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Musikalisch Besonderer Fund Mit Feinstem Sinfonischem Jazz Aus Dem Berlin Der Nachkriegszeit. Unbekannte Aufnahmen Des Orchesters Unter Der Leitung Von Werner Müller, Produziert Im September 1961 Im Studio Der Hochschule Für Musik. Exzellenter Crossover Von Westcoast, Hard Bop, Moderner Klassik Und Blues, Mit Exklusiven Auftragswerken: jazz Suite' (robert Farnon), jazzific 59/16' (julien Francois Zbinden), versionen Einer 12-ton-reihe' (klaus Wüsthoff), blues Variationen' Oder jazz Mutations' (helmut Brandt). Neues Und Aufregendes Kapitel Des Progressiven Jazz In Deutschland. Exklusive Vinyl-lp & Digital Mit Müllers Avanciertesten Produktionen.

Fourth Kind the self titled mini album on Omniverse Records. It's hard to pinpoint a genre with records like this; produced by Marc Mac of 4hero and similar to some of the 4hero output, it defies genre and fits somewhere in-between many. The production is heavily reliant on synthesisers and vintage drum machines in places but is full of real life and organic movements, this is partly down to the signature drums played by Luke Parkhouse. The only other guest spot is filled by Nu Jazz Funker Pascal Strauss aka Luman Child who plays bass guitar on "Take Me To Your Sky" which along with "Afterglows" are the closest we get to dance tracks, in most parts a 70s fusion feel is present. The short interlude type tracks tie the journey together and I would go as far as to say vital to telling the story. Moogs, Arps and Solina strings weave patterns throughout, all in all, across the 10 tracks the album is a journey of mood and emotions. 180g Pressing. Released 28th September 2018.

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.'

Pharoah Sanders has been described as 'probably the best tenor player in the world', emerging as a star from playing saxophone with John Coltrane in the 1960s. As a solo recording artist he is best loved by fusion fans for the jazz dance classic 'You've Got To Have Freedom'. It's taken from his 1980 album 'Journey To The One' featured here for the first time on the complete side of a 12' single.
'Got To Give It Up' is Pharoah's outstanding rendition of the Marvin Gaye classic. It has previously been on 7' but never until now in its full length version on 12' single. It was originally a feature on the 1978 album 'Love Will Find A Way' produced by Norman Connors. To have both of these masterful recordings on one 12' single is something special.

With What Matters Most, Chris Hooson has likely delivered the most personal and, in his own words, complicated Dakota Suite album of his career. After previous collaborations with artists such as Quentin Sirjacq and Vampillia, this ten-track LP combines the Brit's songwriting qualities with contributions by Dag Rosenqvist - formerly known as Jasper TX and currently working with Aaron Martin under the From The Mouth Of The Sun guise - and Elem member Emanuele Errante, with whom Hooson had released The North Green Down on Karaoke Kalk in 2011.

From the first piano chords in the album's opening track »Constanta, 1992« to the last shimmering drones of »Someday This Pain Will Be Useful To You«, What Matters Most follows an abstract narrative that is as autobiographical as it is universal. »The focus of this record is about being thankful for those that you love and remembering the start of what has saved you from being less than you otherwise would have been. In my case that is one person, Johanna,« says Hooson in regards to his wife, whom he met at a Romanian train station 26 years ago and who is again featured on What Matters Most on clarinet.

Just like Hooson's lyrics, the musical framework for What Matters Most aims for emotional complexity, exploring a broad variety of sonic palettes and drawing heavily on the dynamic interplay between the three musicians. Composed with the help of Rosenqvist and completed over the course of three years, the record sees Hooson's collaborators adding subtle textures and rich soundscapes to his unconventional, jazz-inspired songwriting approach. With its dedication to risk-taking and vulnerability, What Matters Most is not only an album about love - but also a work of love by itself.

