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Way back in the early 1980's a group of young musicians mostly in their 20's played around the LA jazz scene in a loosely organized jazz/fusion ensemble under the leadership of woodwind instrumentalist/composer-arranger Dennis Dreith. Those musicians, virtually unknown to all except their peers went on to illustrious touring and recording careers working with the biggest names in the music business and added their talents to scores of top charting recordings. Dennis himself grew into a leading film music composer and influential speaker on music industry matters. Dreith served as International President of the Recording Musicians' Association (RMA), in excess of 15 years, and served as a consultant and member of the American Federation of Musicians (AFM) Negotiating Committee. He is currently the Executive Director of the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, overseeing numerous domestic and foreign rights agreements. The band's roster reads like a who's who of contemporary musicians these days. You may have heard of the 'Wrecking Crew,' or seen '20 Feet From Stardom.' Now you can hear the current generation of musicians who are the unsung heroes of todays' hit records, films and television shows. The Dreith Band features a collection of world class musicians who may not be well known to the public, but are legends in music industry having recorded with Frank Sinatra, The Beatles, Lady Gaga, The Beach Boys, Barbara Streisand, Steely Dan, Elvis Presley, Phil Collins, Miles Davis, Michael Jackson, The Rolling Stones and countless others. Sounding like a full jazz orchestra, The Dennis Dreith Band sonance serves as a blueprint for new acts like Snarky Puppy, Lettuce, Vulfpeck and similarly jazz influenced young groups. Everland Jazz has now carefully prepared the first ever vinyl release of the Reunion LP, a seminal and timeless jazz masterpiece.

This delightfully eclectic LP is a prime example of 70's SoulJazz. It is an early fusion record combining elements from jazz, gospel, soul and blues. It even has an edge of classical music, to be heard in the clear soprano voice of lead singer A. Grace Lee Mims on several tracks. As such it is a great sign of the times, the early seventies when musical experimentation and coalition was all abound. Bass-player and band member Bill Lee would later gain fame as being the father of controversial filmmaker Spike Lee and worked as musical director/conductor on four of his son's excellent movie soundtracks. For sure you can already hear the early influences here! This is the best sounding reissue of 'A Spirit Speaks' since it's original release in 1974 and comes in an exact replica of the great original cover art. Licensed by Strate-East. - Marc Janssen

Earlier in 2017 Everland Jazz presented a reissue of Danser's Inferno's - Creation One, originally released in 1973. Now we present the even more obscure release The Danser Revolution by The John Danser Octet, almost impossible to find in original format. The ultra rare funky jazz LP from 1977 contains the killer funky fusion tune "Cool" known for being sampled by Gangstarr, Blackalicious and J.Dilla. At age 14, John Danser emigrated from London and established himself in New York City where he earned a master's degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. In the 1970's, composer and multi-instrumentalist John Danser formed Danser's Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. The John Danser Octet most probably contains the core of that same ensemble but the groups's single album is so rare that little is known about it's exact origins. So, just let the great music speak for itself.

- Excellent performance live at the BBC Studios
- Includes the entire 'Jazz 625' BBC Radio broadcast
- Digitally remastered for greatly enhanced sound quality
- Background liners

Wes Montgomery, live at The BBC Studios on March 25th 1965.

Although he was terrified of flying, Wes Montgomery finally left the USA to visit Europe in early 1965. By that time he was recording in a smoother style, but in performance he remained as innovative as ever - as this virtuoso set attests. Broadcast on BBC radio during the 'Jazz 625' programme on 25th March, it captures a master at the peak of his powers, and is presented here together with background notes and images.

Dmitry Lapshin - double bassAnton Ponomarev - saxophoneYaroslav Kurilo - drums

BROM has been considered as one of the finest avant-jazz groups on the contemporary russian music scene. Founded as an anti-statement to the pleasing post-rock hype, BROM continuously pushed heavily into crossing over improvisation, noise rock and free jazz since their foundation in 2008.

extensive linernotes by Mats Gustafsson : One of the most amazing mixes of musical elements I have heard in a long freakin´ time

The American Jazz, Soul And Blues Artist Donny Hathaway Recorded The Music To The Movie Come Back, Charleston Blue Back In 1972. The Film, Which Was Shot In Harlem, Is Perfectly Fine In The Hands Of Hathaway. He Creates The Whole Feeling Of Being Part Of The Story In '70s New York. The Influences Of Hathaway On The American Soul Music Are Widely Known And He's Showing Some Of His Best Pieces On This Soundtrack. His Classic little Ghetto Boy' Is Incredible Soulful And Funky At The Same Time. His Vocals Can Be Heard On tim's High'. Most Impressive Is The Album As A Whole, While He Is Switching Between Ragtime, Latin American Music And Jazz. A Must Have For Every 70s Jazz And Funk Enthusiast.

