark with his thoughtful touch on the piano on several tracks on "Syrtti".

The OK:KO band sound has its origins on the spiritual pool of jazz, historically speaking, but the band brings forth a strong personal musical statement thanks to Okko Saastamoinen's memorable compositions and each musician's ability to bring their own vocabulary into the common musical language. Already a live favourite on the local scene, on "Syrtti" OK:KO shows that it's not a band of mere promise any longer - they deliver in the here and now.

OK:KO is a fresh quartet from Helsinki led by drummer Okko Saastamoinen. The band's spiritual and searching sound is characterised by their highly personal musical language and genuine teamwork, honed by continuous touring in between the band's 2017 debut and their second album "Syrtti", to be released on Helsinki's We Jazz Records on 22 February.

The ensemble includes some of the most sought-after talents of the young generation of Finnish jazz. Soulful sax player Jarno Tikka continues his rise to the top after his strong effort on the previous We Jazz LP, Alder Ego "II". Bassist Mikael Saastamoinen (no relation to Okko) is the current "Rising Star" of Helsinki's We Jazz Festival with his solo project Perussastamala, and while pianist Toomas Keski-Säntti may be the least known name here, he makes a strong mark with his thoughtful touch on the piano on several tracks on "Syrtti".

The OK:KO band sound has its origins on the spiritual pool of jazz, historically speaking, but the band brings forth a strong personal musical statement thanks to Okko Saastamoinen's memorable compositions and each musician's ability to bring their own vocabulary into the common musical language. Already a live favourite on the local scene, on "Syrtti" OK:KO shows that it's not a band of mere promise any longer - they deliver in the here and now.

The Seeds of Fulfillment by David Drazin (November 2018)

Andrew Venson founded Seeds of Fulfillment (SOF) in early 1978. In the 1960s he had played electric bass with Arthur Conley, and later the original Peaches and Herb. On the same bill with Big Brother and the Holding Company, he hung out backstage with Janis Joplin. Yes! Vince was hoping SOF would get all of us to the top. He composed three tunes for the band, and we always had a ball playing them.

Roger Myers is a marvelous drummer. We co-composed Namaste. Roger would settle on a drum pattern of four measures at a time that he wanted to keep, and I'd put chords and melody right on top of his pattern. When he layered a second drum pattern on top of the first one, we'd get two melodies at the same time. We thought we were going to collaborate on more songs this way, but it didn't happen.

Lee Savory is a very inventive jazz man. He's musically literate, and wrote excellent transpositions. I remember Lee's asking for my input while he was composing Tight Squeeze, but it was clear he had it down. Once when I was visiting a DJ who played the album in a local radio station, the total of checks next to Tight Squeeze for number of plays was by far the highest!

Randy Mather's sax playing always knocked me out. I could hardly wait to hear him solo. When he left SOF to go with Woody Herman's orchestra it was amazing, but true.

Jeanette Williams had recorded 45s for the Duke and Peacock label when she was 17 years old. Her powerful singing was incredible to me. When we needed an original for Jeanette, Vince composed it, and Roger's wife Linda wrote the lyrics.

In 1978 I was in my senior year at Ohio State University when I met Vince. He came into a bar called My Brother's Place where I was playing with a trumpet player named Bobby Alston. When I was a freshman at OSU I'd played in an off campus band called Akadama. Before that I played in my home town of Cleveland, Ohio in the Brush High School Stage Band and a jobbing band called The Midnight Combo.

Everyone in the band contributed something to Egg Cartons in a composition jam session. We rehearsed in Vince's basement, and he had covered the walls with egg cartons to make the room sound more like a recording studio. The Provider was inspired by Country Preacher by Joe Zawinul. In those days I especially admired the way Zawinul would get his soulful feelings across, but also loved Herbie Hancock and to a lesser degree Chick Corea too. It took two years (with a break of several months) for the band to conquer Self-Fulfilling Prophecy. It shows you what consideration and dedication is, that ultimately they felt it was worth learning.

We recorded at Fifth Floor Studios in Cincinnati, Ohio. While we were there I got to shake hands with Bootsy Collins, who was recording in the rooms downstairs at the same time. Years later, Fifth Floor burned down and all the master tapes were destroyed.