Cat.no.: Kalk 107 CD

Tracklisting

With an average age of 19 when the album was released, TriForce is a jazz-infused band coming out of a vibrant London live music scene. Dominic Canning, Ricco Komolafe and Benjamin Appiah came together at Middlesex University finding a common interest in the music of Thundercat, J Dilla, Austin Peralta and Frankie Knuckles.

The exciting guitarist, Mansur Brown (who featured heavily on Yussef Kamaal's debut album 'Black Focus'), completes the band line-up that has already made themselves within London's alternative jazz community, due in no small part to their raw youthful energy.

In their own words, "The driving force behind TriForce are the values we take into our everyday lives. Creativity, innovation and empowerment...people have done Hip Hop...swing...RnB, it's time for it to go somewhere else. It's time for it to be elevated....It's now the UK's turn to show what we have to offer."

This vinyl LP contains an exclusive remix of the opening track Mikayoko by Kaidi Tatham, not available on the CD or digital download versions.

Divine gospel modern soul boogie LP written, composed and produced by Jeffrey Roberson, first released in 1982 on Black Diamond Records.

Every once in a while, an exceptional talent impacts the gospel industry and leaves an incredible impression. The anointed and Grammy nominated Jeff Roberson is one of the those rapidly expanding gospel artist who have done just that.

Jeff Roberson was born and raised in Long Island, New York, the son of Pentecostal parents who had a compelling love for music. Actually, he is endowed by God with a melodic intrinsic distinctive rooted and grounded in the splendid tradition of the church. His keen interest and focus in music was so intense that his
parents encouraged him by purchasing a piano. During his teenage years, he was significantly blessed to be tutored by the late Rev. Timothy Wright, and the late Professor Benny Cummings and the Kings Temple Choir. It was during this season of his life that he continuously developed his skills as a keyboardist and songwriter.

Not only is he a skillful world-class vocalist, his talents transcend various creative art forms such as a skillful musician, innovative producer, accomplished pianist and organist. He simultaneously projects his uncompromising vocal talents and musical gifts to an unprecedented level of artistic achievement. Simply stated
he excels in the excellent - (Excerpt taken from Jeff Roberson's biography).

'Ever since I can remember, music has been to me, as a mother is to her child. Just as the sun enhances daylight, music is my life throb. Music puts life and joy in that sacred dimension. It fills the void of darkness and brings with it New Life.'

Jeffrey

GILA ist ein Electro-Produzent aus Denver, Colorado. Auf seiner neuen EP "Trench Tones" stellt er seinen vielschichtigen Sound unter Beweis. Seine Ursprünge hat Kyle Reid, wie GILA mit bürgerlichem Namen heißt, im Jazz, wo er zuerst als Schlagzeuger tätig war. Durch eine Verletzung musste er die Sticks jedoch bei Seite legen und begann ab da Musik auf seinem Laptop zu produzieren. Erste Aufmerksamkeit erlange GILA 2012 mit dem Rap-Duo Gorgeous Children; es folgten Solotracks und ein Beitrag auf XL Recordings' "Chapter VI"-Compilation.

"The album's one of Ra's greatest from the 70s -- recorded in Italy in 1978, and featuring some incredibly otherworldly keyboards that are some of his most enigmatic on record! Original tracks from the album include "Disco 3000", an incredible workout on synthesizer, with a tiny bit of drum machine, a little "Space Is The Place" breakdown, and all of the wild sound you'd expect from a Sun Ra album -- plus more long tracks -- the sweetly soulful "Friendly Galaxy", a great soul jazz number, and "Dance Of The Cosmo Aliens", which has spooky organ, frenetic bass, and somber percussion" Check!

The comeback of the growing bin's favourite private german Jazz Funk gem.
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Spring is in the air and groove is in the heart for Hamburg's most loveable record label. Following the freak beat festival of Wolf and Wandt's 'Instrumentalmusik' comes a release that's been in the pipeline since the organic imprint first took root, the first reissue of the beautiful 'Señora'. Beguiling and brilliant, this private press princess makes you want to dance, dream and do cartwheels, then breaks your heart when you realise you'll never meet her - a
rare beauty indeed. So it's time to let Basso play cupid and introduce you to the love of your life.

