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The debut album from Seattle's Delvon Lamarr Organ Trio. The group channels old-school organ combos like The Meters and Booker T & The MGs, but are making it fresh and feel new again!

A Day at United. The name practically says it all. An album recorded in a single day. No rehearsals. No second takes. Just Mocky and friends. Some instruments. Some songs Mocky sketched in the week leading up. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others. A refuge for artists seeking more control. Or maybe 'less interference' is a better way to put it. Because this is not an album about control. It's about putting certain conditions in place — creative limitations, even — then letting go. Letting the magic happen. Letting the human happen. In an age of computer-led precision, this is an album about the struggle for imperfection.

dream team of top talent he named the 22archestra, who he leads seamlessly throughout. Listeners are exposed to the full breadth of Cawthorne's technical and compositional skills, ranging from subtly meandering jazz, to hip hop, Afrobeat, Latin and exhilarating free form jazz.
The groups includes former Yussef Kamaal member Yussef Dayes on drums, Ruby Rushton bassist Fergus Ireland and producers Reginald Omas Mamode IV and Jeen Bassa on percussion.
The tracks include SV Disco', a nod to the mighty Slum Village, is a chunk of sensually-contorted disco vibes that brings on full party mode instantaneously, with the slinky bass licks and pitch-bent synthesiser recalling Roy Ayres's blissed-out funk.

'Maria' showcases Ed's roots as sample-based producer, pulling influence from around the globe to create an undulating piece of flute-led Brazilian fusion that fans of Ruby Rushton will find familiar. The eastern-inspired embellishments raise the temperature further, whilst former Yussef Kamaal member Yussef Dayes' sizzling cymbals and shuffling snare work propel the track forwards, locking down a signature 22a groove.

'Yussef's Groove' kicks off with driving drums, and each of the 22archestra enter steadily, fully utilising their virtuosic power, switching between low-slung bass, chic open piano solos and hazy electric piano.
The 22archestra was conceived after Tenderlonious was invited to record at Abbey Road Studios. The whole crew was rounded-up and the album was recorded during a single 8 hour session - a testament to their musicianship and ability to nail a take.
Personnel: Ed 'Tenderlonious' Cawthorne (flute & synth), Hamish Balfour (keys), Fergus Ireland (bass), Yussef Dayes (drums), Reginald Omas Mamode IV, Jeen Bassa, Konrad (percussion)

Jazz funk and gritty rare grooves ensemble from down under - Kerbside Collection - return with their third record "Smoke Signals"! Continuing in a down home, instrumental approach, but this time crafting newer ideas and flavours into their spectrum of warm, analogue, dusty grooves from much more Fender Rhodes electric jazz elements, to New Orleans sprinklings alongside their 60's inspired West Coast style.

"Smoke Signals" continues the wilder tones, textures and 'library' sounds of extra instrumentation found on their last output "Trash or Treasure", whilst introducing hints of fusion and cinematic analogue electric colours into the mix bringing things into early 70s territory. Opening with the lush, analogue synth and keys palate of "Waiting Game", reminiscent of some classic Air "Moon Safari" grooves, before the album properly begins with a fresh rendition of the Rhodes heavy Cedar Walton 70's jazz funk classic "Jacob's Ladder".

Then straight into the street-styled jazz bongo breaks and funky flute of "Traffic", a skankin' New Orleans reggae homage to one of its finest Creole dishes, featuring funky Hammond organ courtesy of guest Jake Mason (Cookin' on 3 Burners) and tasty piano work from multi instrumentalist Andrew Fincher who handles both guitar and keys on the whole record.

The middle of the record comes with a steaming afro funk workout, and a low slung N'awlins styled blues 'n' soul groove, both featuring the fruity, low-end brass action of Papa Jo on the big baritone sax, before taking a gentle emotional breather with a delightful, soft, soulful, Rhodes ballad, and a 'waltz-jazz-wig-out' attributed to their label's A&R Mr Mellow (reminiscent of some humorous UK acid jazz à la Corduroy and James Taylor Quartet) featuring some beautiful jazzy Flugelhorn, and acoustic double bass.

The album wraps up with another cover - a grittier reinterpretation and arrangement of a Bob James 80s jazz funk classic "Westchester Lady" complete with funky flute and soaring guitar solo, before finishing with the explosive rock funk workout and title track "Smoke Signals", rounding out a record with a full spectrum of handmade jazz funk, reggae, soul, library and gritty rare grooves all recorded to tape machine.