Carolina Lins & Os Planatos present an infectious reworking of the Kaiser Chiefs' classic 'I Predict A Riot'. Appealing to those who are fans of Musica Popular Brasileira, the Kaiser Chiefs and football alike, this track is a sweltering funky take on the British anthem.

Der Jazz Musiker John Coltrane wird mit einer Sammlung seiner Aufnahmen beim legendären Label
Prestige Recordings gewürdigt. In diesen limitierten Editionen finden sich Highlights wie die
berühmten Interpretationen von 'Lush Life', 'Spring Is Here', 'Lover', 'Good Bait', 'Stardust' und 'Love
Thy Neighbour'.
Das Set erscheint als limitierte 7LP Box und limitierte 5CD Box. MIt enthalten sind unter anderem
seltene Fotoaufnahmen und einer langen Notizen des Coltrane Experten Ashley Khan.

Due to popular demand, 22a presents the out of print Ruby Rushton LP's from 2017, in a deluxe gatefold vinyl format, strictly limited to 500 copies.

The Tenderlonious led jazz quartet Ruby Rushton and their 22a imprint have been at the forefront of the UK jazz scene since the release of their debut album 'Two For Joy' in 2015. The band transport you back to the 70s Headhunters era, whilst still adopting the spiritual concepts of John Coltrane and Yusef Lateef. Audiences can expect to be treated to high energy compositions, fusing flavours of afro beat, hip hop, and Latin jazz.

Both Trudi's Songbook Volume One and Two were met with mass acclaim in the summer and autumn of 2017. They received regular airtime and support from DJ's, tastemakers and radio stations across the world, including Gilles Peterson, Benji B, Bradley Zero, Jazz FM, BBC Radio 6 Music, Worldwide FM, NTS and many more. The huge support for the albums led to Trudi's Songbook: Volume Two being nominated for Jazz album of the year at the 2018 Gilles Peterson Worldwide Awards.

With a brand new album due for release in March 2019, this limited edition, 2xLP, deluxe gatefold issue of Trudi's Songbook: Volume One and Two closes this chapter for the band and paves the way for new material.

Sarah McCoy-Fans nennen die Songs ihrer Künstlerin "Film-Noir-Pop" oder "Unterwelt-Jazz". Da geht
es um Liebe und Tod, Schönheit und Schrecken, vorgetragen mit einer Gänsehaut-Stimme
ohnegleichen.
Auch Pianist, Produzent und Multitalent Chilly Gonzales gehört zu den Fans der Sängerin. Jetzt hat er
ihr Debütalbum - Blood Siren' für Blue Note produziert.
Gonzales entdeckte sie auf der Bühne eines eleganten Pariser Clubs und war sofort begeistert von
ihrer exzentrischen Show und den gleichzeitig düsteren wie herzzerreißend schönen Songs. Noch am
selben Abend lud er sie zu Testaufnahmen mit Co-Produzent Renaud Letang (Feist, Manu Chao,
Charlotte Gainsbourg, Mocky, Jamie Lidell) ein. Die fielen großartig aus und kulminierten jetzt in einem
Album, das einen vom ersten Song an mit seiner Atmosphäre gefangen hält.
Zu ihren Vorbildern zählt Sarah McCoy neben Bessie Smith und Tom Waits auch Fiona Apple, Janis
Joplin und Aretha Franklin. All diese Größen mag man in ihren Songs tatsächlich wiedererkennen,
aber mit tiefschwarzen Balladen wie "Boogieman" macht Sarah McCoy von Anfang an klar, dass sie
unvergleichlich ist

Louis Armstrong was one of the most influential figures in the jazz scene. As a trumpeter, singer and composer he recorded some of the most famous songs the world would ever hear. This Collected release combines the songs from his early days with his big hits and collaborations with other artists.

Louis Armstrong was born and raised in New Orleans during the first 20 years of the 20th century. From 1920 onwards he became known as an inventive trumpet and corn player. With his recognizable voice and skilled scat singing he released classics like West End Blues' and Ain't Misbehavin''. The Black spiritual When the Saints Go Marching In' was famously recorded by him in 1938. During the '60s Louis was still a top performer, releasing some of his most famous songs, like What A Wonderful World' and Hello, Dolly!'. Even after his dead in 1971 he remained as popular as before and became known as one of the most influential artists in popular music. His effect on singers who came after him can be found in the performances he recorded with other artists. On the 2LP Collected you'll find collaborations with Ella Fitzgerald, Bing Crosby and Billie Holliday among others.