Eagle eyed associates might recognise the sleeve as Basso's everyday avatar, chosen in tribute to his favourite jazz-funk record of all time. Originally released in limited quantities back in 1981,
the self titled 'Señora' was the sole release from a quartet of German groove maniacs, coming together in one ecstatic union of rhythmic precision, smooth riffing and melodic mastery. Take opener 'Paul' for example, a continent away from the West End, this sublime slice of raw guitar, silken keys and gliding bass could have made Mel Cheren proud. From there we're taken on a journey through the syncopated slide of the jazzy 'My Way, Your Way', the samba sway
of the mild and mellow 'Easy Going' and the poetic piano of 'Pearl', a triumphantly esoteric tone poem to close the A-side. 'Señora' ups the tempo on the flipside, galloping through tight triplets, fusion guitar and mind expanding synth play. The B2 brings a strolling bassline and tender tonality, executed with all the ease of the Sunday morning which dawns on the extended and expansive cooler which brings the LP to its final emotional release.

People of the Dawn is the debut album from Spencer Zahn, bassist, multi- instrumentalist, and composer. He has spent the last several years as an in-demand sideman and collaborator, touring and recording with artists from across a wide musical spectrum. While travelling as a bassist and keyboard player, Zahn started recording synthesizer experiments in his off time. These experiments - musical snapshots of cities all over the world - became the foundation of People of the Dawn, an album that seeks to merge the chaotic wisdom of jazz improvisation with the warm pulse of electronica.

People of the Dawn sees Zahn step away from the stage and into the studio with his own boundary pushing ideas. The record centers around the bass as a sound and instrument of melodic expression. Using the bass as an anchor for spectral synth textures, Zahn weaves the acoustic and electronic together. Throughout the record there's a dialogue between experimental electronics and contemporary jazz motifs that feels like uncharted territory. The result is a strange new map that casts Zahn as both cartographer and explorer of the sound. Dawn was recorded in Brooklyn in collaboration with producer Dave Harrington, virtuoso guitarist and member of electronic duo, Darkside. The album features Zahn in conversation with Harrington's electronic processing, manipulating acoustic instruments in real-time, the two longtime collaborators searching for, and creating, new forms for improvising. People of the Dawn was made in the spirit of a jazz album with the tools of contemporary electronic music.

It is said that every generation casts its mind back to a previous era in times of crisis; the resources that will allow us to decode the questions of our moment may lie in the myths of another era.

Le Renard Bleu, the new musical and cinematic collaboration between Lafawndah and composer Midori Takada, and filmmakers Partel Oliva, takes a cross- generational echo as ground zero for recovering a crucial myth for uncertain times: the blue fox.

As transmitted by Takada, the fox appears in both ancient Senegalese and Japanese folktales as the trickster archetype; belonging both to the heavens and to the earth, the fox is the agent of chaotic good, shaking the world up when its energy has become stagnant. Above all else, the fox is famous for its cunning nature.

Renard Bleu marks the first new music released by Takada in nearly twenty years; it would be difficult to overstate the importance of her return to the public eye. Her first solo record, 1983's Through the Looking Glass, has been rediscovered and heralded as a lost classic; the influence of her percussion trio, the Mkwaju Ensemble, continues to permeate and inspire a new generation entranced by its lucid beauty, playfulness, and sensual patience. Takada has performed in numerous film score orchestras, including the ensemble for Akira Kurasawa's Dreams, coincidentally a key influence on Renard Bleu.

In the ensuing years, Takada has worked closely with theater group the Suzuki Company of Toga on productions of Electra and King Lear, an experience, she says, that allowed her to pursue 'a unity of music, body and space.' Recent live solo performances have evinced the depths of her exploration of all three.