Mica Levi returns to Slip with six piano pieces played by Eliza McCarthy in 'Slow Dark Green Murky Waterfall' - a crepuscular suite riddled with Mica's inquisitive, conversational phrasing and
smartly expanding upon their 7' track, 'Riding Through Drinking Harpo Dine' (Foom, 2017), a new recording of which also appears in this set
The culmination of three years work between Mica and Eliza - winner of the 2013 British Contemporary Piano Competition - 'Slow Dark Green Murky Waterfall' follows up their collaboration on the Oscar-nominated score for Pablo Larrain's 'Jackie' score with a finer-shaded, patient space for low-lit, smoky expression that's so intimate and personal it almost feels like eavesdropping a private recording.Ineffably bound by a sense of unreal poise, Eliza's interpretations are subtly, dynamically rendered in-the-mix by Mica to present the pieces as though in flux, like poignant, unresolved statements that occur in the flow of quiet, intent dialogue and linger in the air. It's testament to the pair's well-honed intuition that the results connote this feeling so naturally.
And it's maybe our familiarity with Mica's work, from her earliest chopped 'n screwed orchestrations, to her 'Under The Skin' score and her mutant pop pieces, that we keep expecting
hers or Tirzah's voice to match her melodies with wordless vocals or harmonious limns throughout the six pieces. That's probably simply down to the fact that Mica writes with such a pop-wise appeal and soulful sensitivity that it prompts subvocalisation in every listener, or maybe it's just us, but either way the hook of these instrumentals will be floating your head for days, weeks, or a lifetime after they're imbibed...

Following on from the three highly-acclaimed CoOp Presents 'Selectors Assemble' compilation EPs from the past year, it's now time to focus on some of the individual talents from the ever-evolving movement. As the international foundation grows, we invite aboard the extremely talented Neue Grafik into the fold.

French producer, instrumentalist and DJ, Neue Grafik, has been building a strong rep for himself over the past few years, releasing records previously on labels such as Rhythm Section, 22a and Wolf Music. His sound is a hybrid of jazz, house, broken beat and hip hop, all with his unique geographical flavours of African ethnicity, Parisian roots and a love for London thrown into the mix.

So to the music - two brand new tracks, 'I Miss Something' and 'Bed Stuy's Mood', complete with remixes from EVM128, Danvers, Xtra Bruk and NameBrandSound (aka label bosses IG Culture & Alex Phountzi) respectively, making this one essential package for the bruk soldiers and beyond.

In Neue Grafik's words...

"I remember the first time I was at a CoOp party and met IG - I just said something like "unbelievable party, well done! Thank you, man". I didn't expect to be a part of this brilliant family a few months after that; it's totally insane to think about it now.

I began to hang properly with the CoOp fam during a DJ session at The Flex in East London. I was so happy to live in this moment; surrounded by these talented performers, artists and producers, excitedly talking about unreleased music on everyone's USB sticks.

This EP is a personal vision of the broken beat scene and my love for that. A meeting with artists who build my own taste, with friends keeping the same vibrancy and desire for this music. 'I Miss Something' and 'Bed Stuy's Mood' are two tracks dedicated to Porte Des Lilas (Paris), and Bedford-Stuyvesant (New York). One was made in my house, the other on holiday. These two tracks, as well as the remixes from the Selectors Assemble crew, represent a real and deep friendship."

More essential music from the CoOp Presents camp, available on limited vinyl and all digital services. Don't sleep.

Second Installment On Really Swing 12' Series Sees Two Great Exponents Of The Italian Electronic And Nu Disco Scene, Dj Rocca And Leo Almunia, rhythm Collision' Is A Sublime Three Tracker Sun Soaked Jazz Infused Ep, Delivering Stunning Balearic Summer Vibes For A Proper Dancefloor Jolt.

Side A every Changing Bubbles' Shows Up Intricating Guitar And Flute Texture Over A Stunning Disco Cuts, On The Flip Side estate' Drop A Mellow Warm, Rich Jazz-funk Tune Reminescent Of The 80's Neapolitan Funk Scene While mbira Funk' Close The Ep With Some Serious Club Affairs.

Format: 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, sticker, liner notes - First ever reissue of important Swiss jazz album Stuff Combe 5 + Percussion by Stuff Combe available on 180g vinyl mastered at half speed, with liner notes by Alain Morisod. - For fans of jazz, soul jazz, funk, sci-fi, bossa nova, spaced out sounds, jazz ensembles, collective wizardry, deep solos, Swiss magic, Francy Boland, Benny Bailey, Geneva Tracklisting A1 Space Trip A2 Boss Turquoise B1 Eastern Blue B2 St-Thomas Info We Release Jazz is very happy to present its fourth release (following Ryo Fukui's Scenery and Mellow Dream and Le Cercle Rouge's soundtrack by Eric Demarsan), the official reissue of 1974's Stuff Combe 5 + Percussion, a hard to find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer Stuff Combe. The limited edition 180g vinyl LP is mastered at half speed, cut at Emil Berliner Studios, housed in a black and silver Stoughton tip-on sleeve, and comes with liner notes. Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman and the list goes on) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions! Born in Bern in 1924, Etienne Stephen Jean Gustave 'Stuff' Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford , Art Taylor, Dizzy Reece, and Lucky Thompson just to name a few.