Peter Brötzmann: reedsMarino Pliakas: e-bassMichael Wertmüller: drums

Limited vinyl-only live release by Peter Brötzmann's Full Blast Power Free Jazz Trio recorded at Audio Rebel, Rio de Janeiro, Brasil 2016.

Mixed and Mastering: Martin Siewert (Vienna)
Artwork : Peter Brötzmann

SEPT 2016. The Moog Sound Lab's first trip out for a live session at Café Oto's project & café rooms. Jimi Tenor, finnish futurist, shako & Warp Records confederate, jazzed, funked, far-ra'd out. Tony Allen - original drummer to Fela Kuti - Godfather of the Afro-Beat.

These two titans of the beat strange -fed & watered through the mighty Moog Sound Lab via a prototype future sound

systems drum trigger unit built & operated by UK moog minder engineer Mr Finlay Shakespeare. New sound universes emerge, collide.

Explosions & implosions make sonic debris. Cosmic dancers prepare to be run ragged by a feral 'tronic funk that brings to mind early 'D.A.F.

Heather Leigh: pedal steel guitarPeter Brötzmann: tenor saxophone
First studio album from the furious duo of pedal steel player Heather Leigh and reedist Peter Brötzmann. The extraordinairy collaboration quickly gained a well earned international reputation for their cutting edge music and frenetic but sensuous playing. Extensive tours all around the globe e.g. US, Japan, AUS/NZ, Europe
Recorded in Vienna by Martin Siewert Mastering: Martin Siewert Artwork: Peter Brötzmann Publisher: Cien Fuegos

The American tenor saxophonist Steve Grossman flew to Japan to record this studio session that features an incredible

line up of four local musicians: Takehiro Honda is on the piano with a rhythm section of Hideo Kawahara, Yasushi Yoneki, and Masahiro Yoshida, all working together with a tremendous energy.

The recordings are dated February 1986, and include the

eponymous KATONAH, AFTERNOON IN PARIS (J. Lewis), and FRIDAY THE 13TH (T. Monk).

It is worth remembering that Grossman started his journey to success at just eighteen by playing along with Miles Davis and Elvin Jones.

MAPS is a project by a London-based Lithuanian drummer and producer, Marijus Aleksa. This labour of love is the culmination of many hours spent touring and in-session with some of the greats of London's bubbling contemporary jazz scene, resulting in Marijus's first solo project to date. The EP combines elements of jazz, afrobeat and electronic music through free-form jamming and remixing, with movement and the dance floor firmly in mind.

Musicians featured on the record have been playing and recording with likes of The Sun Ra Arkestra, Blue Lab Beats, Tony Allen, Mark de Clive Lowe, Ibibio Sound Machine, Seun Kuti, Matthew Herbert and many others.

The record has received air play and support from the likes of Bradley Zero, Marshmello, Aaron L and Ashley Henry to name but a few.

Jazz re:freshed proudly presents the first release by 1000 Kings featuring Karl Rasheed Abel, Kwake Bass and one of the country's leading jazz saxophonists who, for contractual reasons, we can't name, but hey you'll recognise the quality immediately.

Berklee-trained bass player Karl has worked with such luminaries as Laura Mvula, Omar, Soweto Kinch and Courtney Pine as well as on his own solo projects. Kwake Bass is regarded as one of the established drummers in London having played with DOOM, Jehst and Kate Tempest. The combined band provide some of the highest quality musicianship coming out of the UK today on this release, Raw Cause.

Guitarist/keyboardist James Mason Is generally best remembered as a key member of Roy Ayers' late-70s jazz-funk group, during which he made prominent appearances on the Ayers' LP Lifeline, particularly the club hit "Running Away." His only solo record , titled Rhythm Of Life, was recorded with session legends such as Narada Michael Walden, Gene Torres, and Clarice Taylor, and released in 1977. The album was not a success, and suffered from poor timing as tastes had shifted away from jazz music. The record seemed destined for obscurity, as its meager printing quickly ran out, and Mason never released a follow-up. Over time however, Rhythm Of Life has taken on a new life of its own, as an unheralded jazz classic. The album's rich, textured sound, robust, funky arrangements, and Mason's solid guitar and keys work was integral to the development of the acid jazz movement of the 1990s. Tracks like "Slick City" and "Sweet Power Your Embrace" would go on to become rare-groove standards in their own rite, while "Free" has become a sampling favorite of hip-hop innovator Madlib.