Equally, it is Lafawndah's freedom of tone, decentralized maps of ancient and modern music cultures, and alloying of devotional intensity with modern songcraft casts her as a distinct relative of Midori Takada's.

Over the course of two EPs, self- directed music videos, and countless live performances, Lafawndah has drawn out an uncompromising exploration of how theater, situational intervention, and choreography can amplify the affective palate of forward pop music. One can trace the influence of artists such as Meredith Monk, Carlos Sara, and Andy Kaufman as much as musical antecedents AR Rahmann, Missy Elliott, or Geinoh Yamashirogumi.

It is in a mutual commitment to this unity that Lafawndah, Takada and Partel Oliva find fertile aesthetic common ground.

The music of Renard Bleu originated in Takada's preoccupation with the legend of the fox; after constructing a vivid instrumental composition dramatizing the spirit animal's journeys through waterphone, bells, marimba and various forms of drums, Lafawndah responded - in her inimitable mix of fairytale and undertow-- with melodies and lyrics capturing a dialogue between her and the fox himself. Eventually, the duo met in Tokyo for a week of communing with the material at Avaco Creative Studios, where new elements were composed on site.

Created in partnership with KENZO and premiered today via their channels, it was Partel Oliva who imagined a contemporary cinematic frame for the myth of the fox to re- appear, creating a hybrid of choreography and narrative around Takada and Lafawndah's performance of their joint composition (also titled Le Renard Bleu.) Returning to film in Japan for the third time, Partel Oliva's moving image work (Club Ark Eternal, The Pike and the Shield) has set the standard for and revolutionized the fashion art film. Their deployment of original music, dance, and a highly stylized mis en scene coalesces here in the casting of Los Angeles krump artist Qwenga as the eponymous fox, stalking the halls of the ancient Noh theater in which Takada and Lafawnda's performance takes place.

Why call up the myth of the fox now In Le Renard Bleu, Lafawndah and Takada's collapsing of distance between generations, styles, and milieus intimates that the relationship to time must be shaken. The future lies in fragments in the past; to remember is to recover it; the fox rises to thicken the plot.

The Peanuts comic strip gang celebrates Halloween while Linus waits for the Great Pumpkin. The soundtrack to this 1966 American prime time animated television special once again features jazz stylings by the matchless Vince Guaraldi.

While Charles M. Schulz's Peanuts comic strip appeared daily in newspapers across the world, Vince Guaraldi's music helped bring the gang to wider audiences through his jazzy television and film soundtrack recordings. In the 1966 animated special It's The Great Pumpkin, Charlie Brown, The Peanuts gang celebrates Halloween, with Linus hoping that, finally, he will be visited by The Great Pumpkin, while Charlie Brown is invited to a Halloween party. As usual Guaraldi's integral score drives the proceedings and steals the show!

We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.

Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.

The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.

Astonishing Collection of The Queen of Soul's Greatest Songs for Atlantic Records: Aretha's Gold Includes Nine Top Ten Hits: "Respect," "Chain of Fools," and "Think" Among Them

Mastered from the Original Master Tapes and Strictly Limited to 4,000 Numbered Copies: Mobile Fidelity 180g 45RPM 2LP of Aretha's Gold Gets to the Heart of Franklin's Range, Emotions

Aretha Franklin made her Hall of Fame reputation at Atlantic Records between 1967-1968. This astonishing two-year period witnessed the singer score nine Top 10 hits and define soul music, a era chronicled on Aretha's Gold. Pairing with producer Jerry Wexler and a flawless Muscle Shoals studio band, Franklin unleashed bolder sides of her artistry kept under wraps during her tenure at Columbia. The rest is history - a history that, until now, has never been in heard in true audiophile sound. And if there's any voice you want to experience to the most realistic extent, it's that of the vocalist Rolling Stone crowned the Greatest Singer of All Time.