Moonlit Planetarium is the 4th album of producer Dijf Sanders, who recently released 'Java' on De WERF.

Exotic, warm and organic rhythm 'n' tunes tell stories of far-away places and distant foreign memories. With Natham Daems (Black Flower) and Jon Birdsong (Beck, Calexico) to back him up on Eastern flutes, sax and horns. This is a classic electronica album that stayed under the radar for too long.

Melbourne psychedelic jazz collective I Hold the Lion's Paw present their debut studio album, Abstract Playgrounds. Led by trumpeter-composer Reuben Lewis, I Hold the Lion's Paw (IHTLP) is an eight-piece collective that features some of Melbourne's most exciting musicians. The music is born out of an organic cross-over of afro-beat, jazz and outré electronics. Expect to hear as much as electro-acoustic noise, slowly evolving soundtracks, afro-beat inspired grooves and psychedelic free jazz.

'Tactile Living' is the second offering from the mysterious cinematic soul group 'The Pro-Teens'. After their first release 'Tumultuous Times' (released in June 2017), the Teens quickly followed it up with their second release in December. 'Tactile Living' is whackier, spookier and wider in it's arrangements, introducing the Vibraphone and Soprano Saxophone. With Tracks like 'Snead' which delve into their Eitho Jazz inspirations, and 'Professional', going down a spicier Exotic journey, you won't be disappointed with this little teenage sojourn.

The Pro-Teens are a band of highly professional teenagers. Forming in their early tweens this gang of humbled youth were discovered by a rich entrepreneurial neighbour who heard them jamming in their Dad's garage and loved it so much that she signed a deal 'then-and-there' for 2 albums. With funds in their pocket and a youthful naivety under their wings they pounced on the opportunity to record their debut LP 'Tumultuous Times'. With flavours of Fela Kuti, David Axelrod and Ween this dynamic Octet are in for a 'Tumultuous Time' indeed. I II III IV!

'I'm trying to play the truth of what I am. The reason it's difficult is because I'm changing all the time.' Charles Mingus The radical discovery by Amir Abdullah of 5 two-track master tapes in the care of Hermine Brooks - widow of innovative Detroit drummer Roy Brooks - of the Charles Mingus Quintet recorded live in Detroit at Strata Concert Gallery is cause for some serious celebration. These electrifying recordings took place during Mingus' week-long residency in February 1973. They were broadcast live by drummer/producer and broadcaster Robert 'Bud' Spangler for WDET FM - a public radio station dedicated to jazz - from Kenny and Barbara Cox's multi-purpose home for Strata Records at 46 Seldon. Entrance to the gig was $5 dollars in advance and $6 on the door. By the early Seventies Mingus' militant musings, volatile character and hugely innovative musical offerings had already earned him global notoriety. He'd played with the Bird, Dizzy, Max Roach, Duke Ellington and had
released universally acclaimed albums as a leader like Blues & Roots', Oh Yeah' and 'Black Saint & The Sinner Lady'. This gig - one of a Jazz In Detroit series that also included Keith Jarrett, Tribe and Herbie Hancock - took place a few months after the release of Mingus' 'third stream' masterpiece 'Let My Children Hear Music'.The music on these tapes is blazing. According to the late Roy Brooks, the band - which included himself and
fellow Detroit trumpeter Joe Gardner - had not long returned from playing two tours in Europe. Fresh to the quintet was stellar pianist Don Pullen and listening to these recordings Pullen's church-driven power, blues sensibility and harmonic sophistication perfectly complements the bassist's own vision. On tenor
saxophone we have the soulful and innovative John Stubblefield. Like Pullen he was a recent recruit.Unfortunately, the saxophonist's time with Mingus lasted a mere 5 months: 'I got in a fight with Mingus and I shouldn't have done that. After that, I couldn't get arrested in New York." Ironically, when Sue Mingus
formed the Mingus Big Band in 1992, to perpetuate her husband's legacy, Stubblefield emerged as a talismanic presence in the ensemble until he passed in 2005. Thanks to BBE, 180 Proof Records and Strata Records we can now tune in to WDET-FM and transport ourselves back to Detroit '73, and get a taste of the furious energy and compositional sophistication of a unique and modern master at work in the most intimate
of settings.