The Louis Armstrong Collected package includes a 4-page booklet with liner notes and is available as a limited first pressing of 2.000 individually numbered copies on green vinyl.

The second album from SpaceArk. More brilliant self-released, private-press jazz/soul from 1976 Los Angeles.

'SpaceArk Is' came out on Color World records in 1976, on a limited run of about 5,000 copies. It followed their self-titled debut (also available now on Mr Bongo) on the same original label, the year before.

For a handful of years in the Seventies, SpaceArk was one of the most promising and electrifying bands in Southern California. Although their music was far greater than the sum of its parts, those parts made for a very original style. R&b, soul, rock, pop, jazz, classical ... it all came together in blissful stream of intricate compositions that swept up crowds from US military bases to Northern Soul clubs around the UK.

SpaceArk wrote and performed more than 100 songs during their time together. Most of them were not recorded and are now either lost or forgotten.

Official Mr Bongo reissue with liner notes by Amar Patel. Licensed direct from Peter Silberg.

From 1932 to the late 1940's the period covered by this set, Cab had an orchestra that was about as swinging a band of solid senders as you'd find on the big-band circuit.

Cab projects, in his singing on records, something of the vital magic of his stage presence, a boundless exuberance and enthusiasm. His orchestral backing during the Thirties and Forties included many well-known names in jazz. At various times, Milt Hinton, Danny Barker and Cozy Cole were in his rhythm section.The reeds included the late, great Chu Berry as well as Ben Webster. Dizzy Gillespie was in the band, some members of which, at odd moments, served as a laboratory for the style to be called Bop. 'This whole new chord structure idea was interesting to me,' Milt Hinton recalled, 'and I would walk the new chords behind his playing.' Cab wasn't the least enthusiastic. Danny Barker quoted him as saying, 'I don't want you playing that Chinese music in my band.'

The main attraction, however, was always Cab—showman, singer, entertainer. Most audiences didn't even know that some of his sidemen were candidates for the jazz hall of fame. And that was as it should be. The musicians' first function was to provide musical backing and a musical setting for the man who was being called 'King of the Hipsters,' and this they did, wonderfully well. It was as Barry Ulanov noted in Metronome ( January, 1943) a band extraordinary in every respect, hailed for its 'clean musicianship, its jazz kicks, its brilliant showmanship.'
Excerpt from the sleeve notes by Charles Edward Smith

On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.

by Rob Ferrier /AMG

Fat Albert Rotunda is the venture into jazz-funk by keyboardist Herbie Hancock. The record is centered around the music Hancock wrote the Fat Albert cartoon show. It's one of the records which appeared in the period between his landmark album Maiden Voyage of 1965 and his 1973 classic Head Hunters. Fat Albert Rotunda is a unique item in Herbie Hancock's long and diverse catalog, with funky tracks like 'Fat Mama' and modern jazz-oriented tunes like 'Tell Me A Bedtime Story'. The sextet which is backing Hancock consists of some of the most prominent musicians of that time, like Joe Henderson on tenor sax, Johnny Coles on trumpet and Buster Williams on the bass.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Mwandishi is one of Herbie Hancock's first departures from his traditional jazz sounds. The album which was recorded in a single session on New Year's Eve is a much more spacier effort compared to his earlier works, created by Hancock's us of electronic effects devices. His sextet is the most progressive ensemble he played with and he took the next step in the future of jazz. The music on Mwandishi is beautifully atmospheric and the long tracks leave plenty of space for improvisations by the group. A fantastic recording with sonic layers of earth, existence and expression.

Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets & buttons and he was one of the first to embrace and master the electric piano, but he always stayed true to the acoustic sound. In fact, he always bounced back and forth between his electronic and acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an original and distinctive voice.

