Pop & Rock Vinyl New Releases - News

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

Cardinal Fuzz are proud to introduce Dire Wolves (Just Exactly Perfect Sisters Band) - Paradisiacal Mind and their tenth (or possibly twelfth) full length since 2008. Dire Wolves put forth a sound of ecstatic improvisation, each member documenting coordinate points in the higher dimensions of cosmic free-rock. The music lies somewhere near the nebulous intersection of psych, kosmische beat and astral jazz. These are exploratory journeys, transportive trance-based experiments in vertical listening, totally collaborative and often forming spontaneous compositions. The focus is more about feeling than any specific approach to playing. Paradisiacal Mind conjures a floating stellular kraut Americano with quite a lot to pull you in to the mix and then drift you right back out again. Following two simultaneous 2017 releases - on Feeding Tube and Beyond Beyond Is Beyond - that explored out-of-body experience, this latest work turns decidedly inward. Psychic rock that guides your vision to heaven, and heaven is in your mind. When cover artist Kyla Quigley asked the band to draw from the tarot to inform her new work, the card was The Star, a renewal of hope and strength to carry on. And so it all came together - acute, right and obtuse, all at once. A portion of the record was recorded in Oakland by Zachary Watkins (Black Spirituals), who helped set the atmosphere to capture the festival consciousness vibes. The remainder was realized on Bernal Hill, celebrating the 50+ year tradition of San Francisco psychedelic

The second line-up of the multinational jazz-rock fusion band Mahavishnu Orchestra recorded Apocalypse in 1974 together with the London Symphony Orchestra. George Martin was responsible for producing this brand new sound from the band. Jazz fusion and progressive rock blended together in this energetic mix of harmonies and epical orchestrations. John McLaughlin lyrical and fiery guitar sound takes an important role in the musical direction of the album.

Mahavishnu Orchestra have been cited many times as a big influence on everyone from King Crimson and Frank Zappa to The Mars Volta. Frontman and guitarist John McLaughlin has always been the main figure in the band, both during their first (1971-1976) and second line-up (1984-1987).

Das Ensemble "Time Grove" bietet auf seinem Debütalbum "More Than One Thing" feinsten Instrumental Jazz. Die insgesamt neun-köpfige Gruppe aus Tel Aviv hat sich unter der Leitung des renommierten Pianisten Nitai Hershkovits formiert und bietet reich instrumentiert zukunftsweisenden Sound.

Die Bandbreite des vielfältigen Albums reicht von den etwas gruseligen Horn- und Klavierlinien des mysteriösen Openers
"TG Theme" über die leichteren, idyllischeren Klängen von "Second Attention" bis hin zur perfekten Harmonie und Erhabenheit des letzten, ruhigen Stückes "Latrun". "More Than One Thing" bietet vielfältige Emotionen und ein wirklich einzigartiges Instrumentalset mit einem Twist.

Amazing Private Spiritual Jazz-funk/fusion Lp, Now Hard To Find. Finally Available Again, Fully Licensed And Remastered, With Original Artwork. This Album Is Magnificent In Its Entirety, No Fillers. Some Of The Best Fusion On Record!

Synergy in motion, London five-piece Ezra Collective are proving themselves as a harmonious tour de force. Their sound nods respectfully to a classic jazz footprint, celebrating the originators whilst simultaneously carving a path solely their own. Ezra

Collective marry the delicate technicalities of jazz musicianship with afrobeat and hip hop, tied together by a sound that's unmistakably London. Their live show is one of dynamic union; the strength of their partnership shines in performances that are commanding yet sensitive, soulful and pertinently groove-laced.

Following a joyous and stunningly cohesive show in May 2016, Boiler Room rightly labelled the group as 'pioneering the new-wave of U.K. jazz'. As the genre enjoys a new lease of life that is gaining momentum across the country, Ezra Collective are adding their own fresh and imaginative face to a style that continues to be 'as entertaining as it is educational' (Trench).