22a presents a collaborative project with the Polish jazz septet EABS and featuring Tenderlonious on flute and soprano saxophone. Strictly limited to 1000 copies worldwide, this 12' of deep jazz is housed in colour sleeve and

includes an insert containing sleeve notes and photos. The Electro Acoustic Beat Sessions collective (EABS) are without doubt the most accomplished jazz group in the world right now. They have a unique and

innovative approach to music, fusing elements of Polish and classic jazz with hip hop, funk and folk. Their debut album 'Repetitions (Letters to Krzysztof Komeda)' is a dedication to Polish Jazz legend Krzysztof Komeda that focusses

on compositions by Komeda between 1962 and 1967. The album explores Komeda's lesser-known compositions featured in ballet etudes, movies, short films, documentaries and animations.

'Kraksa/Svantetic' is the final part of a dedication to Krzysztof Komeda, recorded straight to tape at Radio Opole in Poland. Polish jazz has had a big influence on 22a and Tenderlonious and working with

EABS became a priority after hearing their album. Tenderlonious was therefore delighted to accept their invitation to go out to Poland to perform with them.

In the years following the World War Two, Japan developed one of the most insatiable, dynamic and diverse markets for jazz. For a crucial period of little over a decade - from the late 1960s to the early 1980s - Japanese jazz culture progressed at an astonishing rate, producing an extraordinary array of artists, recordings and record labels that created some of the most forward thinking and impressive jazz to be committed to tape. This amazing journey
is explored on 'J Jazz.This compilation from BBE uncovers some of the most sought after and rare material from this period and pulls together key artists who shaped the post-war modern jazz scene in Japan.'J Jazz' includes obscure and sought after rarities like the bass-driven power jazz of Koichi Matsukaze's 'Earth Mother', the holy grail rarity of Aizawa Tohru Quartet's 'Dead Letter' and the loping majesty of Takeo Moriyama's 'North Wind'. This collection takes the listener into deep spiritual jazz, post-modal impressionism and fierce dance-floor fusion with material from artists and composers whose names are generally only known to committed collectors of Japanese jazz. Fumio Karashima, Mitsuaki Katayama, Takeo Moriyama and Kiyoshi Sugimoto are among the names featured on an album aiming to shed a little light on the shadowy world of Japanese jazz clubs, tucked away in the neon backstreets. This music demands a wider audience and BBE are excited to deliver a landmark compilation, lifting the veil on this wonderful and mysterious area of the global jazz catalogue.None of the tracks featured on 'J Jazz' have ever received an official release outside Japan before. The albums the tracks are taken from are extremely hard to find and often fetch huge sums on the collector's circuit. Originally pressed in small numbers on independent and private labels such as Union, Johnny's Disk, Whynot, ALM and VAP, these tracks are now available for everyone to enjoy. Compiled by Tony Higgins and Mike Peden, both long-time collectors of Japanese jazz, 'J Jazz' brings together the very best in modern jazz from Japan, recorded during a critical period of musical and cultural transition that saw composers and musicians not only assert a new artistic identity but also create a lasting musical legacy.

Lush, orchestral funk, pastoral radiophonics, late 70s fusion, early 80s electro, tribal percussion, easy / sleazy vibes, twangs, slaps, harpsichords & a dollop of sauce.

Taken from the archives of Syd Dale's Amphonic & Soundstage library, Moodsetterspresents a stellar line-up of big-hitters from the world of British production music including members of the BBC Radiophonic Workshop & The Art Of Noise.

In celebration of Aretha Franklin's Iconic legacy, her first Christmas album and 36th studio album will be re-released in November for the first time ever on vinyl. The acclaimed artist puts her timeless stamp on a mix of 11 traditional and contemporary classics associated with the Christmas season. Aretha Franklin herself produced three tracks and arranged and added her inimitable touch as a pianist to two tracks ("Silent Night" and "14 Angels"). 

Shamal Wind, the celebrated second album by UK flautist and sax player Chip Wickham gets revisited by three producers cooler than the other side of the pillow, hailing from London and Berlin. Max Graef, Reginald Omas Mamode IV, and Ishmael Ensemble get their hands on the tracks of one of the jazz albums of the year and come up with four epic remixes.

Max Graef, who's just put out some excellent releases on Tartelet Records and Apron Records, delivers not one but two remixes of 'Soho Strut': the laid-back, percussive and bleepy Bongo Mix, and the trippy, speedy-not-speedy Bass Mix.

'Rebel No.23' gets renamed '(Soul) Rebel 23' by 22a's Reginald Omas Mamode IV, referencing Bob Marley in an exquisitely soulful and fuzzy rework featuring Reginald's own added vocals.

And finally, Pete Cunningham and his Ishmael Ensemble mix up the original tracks and additional instrumentation on their titanic, trance-inducing version of 'Snake Eyes'.

2018 has been a busy year for Chip Wickham. In May he released his second solo album, Shamal Wind, after which he went on tour with his own band and also as part of his friend Matthew Halsall's Gondwana Orchestra, celebrating Gondwana's 10 anniversary all over Europe.