Saxophonist, composer and bandleader Nubya Garcia is back with the eagerly awaited next chapter to her musical unfolding, When We Are. Enabled with the support of the prestigious Steve Reid Foundation's InNOVAtion award, and with Eglo records co-founder Sam Shepherd (Floating Points) as her mentor, this self-released EP features two newly recorded compositions from the much-lauded artist. The record also comes with B-side remixes from two generations of London's finest producers, K-15 and Maxwell Owin. Following on from her scorching sophomore release, Nubya's 5ive (jazz:refreshed), When We Are sees the trailblazing player take typically self assured steps into new territory with electronic experimentation. 'I've been inspired a lot by the producers around me at the moment, people like Ben Hayes, Tom Misch, Joe Armon- Jones, Jake Long and Maxwell Owin', said Garcia. 'There's an electronic vibe in there that I wanted to explore more, and this release feels like a positive evolution from the last EP.' Much like the celebrated Brownswood release, We Out Here, where Garcia features on five of the nine tracks, When We Are offers a snapshot of the artist she is today and the organic musical languages she continues to form with her long term collaborators Femi Koleoso, Joe Armon-Jones and Daniel Casimir. The title track opens with the easy cascading of Armon-Jones on keys, Garcia's signature erudite tone dancing against the drummer Koleoso's boxy, afro-tinged hip hop runs; all three riding on Casimir's beautifully subtle, abetting bass. Crisp and clean, the track's sweet inflections are carried into spacious territory by light touch pedal effects. Source comprises of shape-shifting, Tetris-like grooves. It's a characteristically sophisticated sound from the band, where each player is able to shine around the trademark fusion of gospel, soul, broken beat, Afro-Caribbean and Latin styles that Garcia has deftly crafted into her own. Alongside her releases, Garcia's reputation as a DJ is burgeoning, bolstered by her hit radio residencies on platforms including Balamii and NTS, and a growing number of live sets across Europe. The record partly draws on the energy of the club-nights that shaped her formative years. The grime and garage nights in north London, dub nights across the river in south London, and of course, the infamous Steez performance jams that have served as a rite of passage for much of the scene.

Phil Ranelin's first record as a leader is worlds away from his later 1976 offering, Vibes From the Tribe. The Time Is Now is a vanguard jazz record, full of the spirit, determination, and innovation inspired by John Coltrane, Eric Dolphy, Cecil Taylor, Pharoah Sanders, and Archie Shepp. Recorded in 1973 and 1974 and released at the end of 1974, the set shows Ranelin to be an imposing composer and frightfully good trombonist. The original album contained six compositions that are a deep musical brew of avant-garde improvisation, hard bop jazz esthetics, and soulful melodic ideas that were superimposed as a jump off point for both harmonic and rhythmic (read: Latin) invention. The stamp of Detroit is all over this thing. Tracks like the title and "Black Destiny" reflect the anger and vision of the era, while moving it all in a positive musical direction. Soloists on the set include the rest of the Tribe collective -- Marcus Belgrave and Wendell Harrison -- as well as local players who deserved far more than they received in terms of national recognitions: bassist Reggie "Shoo-Be Doo" Fields, trumpeter Charles Moore, pianist Keith Vreeland, drummer Bill Turner, and others including Ranelin himself. The arrangements on The Time Is Now were ahead of their time, clustering a rhythm section as part of the horn's front line ("13th and Senate" and the title track) and a stylistic angularity that reflected both musical history and futurism in jazz and R&B ("Time Is Running Out" and "Times Gone By"). The Time Is Now is a must for any vanguard jazz aficionado or anyone interested in the strange, rhythm-oriented evolution of Detroit music. Thom Jurek/AMG

- 180 GRAM AUDIOPHILE VINYL
- DEBUT ALBUM FEATURING THE MILES DAVIS COVER AND HIT 'SO WHAT', 'AFTER HOURS' AND MORE SONGS
- LIMITED FIRST PRESSING OF 1.000 INDIVIDUALLY NUMBERED COPIES ON GOLD VINYL

As an influential artist in the acid jazz movement of the '90s, Ronny Jordan released his debut album The Antidote. 'After Hours' is without a doubt the signature track on the album, and one of the most brilliant songs of his oeuvre. The well structured album focuses on different parts of the jazz movement, including a fantastic crossover cover of the Miles Davis classic 'So What'. A fine combination of Hip-Hop drum loops and jazz is what Jordan presented to the public. You get caught up in the groove of the guitar rhythms and that fact is what makes this record so wonderful, all these fine expressions.