Mastered from the original master tapes, pressed at RTI, and strictly limited to 4,000 numbered copies, Mobile Fidelity's 180g 45RPM 2LP of Aretha's Gold presents Franklin's most seminal early Atlantic songs with reference-standard sonics. Finally, hear the full range of the Queen of Soul's depth, reach, and expressiveness. Complementing her timeless classics with tremendous dynamics, restored balances, and stunning clarity, this collectable analog set sheds new light on Franklin's power and technique, honesty and confidence, enunciation and directness.

Hear why Franklin is even better than you likely think or remember. You just haven't been able to hear the Detroit native on a format that mirrors exactly what went down in the studios when she recorded songs that, to this day, remain the bar by which all other singers are measured. The same goes for Franklin's backing band, known as the Swampers, whose instrumental savvy, feel, and textures are so unique, the group is credited with creating its own style: The Muscle Shoals Sound. On this vinyl edition of Aretha's Gold, experience every picked guitar note, brushed snare, and fluid bass line. Seldom has a band and vocalist ever made a more formidable, memorable, and emotional combination.

The evidence plays out across these 14 songs, each a soul landmark, each unforgettable thanks to Franklin's impassioned performances and empowering attitude. The Sweet Impressions (Franklin's backing vocalists) and sweeping string arrangements bolster the foundation, but the material belongs to Franklin. A veritable hit parade, the track listing on Aretha's Gold reads like a dictionary of soul.

"I Never Loved a Man (The Way I Loved You)," "Respect," "(You Make Me Feel Like) A Natural Woman," "Chain of Fools," "Since You've Been Gone (Sweet Sweet Baby)," "Think," "The House That Jack Built," "I Say a Little Prayer," "Baby I Love You": All Top 10 hits. Plus five more tunes, including a riveting cover of Sam Cooke's "You Send Me," that charted.

You know the songs by heart. You know the voice by memory. But you've never quite known them so intimately. Aretha's Gold on Mobile Fidelity gives the Queen the royal treatment she deserves.

Helsinki's We Jazz Records launches a new series of live recordings, the "We Jazz Live Plates", offering a closer look into the label's live activities. The first installment of the series is a recording from Berlin captured in October 2017. The six-tracker features Black Motor, Bowman Trio and Jaska Lukkarinen Trio offering two potent slices of raw live jazz each. All of the compositions herein are previously unreleased or new arrangements.

The album "Berlin 27.10.17" was recorded at club Monarch located in Berlin's Kottbusser Tor during the second annual Scope Festival (a collaborative effort of Berlin's XJAZZ and We Jazz). The dense atmosphere of the packed club is present in the recordings which showcase three major acts from the vibrant Finnish scene. Musically, the album ranges from the undeniable swing of Jaska Lukkarinen Trio's "Roger" and Bowman Trio's "The Hillary Step" to the scorching updated version of Black Motor's "Branches", subtitled here as "Berliner Musik".

The first edition of the "We Jazz Live Plates" series offers an easy access into the label's live productions via simple yet elegant LP packaging in plain cardboard sleeve with a postcard from Kottbusser Tor added inside, featuring release info and full download.

A Wonderful Piece Of Music.

Ben Webster galt als einer der 'big three' des Swing Tenors, gemeinsam mit Coleman Hawkins (sein größter Einfluss) und Lester Young. Blue Saxophones ist ein 1957 von Coleman Hawkins und Ben Webster aufgenommenes Studioalbum. Sie werden darauf begleitet von einer von Pianist Oscar Peterson geführten Rhythmusgruppe mit Herb Ellis Gitarre, Alvin Stoller Drums und Ray Brown am Kontrabass. Die beiden verbinden sich hervorragend und mit dem großartigen Oscar Peterson am
Klavier, macht alles einen äußerst geschmackssicheren Eindruck. Dieses Zusammentreffen präsentiert die beiden Veteranen auf ihrem jeweiligen Höhepunkt. Das Meiste auf dem Album ist wie ein entspanntes Treffen alter Freunde und auf 'La Rosita' und 'It Never Entered My Mind' liefern Coleman und Webster herausragende Duett Passagen.