In a year that saw them sell out legendary London venue Ronnie Scott's not once but twice, 2017 also bought with it the release of their genre-bending second EP, Juan Pablo: The Philosopher . After Ezra Collective took the EP on a successful tour across the U.K and Europe and completely sold out of the vinyl, Juan Pablo: The Philosopher went on to win the accolade of Best Jazz Album at Gilles Peterson's esteemed Worldwide Awards Jan 2018

Jimi Tenor delivers another 7" on Philophon. This time he teamed up with the two glorious gospel queens Florence Adooni and Lizzy Amaliyenga from Bolgatanga/Northern Ghana. This release is a first insight into the next album by Jimi on Philophon, which will be released later the year.

Vocalize My Luv is a charmingly presented lure for love. The secret of the song is that drummer Ekow Alabi Savage's upfront high-life beat is triggering a Jimi-operated Korg MS-20 bass synth. Man and machine are melting down into a light and sportive groove, which irresistibly invites you to do some frisky aerobic moves on the 3am dancefloor. Ki'igba is a classic Frafra gospel song by Alogte Oho, completed with some jubilating flute by master Jimi.

Collaborative album of absolute essentialness.... more info soooon...TIP!

In the brief, bright arc that is the career of John Coltrane, 1963 marks a point of
transition between past jazz masterpieces and future work which would transcend the
boundaries of the music itself. That year's recorded output shows movement in many
directions: a look back at the past, continued examination of a familiar repertoire,
exploration of more traditional formats and a look forward at compositions and
approaches that would further extend the reach of jazz.

- John Coltrane 1963: New Directions collects all of
John Coltrane's 1963 Impulse recordings in the
order in which they were recorded.
- 5-LP sets include artwork featuring original
collages.
- The box is meant to show the growth in
Coltrane's musical journey in 1963 that ultimately
resulted in 1964's 'Crescent' and, especially, 'A
Love Supreme'.
- Music comes from the original albums
'Both Directions at Once: The Lost Album', 'John
Coltrane and Johnny Hartman', 'Dear Old
Stockholm' (released after Coltrane's death),
'Newport '63' and 'Live at Birdland'.

Das Verve-Debüt von John Batiste - als CD und digital bereits am 28.9. erschienen - jetzt als elegante
Doppel-LP!
Man soll ja Bücher und Musikalben nicht nach dem Cover beurteilen, aber diese Doppel-LP ist schon
sehr, sehr chic. Draußen: ein edles Portrait des nicht nur begabten, sondern sehr attraktiven Künstlers,
innen Fotokunst und Collagen.
Batiste ist Bandleader in Stephen Colberts immens populärer US-TV-Late-Show. Auf seinem
Verve-Debüt taucht er tief ein in sein persönliches und kulturelles Erbe und webt aus
Eigenkompositionen und Jazzstandards einen intimen und emotionalen Piano/Stimme-Klangteppich,
der den Hörer von frühem New-Orleans-Jazz bis zur Musik der Gegenwart trägt.

The Philadelphia born singer Marian Anderson (1897 - 1993) is always remembered as the first African American interpreter to enter the elitist world of Opera and an important figure in the struggle for black artists in the context of the 1960's Civil Right Movement, Marian Anderson was one of the most celebrated singers of the twentieth century. Her voice has been defined as "Rich, vibrant contralto of intrinsic beauty". In "He's got the world in his hands" Marian Anderson with the only help from pianist Franz Rupp gets deep in the world of Spiritual. A long sequence of her favorite devotional songs interpreted with soul and grace. A true Masterpiece.

Recorded in the spring of 1952 at the Barrel Club in St. Louis, this is an inspired Bop session of Davis and tenor sax player Jimmy Forrest (then at the peak of his career). A rare chance to hear Davis and Forrest playing together and joined here by the rhythm section of Charles Fox (piano) Johnny Mixon (bass) and Oscar Oldham (drums). A fine selection of standards including Gillespie's hot number Night in Tunisia and a bunch of classics tunes such as Perdido, All the things you are and Oh Lady Be good.

Reissue of a 1991 demo cd released by Clarence Séti. Multi-genre digital synth compositions possibly intended for a soundtrack. Some romper-jazz, funk, freeform minimalism, and whatever else you want to call it.