Following hard on the heels of BBE delving into the archives of
Detroit's Strata Records and delivering their widely acclaimed and
hugely in-demand exploration of J-Jazz, comes another crate digger's delight- Ralph Thomas' 'Eastern Standard Time', which dropped the USA back in in 1980, on the obscure Zebra Jazz imprint.

Everland Jazz have picked a real gem for a reissue here! Originally released in 1980, "A Safe Return" is the second album by the Surinam jazz flutist RONALD SNIJDERS. It is a strong alloy of soul, funk, jazz and smooth disco sounds! Mersmerizing musical craftsmanship! 'Lenox' the opening track, has a playful haze escaping from every groove,with a solid hypnotical rhythmical base and haunting flute melodies that have the character of the lead vocals. Despite the slower pace, the jazzy approach of all instrumental parts brings in enough edge to capture the listener's attention. The few dreamy vocal lines add the slick pop element that takes this song to a different level and keeps it accessible. 'Surinam Lady', the next tune, on the other hand has a lightweight feeling with a beautiful lead melody from the flute and easy slow dance rhythms with a latin touch. All instrumental lines are tightly intervowen in arrangements that make this a perfect tune. Easy to listen, easy to enjoy, but still a complex soundscape with captivating changes in the melodies and instrumental dialogues that tie up your senses to the composition. - Kaseko attack' the third tune really does justice to it's title.The rhythms are powerful, the pace is faster. Bass and percussions create a whirlwind of groove due to another quite complex web of different instruments like maracas, drums, tambourines and whatever can be used to make rhythmical noises. There is even a guitar straddling into the footing of grooves and the electric piano joins the guitar. For most of it's running time this song is about groove and nothing else. The melodies from the flutes are sparsely used here adding a completely different character, rather dreamy and floating. Both worlds flow and blend beautifully. - Sisa' follows and shows an affinity for spiritual free jazz. In it's opening section flutes, acoustic guitars and other instruments tumble into the scene. The song then opens into a funky base forming the fertile soil on which the fluttering flute melodies can grow to a colorful size. The middle section is a gentle passage with an utterly beautiful flute harmony that turns into a playful and quite progressive sounding part before it fades away. - Tukayana' is an impressive journey to unknown landscapes with even a mystical turn from time to time. With - Soweto friend' you enter a lounge or bar after returning to your place of accomodation from the trip. You sit in the roof garden, take a zip from your long drink and look out to the ocean during the twilight time. This song starts with such a relaxed and easy atmosphere but soon twists the lightweight latin grooves into a jazzy rhythm figure that shows a fractured structure being kept in one piece by the enthralling flute melodies and some moony synthesizer carpets. With zippy - Djamba' with the flute going wild on a base of samba grooves from drums and bass guitar, plus a little support by the electric piano. This tune stays instrumental during it's running time but that's certainly fine. A dreamy finale comes with the title track of the album. Flute and electric piano float around another, interact like two loving souls in a gentle dialogue. A beautiful way to end such an exciting yet still accessible album. You can either turn on the stereo and turn off your mind swaying to the music, or you may as well listen closely to the many little details that make this record so intense. The playing and the sound are extraordinary! The reissue comes with a slightly improved sound by Ronald Snijders himself with the whole package retaining the spirit of the original release. For all fans of jazzy fusion and funk sounds that peep at disco music from time to time, this 1980 classic is a must have!

1. Lenox
2. Surinam Lady
3. Kaseko Attack
4. Sisa
5. Tukayana
6. Soweto friend
7. Djamba
8. A safe return

Helsinki-based drummer Joonas Leppänen introduces Alder Ego, his quartet formation bringing together four major talents from the buzzing Finnish jazz scene. Here, Leppänen is joined by trumpeter Tomi Nikku (of Bowman Trio), saxophonist Jarno Tikka and bassist Teemu Åkerblom.

Together they create forward thinking jazz music of the now: melodic, flowing, and full of surprises. The music moves forward naturally, carrying with it multiple levels of discovery. Leppänen's musical vision has cubist undertones, and the Alder Ego tracks takes unexpected turns yet maintain their melodic clarity at all times. Each member brings forth his soloistic prowess, with the frontline of Tikka and Nikku on sax and trumpet, respectively, shining through. That being said, this is small group jazz at its best: lean yet multilayered, melodic yet challenging, and ultimately based on teamwork with very rewarding results indeed.