Love Is The Thing ist ein 1957 vom amerikanischen Jazzsänger Nat King Cole, der unter den Sängern der 50s mit einer der zugänglichsten und ansprechendsten Stimmen ausgestattet war, veröffentlichtes Album. Es ist das erste von vier gemeinsamen Platten von Cole und dem einflussreichen Arrangeur Gordon Jenkins. Hierauf finden sich Balladen über die melancholische Seiter der Liebe, wobei jegliche Traurigkeit von dem ptimistischen Ton in Coles Stimme untergraben wird. The Very Thought of You ist zart und einfühlsam. Eine Kollektion aus Songs über Freude und gelegentliche Traurigkeit,
verbunden mit der Liebe für die eine besondere Person, die einem alles bedeutet. Zu den Highlights gehören hier 'Stardust', 'But Beautiful', 'This Is All I Ask' und 'The More I See You.

Wah Wah 45s are very proud to release the debut single from forward thinking Tel Aviv based ensemble, Time Grove. Guided by acclaimed pianist Nitai Hershkovits alongside one third of Buttering Trio, and newly

signed Stones Throw recording artist, Rejoicer, this group of musicians have produced a sound which is both delicate yet powerful; sonorous yet uplifting.

The full line-up also features reed player Eyal Talmudi, drummers Roy Chen, Amir Bresler and Sol Monk, keyboard master Bemet, trumpeter Sefi Zisling, and guitarist Yonatan Albalak who have together created some of the most

exciting instrumental music we've heard for quite a while In preparation for their debut album, More Than One Thing, due in September, we bring you a double whammy jukebox 45 with two of the more foot friendly

cuts from the LP. The A-side, Roy The King, features drummer Roy Chen. The rest of the band kept telling him 'today, we make you a king' and so it was. Rejoicer, Sefi and Talmudi, wrote and played the melody after Nitai came up with the piano

riff. On the flip, Sir Blunt, is an introduction to the other core of Time Grove. With Amir Bresler on the drums, carefully crafting the perfect parts for this tune; Albalak on the bass, playing beautifully the upper register yet providing

a strong bed for Nitai on the piano & Moog and Rejoicer on synths to present somewhat of a no-bar-lines feeling.

Jazz Village is incredibly proud to present the vinyl and digital
download album formats of Ian Shaw's new album 'Shine Sister
Shine', his second for the label following the huge success of 'The Theory Of Joy' (2016 - for which Ian has been nominated for Male Jazz Vocalist Of The Year in the prestigious US Downbeat 82nd Annual Readers' Poll).
It is rare enough to find a master of the vocal art and a fine pianist
to boot, which Ian is internationally recognised as, let alone a man
with these talents and powerful political and ethical beliefs and the strength of character to put these into practice. Some might say that art and politics don't mix; well Ian Shaw is the man to prove you wrong. 'Shine Sister Shine' exemplifies these qualities: a great band recording great music with a powerful political message - music, in fact, for our time.
'Shine Sister Shine', singer Ian Shaw's brand new studio album, is a celebration of the actions and art of extraordinary women. Moved by recent world events - the election of a cartoon president whose life is more suited to the high-end romps of a glossy pin-up mag hero - and the subsequent rallying of millions of women, Shaw has penned new songs reflecting two years' working alongside refugees ('Keep Walking' is a hymn to the resilience of an Eritrean mother, whose life
was shredded by civil war and a world that looks the other way.
'Carry On World' stars Shaw's sisters - all five million of them).
Shaw is known as one of the jazz world's supreme interpreters of the popular song form - here showcasing dazzling new arrangements of works by Peggy Lee, Phoebe Snow, Joni Mitchell, Carly Simon, as well as friends and collaborators closer to home - Sarah Jane Morris,the genre-defying Gwyneth Herbert, Judith Owen, Julie Matthews - and a stunning co-write with UK pop legend, Tanita Tikaram, on the title track.
The acclaimed contemporary novelist Stella Duffy says of Shaw's new album: 'This is an album crammed with sharp pain, deeply felt, then countered with soaring, resonant hope. Empire States Of Mind for all.
We see what hurts, we cry the tears, and because we know there is also life, also light, we dig deep and find the strength to make a change. Where to start Start anywhere, start here. Start now.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Four-and-a-half decades after the event, saxophonist Charles Lloyd's Love-In, recorded live at San Francisco's Fillmore Auditorium in 1967, the counterculture's West Coast music hub, endures as much as an archaeological artifact as a musical document. From sleeve designer Stanislaw Zagorski's treatment of Rolling Stone photographer Jim Marshall's cover shot, through the album title and some of the track titles ("Tribal Dance," "Temple Bells"), and the inclusion of John Lennon and Paul McCartney's "Here There and Everywhere," Love-In's semiology reeks of the acid-drenched zeitgeist of the mid 1960s, a time when creative music flourished, and rock fans were prepared to embrace jazz, provided the musicians did not come on like their parents: juicers dressed in sharp suits exuding cynicism.