Hague & White are Sheffield musicians Chris Hague (guitars, pianos and backing vocals) and Joel White (lead vocals, Hammond organ, Wurlitzer and Rhodes pianos - who also happens to be the cousin of the bard of Sheffield, Richard Hawley) who, between them, have worked with artists including Pulp, Moloko and Finlay Quaye. The band is completed by legendary drummer and percussionist, former Weller sticksman, Steve White. These three very talented musicians have created a self-assured, sophisticated and breathtaking debut album.

The Eleventh Hour was recorded at Sheffield's Tesla Studio, produced by Chris and David Glover (with co-production from Joel), and mastered at Abbey Road. It encompasses various styles and moods, touching on the band's love of soul, jazz, funk, psych and garage. With a sound hard to define, the eclecticism of Hague & White has been compared to anything from the sounds of Acid Jazz, to bands such as Elbow and The Last Shadow Puppets.

In the early 60's in France, Léo Ferré leaves the cabaret's stage where he used to perform for the music-hall scene where he keeps singing the Paris of lovers, night owls and misfits.

Ulysses Crockett studied classical piano from 6 to 14 years old, adding alto saxophone and flute at 16 years old while attending Oakland California's McClymonds High graduating in 1956 as student body president and Valedictorian entering Stanford University in the fall of 1956.

During the Lawrence Ferlinghetti Bay area beatnik era (circa 1957-1960), Ulysses' group was known as The Latin Jazz Quintet which included an early female bongo drummer named Joyce Zavaleta. Joyce had an extensive vinyl LP collection of afro-cuban records including compositions and performances of legendary bassist Israel 'Cachao' López and international known singer Celia Cruz. Joyce met U.C. Berkeley Student John Miller and taught him the Cuban piano styles. The regular members of the Afro-Blue Persuasion band consisted of John Miller - piano, Harald Haynes - congas, Robert Belinksy - drums, Ulysses Crockett - vibraphone, and Robert Bing Nathan - upright contrabass.

At nineteen years old each, bassist Paul Jackson (who appears with genius composer, performer and pianist Herbie Hancock) and tenor flautist Robert Harvey were both serving in the U.S. Army station located in the San Francisco base known as the Presidio. On weekends, both Paul and Robert would sit in with the Afro-Blue Persuasion band.

"Live at Haight Levels" is the one and only recorded live performance by the Afro-Blue Persuasion. Finally, the songs are going to see the light of the day after 52 years! This is afro-cuban jazz at its very best! A stunning treasure rarely to be found - unless it's on Mo-Jazz!

This soul meets spiritual jazz album by vibes and marimba master Emile Normand is a super rare treat. Never released commercially until now, the LP features super covers of Yusef Lateef, Horace Silver and Jorge Ben.

Recorded in 1968 only for internal use on CBC radio stations this grail for jazz collectors is released for the first time ever 47 years on.

Standout tracks include 'Morning', 'Mas Que Nada' and 'Senor Blues'.

- 2x LP Compilations featuring iconic tracks from the legendary US label Holland-Dozier-Holland (HDH)

- The trio behind HDH helped define the Motown sound and split from the label in 1967

- 20 tracks guaranteed to fill a dancefloor with hits from;.

- Freda Payne's 'Band of Gold', Chairmen of the Board 'Give Me Just A little More Time', The Honey Cone, Parliament, Barrino Brothers and more

- Featuring tracks sampled by Fat Boy Slim, The Avalanches, 2Pac, DJ Shadow

Limited edition LP with riso printed insert + CD. Bram Weijters' Crazy Men is an adventurous take on Belgian jazz-rock and fusion from the seventies.The lineup of Crazy Men includes musicians who play in a wide array of contemporary jazz bands like BRZZVLL, Dans Dans, STUFF. and Internal Sun.

Belgian guitarist and composer Wouter Rosseel's love for Django Reinhardt, Sonny Rollins and swing jazz on one hand and reggae, rocksteady and ska on the other, has moved him to create Jamaican Jazz Orchestra. With ingenious compositions that enter fluidly, Wouter has succeeded in finding the sweet spot where jazz and Jamaica meet, once in a while sidestepping to afrobeat and nyahbinghi.