Over the years, Chip Wickham has played and collaborated with an impressive string of artists, from Nightmares On Wax and Badly Drawn Boy to Grand Central Records, Roy Ayers, The New Mastersounds and Matthew Halsall. In 2017, he released his debut album, La Sombra, followed by Shamal Wind a year later. Both albums got heavy support from the likes of Gilles Peterson, Laurent Garnier, Craig Charles, Jez Nelson, Gideon Coe, Toshio Matsuura, Lefto, and Dom Servini, to name a few. Apart from playing out his own work, in 2017 and 2018 he toured with Matthew Halsall, and American spiritual jazz kingpin Dwight Trible.

With both his close collaborators Daniel '0PN' Lopatin and Laurel Halo smoking in the back seat of 'Stadium', Keszler is the dynamic battery behind a shadow-strafing suite of spidery rhythms
and inquisitive jazz gestures, effortlessly binding avant instrumental dexterity with cool blue harmolodic sentiment in a timeless style that could feasibly be dated to any point between the mid '70s heyday of jazz-fusion and right now.
Painted in diffuse strokes, darting flurries, and intoxicatingly rich tones, 'Stadium' perfectly shows off Keszler's expressive grasp of meter, texture and proprioception from myriad angles. Combined
with floating Rhodes chords, sighing woodwind and field recordings, the results also demonstrate Keszler's uncanny capacity to transmute sound to limn landscapes, architecture and the sensation of being lost in a crowd. In the case of 'Stadium' he uses this ability to specifically reflect his recent house move from the semi-industrial scape of South Brooklyn to the high rise topography and street level bustle of Manhattan, beautifully and subtly connoting multi-storeyed perspectives and a sense of scale that zooms from the atomic to the panoramic via a gauzy, morphing middle-distance.
Within this space, Keszler navigates webs of sound as structurally fascinating as a spider's web or a deep space image of a distant constellation, seemingly moving on eight legs along steep vertical
and fast-flowing horizontal axes with a shocking grasp of precision and pointillism that will leave new listeners to his work scratching their heads, wondering how you programme such chicanery
electronically. But as longer term followers of Keszler's work know, the magick is all acoustic and haptic, physically converting impressions of images and emotions into overlapping geometries
of geography and psychology - and in this case effectively projecting a singular, inverted form of sonic deep topography, if you will.
Perhaps the most wondrous thing about 'Stadium' is the way it describes the paradoxical quality of keeping your head amid the chaos - a notion that will surely resonate with inner city dwellers
as much as fans of the finest noise, jazz, avant-garde music of all stripes, and is firmly at the heart of 'Stadium' and its amorphous milieu of sound.

Jonas Palm released the excellent "Ze Wörmnest" album in 1986, following up with "Decompositions" (recorded following year) released by Börft Records in 2011. On "Remote Jazz" Palm collaborates with saxophone player P-O Lundquist in what seems to be a very rare and absolutely magnificent combination of electronics and saxophone. Perfectly atmospheric, triggering and genuine.

Almost a year to the day since the release of their acclaimed third album Shadow Work, Mammal Hands share a new EP entitled Becoming.

Recorded from the same extensive studio sessions,Becoming is a seen as a brooding companion to third album Shadow Work, offering three new pieces self-produced by the trio. It opens with the bold title track Becoming, a hugely dynamic and diverse composition that begins with a rhythmical piano and saxophone line, building gradually with textural layers and flourishes before reaching a climatic end reminiscent of math-rock. It highlights the groups continued skill and playful ability to improvise and experiment with structure and mood.

"Becoming has a lot of different influences in it. The opening section has a hip-hop inspired feel, the middle section breaks into a more minimalist/electronic theme before cutting to a heavier/gutturalfeel for the last sections"reveal the trio.

Second track "Refuge" opens and closes with a calm and gentle melodic pattern led by the drums, evolving with subtle rhythmic saxophone lines before erupting into more explosive group playing, then returning to the melody and a place of calm. On tour it has often been the trio's favoured live opening piece.

"This is a track we wrote together where we wanted to approach things in a slower, more harmony-driven way. We were trying to create an atmosphere where the listener is drawn in and then carried along with the movement of the piece. We felt that it provided a calm and gentle opening that we hoped would draw people into our world in a gentle way with something a bit mysterious and dark instead of a louder, more obvious opening statement"

Closing the EP is track 'Shimmer', a dark and moody piece where the piano and drums explore dark cinematic scenes and textures. With around an hour left whilst recording at 80 Hertz in Manchester, the trio decided to put down some final takes and making a deliberate decision to play and record their instruments at low volume. The result is a concluding piece that features a hypnotic extended section of piano soloing with repeated rhythmic patterns and minimalist style passages.