1. Leviathan [clip]
2. Le Chant Des Sirènes [clip]
3. Cubism [clip]
4. Vultures [clip]
5. Flight [clip]
6. Blood Moon [clip]
7. Solitude [clip]

With "Rhythmic Conversations" Frisina shifts the coordinates of his music to a more 'raw' soundscape, in which the rhythmic element stands in the foreground. Not just Latin-jazz dancefloor material then, but music with strong percussive and tribal elements. Music is perhaps the only truly effective language that allows people who speak different idioms to communicate with each other, and this is precisely what Gerardo Frisina's "Rhythmic Conversations" are about. Closing the record we have an alternative version of "Camagüey", a very different mix from the original one, in a particular Afro-Cuban music style called "Tumbao".

The third in our 'new jazz' 7" series - exciting new sounds from the world of independent & creative jazz artistes!
Ill Considered are quite possibly the most dynamic and exciting jazz combo in the UK today, if not the world. I'm totally serious!

Four serious musicians who click, connect and deliver fire music with ease and conviction.
Original artwork & original music on each and every release, and limited to just 600 copies worldwide!

Fantastic new LP on Pin Cushion Records featuring eight superb tracks of the finest funky rock, folk and soul. The A side kicks off with the awesome funky monster 'Save Me', an absolute dancefloor bomb with slamming b-line from Nanette Workman's self titled 1976 LP. Next up is the super funky 'Lucky Lost Sin', a wicked female vocal funk-folk-jazz cut that also works well in the clubs, followed the great uplifting vibe of Rory Block's 'Lovin' Of Your Life'. Closing this side we have the wonderfully laid-back 'Santa Cruz Mountains' taken from Eddie Callahan's hugely in-demand and impossible to find 'False Ego' LP. The flip side features the excellent 'Spill The Wine', a great Rhodes-driven workout from Eric Burden's WAR, followed by David Amram's 'Message To The Politicians of the World', a killer spoken word track over a sweet melody. Next up is Friends Of Distinction's 'Light My Fire', an amazing funky cover of the Doors' classic taken from their rare 1969 Highly Distinct LP and last but not least a cool breezy summer groover from Bay Area band Kingfish whose lineup included the legendary Bob Weir, founder member of The Grateful Dead. A superb selection of tracks, not to be missed.

Limited Series 07 lands after a few summer months off duty for Banoffee Pies Records. More
hot legs and feet for your record bag. Five selected mixed bag cuts for morning and evening,
aperitif or pudding. Following suit from previous releases in the series with a new selection of
sounds. A flurry of Jazz keys, horns, drums and breaks. Music for prancing, love and dancing.
With love. BP x

Billie's voice reaches our greatest depths, with a vocal mastery, the placing of each syllable, the perfect expression of each word confirms a tremendous virtuosity: Pieces such as You Go to My Head and When You're Smiling are irrepressible On the other hand Strange Fruit is found in a resolute pain, a despondent song

Following on the heels of her smash success debut album, alto sax sensation Camilla George will be releasing her second album, The People Could Fly, which is based on African folk tales. The music will portray the lives and experiences of African slaves, who created stories in which various animals assumed the personalities of the slaves and the slave owners. The album delivers a fusion of African, Caribbean and American influences, within a distinctly jazz foundation

Charles Parker, Bird, modified the bearing of jazz as much as Louis Armstrong had done two decades previously. He stepped forward as the greatest soloist in the new music for which he invented the rules and vocabulary in the early nineteen forties. He had a genius for disengaging himself from traditional harmonies and rhythms, renewing melodies through use of unexpected accentuations.

Champion of the bebop style, Dizzy Gillespie was at his happiest when heading his big band. Unequalled as a leader and entertainer. In the tracks of the present selection, some of which celebrate the union and perfectly successful mixing of jazz and Cuban rhythms, we can savour the exhilarating pleasures of a great art form.

A jazz legend, a recognised virtuoso of his instrument on a par with Armstrong who mastered the trumpet, Art Tatum the piano and Charlie Parker the saxophone. Django Reinhardt's recordings demonstrate how his art form has not aged. This art form firstly transpires through his unique and fluttering manner of making melodies sing, then through a series of devastating improvisations abundant in the most delightful treasures.