Ronny Jordan came to prominence after being featured on Guru's Jazzmatazz. In the urban jazz movement he recorded a couple of chart hitting records.

The Antidote is available as a limited first pressing of 1.000 individually numbered copies on gold vinyl.

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants - Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note - 'the Cadillac of the jazz lines' - was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note - from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s.

As ever, Blue Note had lit the path, and this new Spiritual Jazz collection shows that the progressive and underground jazz sound of the 1960s was not only the preserve of obscure artists and private pressings. Blue spirits and heavy sounds on Blue Note - the finest in jazz since 1939, brought to you by Jazzman.

Twelve years ago, Sardinian trumpeter Paolo
Fresu, French accordionist Richard Galliano and
Swedish pianist Jan Lundgren - all from the upper
echelons of European jazz - formed their trio. Each
has his roots in the musical tradition of his home
country and each has used it to develop his own
musical language.
'Mare Nostrum III' completes a trilogy of albums.
Right from the beginning of their decade-long
collaboration, the group has had the idea of
recording an album in each of their home
countries. They made the first in Italy in 2007 and
it took these busy musicians until 2016 to go to
France and record the second. Their third
destination was Sweden and the Nilento Studio in
Gothenburg. 'Once again,' says Rene Hess, the
Swiss producer of the album, 'it was a pure
pleasure to see the sheer ease with which Paolo,
Richard and Jan can create such great music.'
With 'Mare Nostrum III', Paolo Fresu, Richard
Galliano and Jan Lundgren have once again
created a wonderful ballad album. Through their
music they rise way above the old discussion about
whatever jazz might be nowadays. What they have
achieved instead is to bring the sound of Europe to
life.
CD in 6 page digipack. 2LP on heavyweight, half
speed cut 45RPM vinyl with digital download code.

RRR have once more tapped in to their combined creative vaults producing another sophisticated slice of smouldering modern soul and subtle funky grooves. A potent and vastly enticing hybrid laced with killer hooks - enthused in the tradition of Norman Whitfield, with a twist of psychedelia.
(Emrys Baired - Blues & Soul)

Gareth Tasker plays and Barrie Sharpe produces. Their sound is individual - based upon the funk of the early 70s: however, with a totally modern production. The clean unique Sharpe production places every part of the puzzle into the correct space: 'every note is audible'. Accompanied by the outstanding abstract gospel vocals of Danelle Harvey - the understated, haunting jazzy horn of Kenny Wellington (Beggar & Co / Light Of The World) & the soulful smatterings of AprilFoolChild's flutewomanship. Fritz Catlin (23 Skidoo) adds the final edge with his Studer 169...
'I was a product of the times and the product became the producer. I designed the clothes, ran the club, played the records, was in the band and made the music, which created the scene that changed youth culture worldwide. I just kept falling up hill.' (Barrie Sharpe)...The clothes - Duffer of St. George (created 1984) - from the street, 4 young men shook up the fashion industry globally...
The Clubs - Black Market (Wag) 84/85 and The Cat In The Hat 85/86 - he with his friend Lascelle Lascelles played their favourite 70s funk records to a brand new audience. The style they played became known as 'Rare Groove' - the change in club culture...The band - Diana Brown & The Brothers - that consisted of The Brand New Heavies, The Young Disciples and Diana Brown & Barrie K Sharpe - became the defining sound of the Acid Jazz Movement...

Jaye P Morgan's 1976 million dollar private press featuring the cream of the LA jazz and funk scene and one of David Foster's first productions is finally reissued. Wewantsounds is delighted to announce the release on deluxe LP and CD of Jaye P. Morgan's ultra rare private press originally released in 1976. This lost classic recorded in LA at the legendary Sound City Studios is also the first full-blown production by David Foster two years before he co-produced Earth Wind and Fire's album I Am and went on to become one of the hottest producers on the scene. Featuring an extraordinary line up of the best LA musicians including Harvey Mason, Ed Greene, Jay Graydon, Ray Parker Jr. Tower of Power, Ernie Watts and many more, it's probably one of the most expensive private press ever produced and a delight of sophisticated Los Angeles funk featuring Jaye's superb soulful vocals. The LP edition will come with the original 4 page insert full of session photos and credits.