One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural musicians ('the noisemakers, funkateers, folkies, proto-punks, and freaks who made the truly radical music of the social revolution"), ahead of legends like Mulatu Astatke, Brigitte Fontaine, Pärson Sound, Ornette Coleman, Sun Ra and His Solar Arkestra, Harry Partch, and Os Mutantes. Zowie!

"In 1965, eight guys from London, Ontario, decided to start a free-improv group — 'free' to the point of building their own instruments, which they decided couldn't be set up to produce specific pitches... Their vocalist, schoolteacher Bill Exley, banged on a cooking pot and bellowed hilariously about stupidity and destruction and Canada. They didn't treat what they were doing as an advanced, visionary form of experimental music, but as a big, stupid, fun, ecstatic noise. By the '90s, noise artists finally recognized NSB as their ancestors — and, almost 50 years after they started, the surviving members of the Nihilist Spasm Band still play every Monday night while their children haunt loft spaces the world over.' —SPIN magazine

"The record you're holding is one of the masterworks of that big gray area of noise/weirdo/freak-out music. It' still hard to believe that No Record was released in 1968. This was a time when popular music was still growing up, and these outsider guys from Canada came out of nowhere and made this mindfuck of record that was years ahead of itself. And as with albums like Trout Mask Replica, and The Faust Tapes, it still sounds fresh today. No Record is mandatory listening. —Lasse Marhaug

"During the 1960s, the counterculture simply became culture: the sexual revolution, psychedelic drugs, hating the Vietnam War, Dennis Hopper. And it's impossible to bodypaint this decade's popular music as anything less than a combustible force of nature, especially with Jimi Hendrix torching guitars and Pete Townshend smashing guitars and James Brown fining his masterfully precise guitar player for flubbing a note... In these 100 albums are the origin stories of punk, grunge, hip-hop, noise, EDM, and more. Feral garage bands, splattery free-jazzers, vanguard composers, haunting folkies, psychedelic funkateers, and whatever Moondog was. We didn't start the fire.' —SPIN magazine

- This LP pressing limited to 300 copies—only 250x copies for sale outside of Canada

- One of very few indie label releases on Spin Magazine's list of 100 top counter-cultural music

- Huge insert with the band's story and an abundance of rare photos.

- From the master tapes.

After two visionary LPs for his own tiny Nodlew label, Weldon Irvine signed to RCA for Cosmic Vortex (Justice Divine), exploring the deeply spiritual and political terrain of his previous efforts on the kind of grand musical scale that major-label funding accommodates.

This is a big, bold record by any measure, with a startlingly pronounced focus on lyrics and vocals. At the same time, however, the melodies spread out like tentacles, informed by the improvisational sensibilities of jazz and the deep-groove spirit of funk. Jason Ankeny/AMG

"The Tribe is an extension of the tribes in the villages of Africa, our mother country. In Africa everyone had a talent to display. There were no superstars; just people and collectively all the people of the village played a vital role in shaping that culture. We see all the black communities within this country as villages and the tribes are the people residing within them. The Tribe is composed of creative artists from the Metropolitan Detroit area who have travelled extensively with many well known musicians and have returned with the intention of sharing these experiences with our people in order to broaden the cultural base in this city. They are some of the most original and creative artists in the area. We hope to bring out points, situations, and events that are happening in our communities by way of music, poetry, and dance and rapping to the people. You see pure music must reflect the environment that we live in if it is to be educational and beneficial to our culture. It must portray our way of life. At this point in our history, harmony for the most part, is not reflected in our communities. There's a lot of rebellious tension and discord, even though we have some groovy or harmonious moments along the way. There are many people within this society, black and white, who don't understand what is happening in regards to the direction the black musicians are moving toward. Our music is reflecting more so than ever before the stress, tension, and discord that is taking place within our communities along with the positive and harmonious things happening. This is evident when one listens to the music of composers like the late the late John Coltrane, Archie Shepp, Ornette Coleman, and the late Albert Ayler. These guys understand the relationship between art and culture and they took the total vibrations, positive and negative of the whole culture and served as amplifiers or speaker systems through the arts. You cannot divorce art from its root culture and expect it to be relevant for both the artist and his culture.

The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular L.P. and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last L.P. called 'Message From The Tribe' we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on 'Evening With The Devil' is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.'

Extract from the sleeve notes of this album by Wendell Harrison.

Wendell Harrison, Tenor Sax & miscellaneous instruments / Marcus Belgrave,

Flugel Horn & miscellaneous instruments / Charles Moore, Trumpet & miscellaneous instruments / Will Austin, bass / Charles Eubanks, Electric Piano & miscellaneous instruments / Ike Daney, drums & miscellaneous instruments /

Phil Ranelin, trombone & miscellaneous instruments / Poetry by the Black Messengers, Oba and Vajava

Repress in blackVinyl!