Several renown jazz musicians, most of them Ghent based joined the project and in 2013 Jamaican Jazz Orchestra was born. After a demo and an EP, Jamaican Jazz Orchestra released their first full album 'Encounters' in 2015 on Zephyrus Records.
Late november they're releasing an instrumental vinyl single with two new songs. (Ah Beh Bah / Big Belly Blues)

Early 2019 the band hits the studio to record their second full album. Recording on analog tape, allowing producer Tom Callens (Lady Linn, Little Dots, South of the Border) and mixing engineer Victor Rice to uncover that typical old school sound of reggae and jazz recordings between 60's and early 80's. The full album is expected in autumn 2019.

The Music Composed By Piero Umiliani For Baba Yaga / Devil Witch (1973, Corrado Farina) - The Film Inspired By The Ultra Pop Comic Books Of Guido Crepax, Valentina - Is One Of The Most Mysterious And Fascinating Works To Be Found In The Corpus Of The Maestro. Of This Maudit Work That Experts Considered Lost Only Two Tracks Survived, Those That We Present Here For The First Time In A Single 45 Rpm: Open Space, A Blazing Up-tempo Acid Jazz With Psychedelic Insets And Galloping Bass Tones That Was Used In The Title Credits And Then Released In That Same Year Inside The Masterpiece Entitled To-day's Sound; And Slogan, That Reworks The Film's Theme - Initially Played By A Languid Sax - In A Jazz-funk Key (published In 1975 In The Background Music Series Of The Library Bon Voyage).

The second installment of Argentinean record shop and label 'La Montaña Discos' includes one track of each of its founders.

Four club tracks straight from the heart of Rosario's city scene, each for a different and unique moment of a musical trip.

Ltd. to 300 copies, hand numbered.

Includes 4 previously unreleased tracks, 3 incredibly rare tracks that are currently all out of print. Package includes never before seen family photos.

Alex Chilton front man for the Boxtops and Big Star was always known to surprise his fans with different directions he took over the years. Songs From Robin Hood Lane finds Chilton tackling a variety of numbers from the great American songbook.

These songs are the first Alex ever heard as a kid in the 1950s growing up in a Memphis suburban streat called Robin Hood Lane. Recorded in 1990.

Many of the songs he learned from his father Sidney Chilton, a jazz trumpeter and pianist when Alex was a kid growing up in the Memphis suburbs in the 1950s. It features some of his most expressive singing from his time as a solo artist. This set includes previously un-released recordings and others that are quite rare. All have been out of print for some time. This is a great lazy Sunday afternoon record to listen to and curl up with someone you love.

New label MIC launches with some previously unreleased and unheard material from UK DIY jazz funk maverick, Mike Collins, better known as the brains behind the spacey Loft classic, Sun Palace - 'Rude Movements'. MIC presents a small archive of Collins' material (recorded around the time of 'Rude Movements') and reveals the more experimental side of Collins' production. Five tracks that explore early, proto-house music, electro, and fascinating drum machine observation. Essential issue!

In the sweltering North-Eastern Brazilian state of Pernambuco lies the coastal city of Recife, where Amaro Freitas is pioneering the new sound of Brazilian jazz. For the prodigious young pianist, the spirit of his hometown runs deep. From the Afro-Brazilian maracatu born on the sugar plantations of slavery, to the high intensity carnival rhythms of frevo and baião, Amaro's heavily percussive approach to jazz is as indebted to these Pernambuco traditions as it is to Coltrane, Parker and Monk.

As with many of the greats before him, Amaro began playing piano in church aged 12, under the instruction of his father, leader of the church band. As his natural talents became obvious, the young prodigy quickly outgrew his father's instruction. He won a place at the prestigious Conservatório Pernambucano de Música but had to drop out as his family could not spare the money for the bus fare. Undeterred, Amaro gigged in bands at weddings and worked in a call centre to fund his tuition. The transformative moment came at age 15 when Amaro stumbled across a DVD of Chick Corea concert, 'he completely blew my mind, I'd never seen anything like it but I knew that's what I wanted to do with a piano'.