It is likely that more joints were rolled on Love-In's cover than that of any other jazz LP of the era, with the possible exception of saxophonists John Coltrane's A Love Supreme (Impulse!, 1965) and Pharoah Sanders's Tauhid (Impulse!, 1967). Chet Helms, a key mover and shaker in the West Coast counterculture, spoke for many when he hailed the Lloyd quartet as "the first psychedelic jazz group."




It is to Lloyd's credit that, at least in the early stages of his adoption by the counterculture, he resisted dumbing down his music. The adoption stemmed from Lloyd's espoused attitude to society, his media savvy, his sartorial style and his sheer nerve in playing jazz in the temples of rock culture. He took the quartet into the Fillmore West three years before trumpeter Miles Davis took his into the Fillmore East—as documented on Live at the Fillmore East, March 6 1970: It's About That Time (Columbia)—by which time his pianist, Keith Jarrett, and drummer, Jack DeJohnette, were members of Davis' band (although Jarrett didn't appear at the 1970 gig).

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

John Gordon, a trombone master, brings us another gem from that most renowned of 70's record labels, Strata-East. The trombone is a difficult instrument. In the hands of an artist like John Gordon, however, it can create vivid images and conjure up beautiful music. And when the cohort of other players includes the likes of Charles Tolliver & Stanley Cowell, you know you're in for an extra treat.

After a first untitled EP came out earlier this year on the occasion of Record Store Day, saxophonist Mattias De Craene (Nordmann) and his drummers Simon Segers (De Beren Gieren/Absynthe Minded) and Lennert Jacobs (The Germans/Hong Kong Dong) also known as MDCIII will launch their blazing debut album Dreamhatcher on 28 September 28th.

Mattias Decraenes sensationally strident sax parts elevate the hypnotising grooves of rhythmic duo aSimon Segers and Lennart Jacobs to an ecstatic level. The almost alarming sound that stems from this combination leaves every listener in the kind of cinematic daze that would enthuse even directors like David Lynch and Quentin Tarantino.

But is it jazz Who cares! As prodigies of the new wave of Belgian jazz, Mattias and his two soulmates effortlessly marry the virtuosity and free spirit of jazz to influences from the other end of the musical spectrum: from tribal rhythms and roots to far out electronics. It makes it hard to categorise their music unless the category extraordinary counts of course!

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.

Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.

Vibes From the Tribe is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds from the Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on Sleep Dirt; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.

"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.