Original pressing fetches £150 on certain online auction sites Alfa Mist is considered a frontrunner in the new London jazz movement

The 2-LP set features Chicago's live performance from Aug. 28, 1970 at the Isle of Wight, where they co-headlined with Jimi Hendrix and the Doors. It features extended free-form versions of their early landmark tracks, 'I'm A Man,' '25 or 6 to 4,' 'Introduction,' South California Purples' and the 'Ballet For A Girl In Buchannon.'
 Available on vinyl for the first time, this concert was featured in the Six Decades Live box set released earlier this year. It includes 2 LPs in a gatefold jacket.  

Les Paul's resume is hard to top. Paul was a self-taught guitarist, specializing in jazz, country, and blues. He was also a prominent songwriter, luthier, and inventor. He's credited for pioneering the solid-body electric guitar, along with many recording innovations that are used widely today. After You've Gone features an impressive twenty eight songs recorded by Les Paul & His Trio between 1944-1945. The release was remastered for vinyl at Infrasonic Mastering, and pressed on vinyl for the first time ever at Pallas Group in Germany.

Pressed to vinyl for the very first time, 'Please Rewind' is the acclaimed second album from new-school soul/jazz pioneers, Moonchild. **Soul Act Of The Year 2018 (Jazz FM)**

Its release caps off a whirlwind 18 months for the band, epitomized with their crowning as Jazz FM's Soul Act Of The Year. The album sees the LA based group explore new soul / jazz / electronic ground, with a penchant for exquisite

arrangement they create textured and catchy riffs which has excited everyone from post-bop jazz lovers to contemporary neo-soul crowds. The band's early offerings gained approval from the likes of Stevie Wonder, Jill Scott, Robert

Glasper, Laura Mvula, Jazzy Jeff, Tyler, The Creator and Gilles Peterson. This long player ties together ten chilled out grooves which ooze soul-jazz rhythms, horns and sweltering, heart-filled vocals. Using soulful horn solos and

vibrant key riffs and breaks, 'Please Rewind' sounds like an arthouse film score to an unfolding LA love story, which seeps into your subconscious and out of your headphones.

The name 'Moonchild' came about before the project had even started. 'The three of us bonded one evening while star-gazing, so when it came to think of a name for the band, we knew that it was right.' Fast-forward three years of

jamming together on the University of Southern California's Jazz programme, and Moonchild have played some of the biggest Jazz festivals in America (Montreal, Capital, Arizona, Sandiego etc.), and toured with prolific names

from Stevie Wonder to Jill Scott and James Posner. The band have had multi-million streams across Spotify, Apple Music and other major digital services with 'The List' video has achieved 3m+ views:

Artwork by Roland Lefox.

Moravagine's lone album was originally released in 1976. Recorded at Jef Gilson's legendary Studio Palm this incredible French band display a unique blend of prog rock, free jazz, avant-garde and experimental pop. Another essential reissue from the fine folks at Replica.

Never before been pressed to vinyl, Shirley Horn's Softly is reflective of the album's late night recording sessions at Peirre Sprey's home recording studio in rural Maryland, aptly named Mapleshade Studio. The 1988 release is commonly referred to as one of Horn's most introspective and emotionally intensive records to date. With her sidemen Charles Ables (bass) and Steve Williams (percussion) gathered into a quaint, pastoral living room full of recording equipment, the trio plowed through the tunes, tracking almost until dawn. The album was remastered for vinyl at Infrasonic Mastering and pressed on audiophile-grade vinyl at Pallas Group in Germany.

In the follow up to her staggering psychedelic jazz debut, 'Things That Grow', we are delighted to see Cara Stacey's return to Kit Records. Here she teams up with Peruvian flautist Camilo Ángeles, pushing further into the liminal space between classical, jazz and traditional South African music.

Recorded live over a day in Cape Town, 'Ceder' presents a narrative in turns soothing, shrill, euphoric, dissonant, serene - unfurling like a labyrinthine soundtrack to some foreign planet; a landscape sparse and desolate, yet somehow teeming with life.

Recommended if you like the hauntingly isolated Western soundtracks of Bruce Langhorne, Keith Jarrett's serpentine piano playing or the fantastical terrains of Rashad Becker.

Beloved singer-songwriter-painter-poet Joni Mitchell will turn 75 this year on November 7th . Rhino will start the birthday celebration a few days early by releasing Mitchell's critically-acclaimed 2014 collection 'Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced' on vinyl for the first time as a limited-edition, eight-LP box set.

'Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced' was first conceived as the music to a ballet about love. But after spending 18 months trying to distil everything she'd written about love - and the lack of it - down to a single disc, Mitchell abandoned the ballet. 'I wanted the music to feel like a total work - a new work. No matter what I did, though, at that length, it remained merely a collection of songs,' she wrote in the liner notes to the set.