Despite not actually owning a piano, Amaro devoted himself to studying day and night - he would practice on imaginary keys in his bedroom, until eventually striking a deal with a local restaurant to practice before opening hours. By the age of 22 Amaro was one of the most sought-after musicians in Recife and resident pianist at the legendary jazz bar Mingus. It was during this time he met and begun collaborating with bassist Jean Elton and the pair went in search of a drummer. 'We kept hearing about this crazy kid who was playing in 7/8 or 6/4, we knew we had to meet him'. Hugo Medeiros joined, and the Amaro Freitas Trio was born.

'I want to show the simplicity of music, to break the stigma that the piano is for a particular social class. Yes, it's a difficult instrument, which many people do not have access to, but with it you can express everything.'

Following his critically acclaimed debut album Sangue Negro (black blood), the title of his sophomore release Rasif is a colloquial spelling of Amaro's home town. A love letter to his native northeast, Amaro explores its traditional rhythms through the jazz idiom, employing complex mathematical patterns reminiscent of some of the most challenging works by fellow Brazilian masters Hermeto Pascoal, Egberto Gismonti and Moacir Santos.

Preferring to see the piano as a though it were a drum with 88 unique tones, Amaro's intelligence and emotion intertwine on every track, from album opener 'Dona Eni': a scorching reconstruction of the baião rhythmic structure, played in seven measures instead of two, to the serene homage to the coastal reef and its ecosystems on the title track 'Rasif'. 'Aurora' is a suite of three parts, representing the sun's journey from the light and soft of the rise, to the aggressive dissonance at its midday zenith and descending chromatic cadences as the sun sets.

Due for an Autumn release on Far Out Recordings, Rasif sees Amaro Freitas take a deserved step onto the world stage. Having already made a name for himself in Brazil, Amaro and his phenomenal band will embark on their first European tour later this year.

Amaro Freitas - Piano

Hugo Medeiros - Drums & Percussion

Jean Elton - Double Bass

Henrique Albino - Baritone Sax, Flutes & Clarinet

All compositions by Amaro Freitas

Produced by Amaro Freitas

Recorded by Bruno Giorgi @ Carranca Studio, Recife, Brazil

Mixed and mastered by Bruno Giorgi @ Quarto Studio, Rio de Janeiro, Brazil

Executive producer and management: Laercio Costa

This American-Japanese Duo was born some months ago releasing their first 7" Vinyl togheter creating a really groovy & powerful Modern Funk singles.
Now dropping their first LP with the special collaboration of great artists as Dr. Evo playing the Synth Bass & Bass Guitar for "Feel Da Funk", the Awesome Voice of Moniquea in "Good Time" and the unmistakable Talkbox Sound and the Voice of Fingazz for "Cruise Control" and his Guitars on "I Keep It Funky".
The Sound of the album is smooth and powerful at the same time, but always Funk in all his shades, you can recognize the real sound and influence of West Coast Music typical of LA and at the same time, the spicy Japanese Funk touch coming from Osaka.
The mix in between the 2 different cultures creates a new amazing way to enjoy the Modern Funk.

Bridging distinct but closely connected music scenes can open new possibilities. On 'No More Normal', Swindle confidently grasps the different sides to the UK music scene. Boasting roots in the boundary-pushing world of Grime & Dubstep, this album marks the next step in the London-raised producer's expanded vision for his music. It fuses different disciplines together in new and electrifying ways. He connects a group of peers sharing creative common ground, one that centres around the fertile space between UK Jazz, Grime and Hip Hop. The results span from lush, strings-laden soul to voicebox-heavy p-funk - often in the course of one song. 'It's a class photo of 2018,' he says. 'I need everyone in this picture.' It incorporates an all-star cast of MC's in Kojey Radical, Ghetts, D Double E and P Money, to instrumentalists Yussef Dayes, Nubya Garcia, Riot Jazz, and singers such as Etta Bond, Eva Lazarus, Daley and Kiko Bun.