With a line-up that reads like a who's who on the 70s Californian scene, this album was a bold move for the singer who had made her mark in the 50s and 60s as a popular music singer and actress. Hiring Foster was a masterstroke as he hadn't yet produced any noticeable hit but together they gathered the most impressive crew of musicians you could think of including two of Foster's closest associates, guitarist Jay Graydon and singer / arranger Bill Champlin (of Sons of Champlin's fame) and created the perfect white Soul album with a breezy California feel.

Featuring masterful renditions of such iconic songs as Stevie Wonder's songs as Seems So Long and Earth, Wind And Fire's Can't Hide Love (for the anecdote, Foster, Champlin and Graydon would soon pen After The Love Has Gone which would become a mega hit for Earth Wind AND Fire two years later), together with a handpicked selection of originals, the sound alternates between uptempo funk and soulful mid-tempo ballads, all served by Morgan's superb vocals. The missing link between Steely Dan and Earth, Wind and Fire, Jaye P. Morgan is pure, undiluted Funk music and an essential LA classic which Wewantsounds is glad to make available for the first time.

One of Brazil's most prolific artists, Eumir Deodato has racked up 16 platinum albums, won a Grammy (and been nominated for two more), and sold over 250 million records in the USA alone. After moving from Rio de Janeiro to New York in the late 60's, Deodato would work as a composer, arranger, producer and keyboardist on nearing 500 records, under his own name and with the likes of Aretha Franklin, Earth Wind & Fire, Frank Sinatra, Kool & The Gang, George Benson, Tom Jobim and Bjork, to name a just a few.

But before that, a young Deodato had already cemented his status in Brazil as one of the country's top musical minds. In the mid-sixties, when he wasn't working with the likes of Roberto Menescal, Joao Donato, and Marcos Valle, Deodato recorded a string of albums with his lesser known instrumental samba jazz and bossa nova ensemble Os Catedráticos.

A masterpiece of hip Brazilian swing, Ataque reflects the deeper, groovier side of that magical, hazy sound of sixties Rio, with monster samba grooves backing big brass arrangements and scorching organ solos. Amongst Deodato's own tracks, there are compositions by Marcos & Paulo Sergio Valle, Baden Powell and Luiz Bonfa, arranged for a big horn section, which includes trombone player Edson Maciel, and given an extra dose of cool from the inimitable drums of Wilson Das Neves and Ruebens Bassini on percussion.

An elusive long player in the cannon of killer, groovy Brazilian music, with vinyl copies near impossible to find for less than three digits, Ataque finally gets the official Far Out reissue treatment: re-mastered and pressed to 180g vinyl. Now available for the first time outside of South America.

Ein Trip durch die tropische Dance-Szene in vier Akten, limitiert auf 1000 Exemplare. Sein fünfjähriges Jubiläum feiert das Label Cree Records mit einer exklusiven 12''. Diese enthält vier von
befreundeten DJs editierte Songs aus dem Backkatalog. Bei dem Quartett handelt es sich um DJ Nomad, Keshav Singh, Al Kent und Waxist. Der Berliner DJ Nomad suchte sich Barbara Hernandez' "All Nite Tonight" aus. Keshav Singh ist Teil des trinidadisch-britischen Produktionsduos Jus Now; er verwandelte Mansa Musas "Beat The Drum" in eine housige Soca-Nummer. Die beiden anderen Stücke werden auf der demnächst erscheinenden Kompilation "Gotta Nice Buzz. The Funky Sound Of Semp Studios Trinidad, W.I." zu finden sein: Zum einen der Remix des französischen DJs und Plattensammlers Waxist von Zodiacs "I Believe". Zum anderen ein von Al Kent besorgter Edit des trinidadischen Disco-Klassikers "Music Makes The
World Go 'round" der Hamilton Brothers aus dem Jahr 1978.

Standard black double vinyl format of the album. Marketing activity to Xmas.

Afshin (Djoon, Paris) and Kiss My Black Jazz follow up the stunning debut for GAMM with two more incredibly well executed edits/reworks !

First up a joyous late 70's Brazilian lost classic, perfectly realigned for 21st century floors
On the flip, Reggae certainly got Funk as we bounce along with a killer soulful kingston jam... Both will surely do the business on a variety of floors.