The most beautiful orchestra on earth at its apogee, resulting in the most wonderful disc imaginable. Here they are reunited for the first time on one CD and LP, thus immortalising a part of the history of music: Sonny Greer, Joe Nanton, Harry Carney, Barney Bigard

Here is the glory of Ella, the singer at her apogee, with the highest quality repertoire, interpreting better than anybody the great melodies which have impregnated our minds forever; and texts from Cole Porter, Lorenz Hart or Ira Gershwin that she sang with a perfect diction and a disarming facility.

The soulfulness of Georgie Fame's voice is highlighted on the impressive album Going Home. It's an album full of covers, wisely chosen and perfectly fitting by his voice and the musical arrangements. The natural warmth of his vocals are wonderfully underscored by the thoughtful arrangements. With the simple approach he masters to create a subtlety which often was missing in his previous records.

First Place enthält Material von verschiedenen atypischen Sessions aus J. J. Johnsons Diskographie.Während er sich normalerweise im Quintett Format, einem Sextett mit Co-Leader und PosaunenKollege Kai Winding präsentierte, oder als astsoloist bei größeren Combos oder Bigbands, ist er hierauf der einzige Blechbläser. Seine Begleiter sind allesamt großartige Musiker, die sich selbst schon einen Namen gemacht hatten: Tommy Flanagan am Piano, Paul Chambers am Bass und Max Roach am Schlagzeug. Auch wenn die Ausgangsidee war nu rein einziges Album aufzunehmen, liefen die Sessions so gut, dass man sich entschied Material für ein weiteres zu produzieren, das den Titel Blue Trombone erhielt. Das Quartett nahm danach nicht wieder zusammen auf.

Available for the first time on vinyl! This incredible collection regroups the biggest names in Jazz throughout 14 titles, at a ground-breaking sound quality.

Armstrong at his zenith. In full control of his talent and his public From the big studio band to the combo with its New Orleans instrumentation. The technical quality emphasises the extraordinary fullness; the unparalleled warmth of his sound, the timbre of his voice and the stupendous swing which enlivens each instrumental or sung phrase.

Mitten im Prozess der Formierung seines ersten klassischen Quintetts machte Miles Davis diese Aufnahmen. Der Trompeter steht hier im Rampenlicht eines Quartetts mit dem gefeierten Bassisten Oscar Pettiford (mit dem Miles bereits 1952 für Blue Note aufgenommen hatte - dies wurde dann ihre letzte gemeinsame Aufnahme), Pianist Red Garland und Drummer Philly Joe Jones (beide wurden dann auch Teil des zuvor erwähnten Quintetts). Das Programm bestand aus vier Standards, einem
Blues ('Green Haze') und der Eigenkomposition 'I didn't', die Miles' humorvolle Antwort auf Thelonious Monks 'Well, You Needn't' gewesen ist. Die Interpretationen sind generell lyrisch und melodisch und sogar 'A Night in Tunisia' klingt ein wenig bedrückt. Der einzige Quartett Track von der 1952er Davis Session mit Oscar Pettiford wurde hier als Bonus aufgenommen.
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Nat King Cole remains one of the finest examples of a jazz musician's success story. The formula of his piano-bass-guitar trio, which can be appreciated in the majority of tracks in the present selection, made such an impact on his fellow-artists that hundreds of them created similar setups.













12. Lulubelle
13. Dream a Little Dream of Me
14. Yes Sir, That's My Baby
15. Love Nest

In the paradise of the divas the Divinesuch is her nickname appears for all eternity beyond her charm, she has a one-of-a kind voice, a tessitura, a technique, a diction and a rhythmic sense which impose an absolute respect and disarm any critical sense. Recorded with Clifford Brown's complicity, a brilliant trumpet player who was to disappear tragically less than two years later, the first nine tracks (except Embraceable You performed with the rhythm section only) are one of the summits of the vocal jazz.

Getz brings out the contrasts in each melody, emphasising their character though an astute distribution of the roles of each instrument. We can delight in the charm of an incomparably velvet sonority, melodic imagination and the saxophonist's insolent technical facility. Right from his Introduction in Lover Come Back to Me, we are snared by Getz and remain bound by his unique talent and high-quality repertory.

As soon as Gerry Mulligan's quartet arrived on the jazz scene in autumn 1952, it drew attention through the originality and freshness of its conception and its sonority, as well as through the members' talent, both in their playing as a group and their improvisations. The absence of the piano gave the quartet a wonderful lightness, an admirable transparency. Mulligan wrote an impressive series of original titles and arrangements of famous standards, including venerable songs where he renewed the charm (Tea for Two, My Old Flame, Makin' Whoopee, The Nearness of You).