The album was built over a three year period. The opening track ''What We Do' became the track that set the scene for each studio session, a way of Swindle explaining what he was setting out to achieve. Featuring an (on paper) unusual combination of R&B singer Daley, Grime legends P Money & D Double E, and an opening speech from Bristol-based spoken word artist, Rider Shafique - 'It describes the narrative of the record overall and helped set the agenda for what followed - I made a lot of tracks that were really good that at the end of the day didn't fit this project'. The resulting work has a pervading sense of triumph against the odds, and a celebration of togetherness at this moment of fragmentation that manages to feel both optimistic and nostalgic. A record that could have only been made in today's multicultural Britain. 'No More Normal is the idea of us doing our thing, our way, with no rules or limitations. It is jazz influenced as much as it is grime influenced. It's London influenced as much as it is LA influenced. I can work with D Double E and Nubya Garcia, these records are my imagination brought to life in musical form'.

'No More Normal' follows a spate of projects where Swindle's taken on the role of producer for other artists. That's included Kojey Radical, for his single 'Water'; Joel Culpepper, whose 'Woman' live session for Colors has clocked up 4M Youtube streams and counting, D Double E with three tracks on his debut album 'Jackum' and Mahalia's EP 'Seasons'. It follows years of graft spent staking roots in the underground, from early output on Butterz, to the Trilogy of Funk triple EP released last year. The debut singles "Reach The Stars" & "Coming Home" saw support from all the heavy hitters - Target, Jamz Supernova, Annie Mac, Julie Adenuga, and Gilles Peterson.

An appreciation of jazz and funk has coursed through Swindle's music since the very start. 'No More Normal' continues that love affair. Growing up in south London, he built his first studio in his bedroom when he was 14. Excluded from school for having 'way too much energy' his early steps into music were aided by his blues guitarist father, who gave him lessons on the guitar and whose record collection - made up of soul and jazz touchstones - provided vital inspiration for his debut LP "Long Live The Jazz", released on Mala's Deep Medi label in 2013. The follow up in 2015, 'Peace, Love & Music', was created in studio sessions all over the world, and, accompanied by an explosive live show, was further testament to the ambition and scope of this singular artist.

With MEL013, Melodies International are extremely proud to bring you at last, a disco anthem from Detroit that was originally recorded in 1980 and dedicated to the 'King Of The Champion Fighters': Le Stim - A Tribute to Muhammad Ali (We Crown The King).

Le Stim was a band formed by lead vocalist Donald Jennings in the late 70s. Now an ordained deacon back in Detroit, Jennings was brought up in a gospel environment and was said to be born to sing. Growing up picking up songs from the likes of Nat King Cole, Ella Fitzgerald or Sam Cooke, Jennings frequently performed for family and friends and went on to sing for audiences in New York, St. Louis and all around Detroit.

We Crown The King is a song written in the mid 70s by the late Herbert Andrei Duncan, also from Detroit. Duncan approached Jennings with the song who was initially reluctant to sing it because it took him out of his usual vocal range. However, Duncan finally (thankfully!) managed to persuade Jennings after five years to record a tune that would prove to become a party anthem decades later.

Remembering Duncan, Jennings says: 'Andrei was positive..inquisitive.... and determined. I was only 18 or 19 years old at the time and remember Andrei coming over to my house.... He had a cellphone in his car!.. I remember going to Andrei's house, and he said he wanted to do the track. Andrei did not take no for an answer! The answer had to be yes! However Andrei didn't have any money to record the song with. So we made a deal. In exchange for the use of his P.A., Loc (the drummer) provided the seventeen musicians for Le Stim to record 'We Crown The King'. The session itself was recorded at a studio in Southfield, Michigan.
According to Jennings, Muhammad Ali did hear the track back then and liked it! Le Stim were in touch with Ali's management and were about to meet him on a number of occasions which unfortunately didn't work out.

Licensing this record has proven to be Melodies' biggest research effort as of yet and has involved visiting it's author, Duncan's former house in Detroit only to discover it had burned down and that his family had moved years ago. It wouldn't have been possible without the invaluable help of Jeremy from Rain&Shine records (NZ) who then managed to track down the family back in Texas!