Undaunted, Mitchell did not give up. Instead, she continued to sequence her songs, determined to prove to herself that what she was after was possible. After two years, she had created a four-act ballet based on the 53 songs that make up this inspiring collection. 'I am a painter who writes songs. My songs are very visual. The words create scenes... What I have done here is to gather some of these scenes (like a documentary filmmaker) and by juxtaposition, edit them into a whole new work,' she explains.

Mitchell organized the music into different thematic acts, which allowed her songs to interact with one another in a whole new way. The process, she says, was a lot like making a film. 'I had forty years of footage to review. Then, suddenly, scenes began to hook up. Then series began to form. Instead of it being an emotional roller coaster ride as it was before - crammed into one disc - themes began to develop. Moods sustained. I was getting there... When this long editorial process (two years) finally came to rest, I had four ballets or a four-act ballet—a quartet. I also had a box set.'

Long-term listeners should find the music familiar but fresh. Newcomers have an adventure before them - a journey into highly-original, harmonically innovative, unusually rhythmic music. Some of the greatest musicians in the world are gathered here - supporting this emotionally charged exploration of love's many faces.

Limited to 5000 individually numbered copies, the set is presented in a hard-bound deluxe folio package. It includes 53 songs on eight 180-gram LPs. Etchings of Mitchell's artwork are featured on four individual album sides, each one signifying the end of an act in the ballet.

It truly is an artist-curated collection. Mitchell selected the material from 40 years of recording. She designed the package, which includes a book containing 53 lyrical poems, six paintings, and an autobiographical text illuminating her recording process. It is funny, mystical, and informative.







































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[ZZA] L4. 'My Best To You'

On 26th October multi-instrumentalist/DJ Pete Cunningham and cohorts AKA Ishmael Ensemble, present 'Severn Songs 2' - the second in a 7' vinyl trilogy inspired by Bristol, its surrounding regions and, as the title suggests, the River Severn. 'Severn Songs 2' follows media praise, radio airplay and DJ support for 'Severn Songs 1' from the likes of Dan Snaith (Caribou), Gilles Peterson, Tom Ravenscroft, The Vinyl Factory and XLR8R. Prior to that, 2017 saw Ishmael Ensemble's first EP 'Songs for Knotty' released on Banoffee Pies, followed by a remix of Carl Craig's 'The Melody'

The 'Severn Songs' series marks the most full-bodied and ambitious project yet from Pete Cunningham, who prior to evolving into this varying collective of musicians recorded and released solo, as simply Ishmael. Promising beginnings under that initial guise saw releases on Wolf Music, West Friends and Church, alongside contemporaries Seb Wildblood, Medlar and Frits Wentink. 'Severn Songs 2' sees Cunningham slip into a nostalgic haze, throwing back to his formative years in Bristol's late noughties scene, but cast through a prism of jazzwise electronica; surely the furthest apple of influence to fall from the Hessle-Hotflush tree. 'Tunnels' begins with a flurry of drums before being enveloped by sub-bass pressure, like stepping directly into a basement club in full flow. As the track climaxes, saxophones sweep the air like green-spoked lasers overhead, creating a contrast of pinpoint clarity against the background atmosphere. Though sonically well outside Bristol's dubstep legacy, it accurately portrays the smudged perception of a peak time rave. On the flip, we find the more introverted 'First Light', wherein the group downshift from the buzz of a bustling room to the hum of one's head as dawn breaks. It's a moment of spacious solitude shared only, as Cunningham pictures it, with 'swans fighting over polystyrene chip boxes' in the canal below. Never one to miss a beat in either sense of the phrase, Cunningham has once again littered canny references to compliment the reverential music. The sleeve art captures birds through an obscured lens, nodding to the river Avon and overall milieu that inspired 'First Light'; and for native Bristolians especially, the A-side will evoke a fertile period, full of vital music, communal escapism, and the maze of basements and tunnels where it blossomed.

Overall, Pete's ability to thread this thematic needle gives a descriptive tenor to the group's wordless sound, elevating the music at once to something more personal and more resonant-and leaving soon-to-be-answered questions about where 'Severn Songs' will flow to next.

This super cult spy thriller made in 1968 and directed by Fernando Cerchio was the third in a successful film series. Previous installments had featured excellent scores by Roberto Pregadio and Romano Mussolini. The master tapes of this incredible PIERO UMILIANI soundtrack were recently discovered in the composer's archives: combining jazz with 1960s beats, a hint of bossa, spanish style guitar, trumpet, sexy vocals and performed by the elite of the jazz and session scenes at the time, this score is a classic of its kind and a potential lounge music hit!