Officially licensed, remastered and cut to half-speed lacquers at 45rpm (instead of it's original 33rpm format) to bring the shine out of the top end - MEL013 comes forth in it's original 12' vinyl format with exclusive Melodies stickers and digitally too.

LP,180, 2018 REISSUE - REMASTERED FROM ORIGINAL TAPES, CAREFULLY REPRODUCED ORIGINAL ART

Released in the same year as Synthesis over on KPM, 1974's Synthesizer and Percussion is its essential companion piece. 'This record features the many distinctive sounds of the ARP Synthesizer plus percussion in various moods and tempos' is the even more underwhelming than usual library record sales pitch for
Alan Hawkshaw and Brian Bennett's second collection of what is basically minimal G-funk, with overtones of primitive acid house. This is ridiculously good.
This is one of Hawkshaw and Bennett's wilder joints and aeons ahead of its time.
Bennett's tough drums provide the underpinnings for the prominent bass, keys and bubbling synths high up in the mix, alongside Hawkshaw's deranged clavinet-funk-rock. There are heavenly break loops galore.
Opener "Mon Amour" is ultra-smooth funk, all inter-weaving melodic lines whilst the seminal "Oddball" is an incredible hard electro strut with a knocking break.
"Mile High Swinger" is a tranquil Spaghetti Western whistling theme over double tempo rhythmic movement and the pulsating "Auto Pilot" has a percussive groove elevated by electric piano and synthesizer. Check "Driving Force', 'Home Run' and "Pacesetter" for electroid prog-funk dripped in acid squelch.
All fve fnal tracks are beatless synth workouts, because they can.
As with all ten re-issues, the audio for Synthesizer and Percussion comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We've taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM's brand identity.

Sensationell! Zufällig aufgefundener Konzertmitschnitt des Charles Mingus Quintett vom Februar 1973.
Diese Box beruht auf einem echten Sensationsfund, den Amir Abdullah im Zuge der Strata Wiederveröffentlichungen machte. Sie enthält fünf Tonträger mit Stücken, die Charles Mingus während einer einwöchigen Residenz in Chicago im Februar des Jahres 1973 mit seinem Quintett bei einem einmaligen
Auftritt performte. Der Gig fand bei Kenny und Barbara Cox, und damit dem Strata-Headquarter, in 46 Seldon statt. Eintritt im Vorverkauf 5 Dollar, an der Abendkasse 6 Dollar. Weil das Geschehen von dem Schlagzeuger, Produzenten und Rundfunkredakteur Robert "Bud" Spangler bei dem lokalen Jazzsender WDET FM gesendet und aufgezeichnet wurde, blieb das Konzert der Nachwelt erhalten. Die Bänder
verstaubten auf dem Dachboden von Hermine Brooks, der Witwe des innovativen Detroiter Drummers Roy Brooks. Dort entdeckte sie Amir Abdullah ganz zufällig. Sie präsentieren Mingus' letzte große Formation mit dem seinerzeit neu hinzugestoßenen Pianisten Don Pullen. Der 1979 verstorbene Kontrabassist, Komponist und Bandleader litt unter amyotropher Lateralsklerose und konnte in seinen letzten Lebensjahren nicht mehr
musizieren.

Jazz pianist Chick Corea's wonderful jazz record Tones for Joan's Bones is his first record as a leader of a hard bop group. Besides his piano melodies, tenor player Joe Farrell and trumpeter Woody Shaw adding an extra dimension to the different compositions. 'Straight Up and Down' is the most ambitious track, the most on the edge, but a lot of other songs also showing the true skills of the different band members. The distinct Latin tinge of Corea's music can be found all over the record. Anybody with an interest in this vital and exciting jazz period will find this session indispensable. Chick Corea had played piano for such jazz greats as Miles Davis before he started working as a leader of his own groups.

A Live Duo born in 2015 with the intention of proposing original Funky, Lounge, Jazz and Chill music. Between trumpet arrangements and solid grooves create a warm and versatile sound enriched by electronic contaminations, with a seventy aftertaste. Innovative sound design with a setup that stimulates the eyes and ears.