Gary Chandler (born in 1938) started playing professionally in 1960 in the thriving Columbus Ohio club scene with Hank Marr, Don Patterson and Benny Maupin. He worked in the Motown Revue from 1965-67 and led his own group for over a year. Over the following years Chandler joined joined the bands of Lou Donaldson & Charles Earland where he remained until the recording of his debut album.

Producer Bob Porter, who decided it was time for the skilled trumpeter to make a record in his own right, provided him with an all-star line up of musicians to collaborate on the album. 'Outlook' features Idris Muhammad on drums (which means a frenzy of funky JB-influenced over-the-top soul-jazz drumming), on bass is the legendary Gordon Edwards (known for his work with James Brown, Weldon Irvine, Funk Inc., Aretha Franklin, etc.) and on guitar we have Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin's 'Respect'). Last but least, we have the percussion duties which are handled by Buddy Caldwell (THE session musician for respected labels such as Prestige and who also collaborated on albums by Ceasar Frazier & Melvin Sparks)... speaking of Ceasar Frazier, he's also featured on 'Outlook' with his trademark organ sound.

'Outlook' is one long STEAMROLLER groove & one of the true lost soul-jazz-funk classics. Crate diggers and DJs have coveted 'Baby Let Me Take You (In My Arms)' for years, but in truth, damn near every second of the album demands consideration as a sample. All of this is carefully overseen by engineer Rudy Van Gelder & producer Bob Porter (known for their work with Herbie Hancock, Coltrane, Thelonious Monk, Miles Davis...and many others).

Gary Chandler's first (and only) album was originally released in 1972 on Eastbound Records, super rare and fetching large sums on the collectors market, now finally back available as a limited deluxe vinyl edition (500 copies) featuring the original artwork and liner notes.

Recorded live at Carnegie Hall in early 1963 - in an intimate setting with her trio of guitar/bass/piano and of course with Nina herself at the piano - this live album is a beautiful piece of early, raw, and emotional material from one of the most unique voices of 20th century jazz and pop. Covering tracks from Leadbelly and Pete Seeger, to Johnny Mathis, old English traditional ballads, and Israeli folk tunes, Nina Simone always drew inspiration from the farthest possible reaches. As one of the finest interpreters of songs ever, this live recording is further proof of the genius of the one and only Nina Simone. Reissued on 180 gram LP.

Original Soundtrack - Super Deluxe Version, (including 4 tracks never released on vinyl before, this feature is exclusive to this edition, see the tracklisting), 180g vinyl, mastered at half speed, heavy cardboard old Stoughton tip-on sleeve, obi, gold sticker Info We Release Jazz is delighted to present the official reissue of the original soundtrack of Jean-Pierre Melville's 1970 film noir classic Le Cercle Rouge (starring Alain Delon, Bourvil, Gian Maria Volontè, and Yves Montand) composed by French soundtrack master Eric Demarsan, available on limited edition 180g vinyl LP mastered at half speed and including 4 bonus tracks not available on previous pressings of the album. Eric Demarsan's compositions for Le Cercle Rouge draw from the orchestral spirit of the Modern Jazz Quartet (as requested by Melville who loved John Lewis' work), abstraction and minimalism to create a suspenseful and hypnotizing audio landscape which elegantly underlines the tense atmosphere of unavoidable fate that shrouds the movie and the doleful beauty of its characters. Simply put, it's the finest combination of underworld existentialism, coldblooded chic, and crime jazz! Le Cercle Rouge boasts the participation of celebrated jazz players Guy Pedersen (bass), Daniel Humair (drums), Georges Arvanitas (piano), and Bernard Lubat (vibraphone). Starting as a collaborator of François de Roubaix and Michel Magne in the 60s, Eric Demarsan went on to become a mainstay of French cinema soundtracks, composing for directors such as Jean-Pierre Mocky, Costa-Gavras, and Patrice Leconte among others. He also recorded the cult album Pop Symphony (for Pierre Cardin in 1970) under the Jason Havelock pseudonym.

Tonefloat veröffentlichen zeitgleich mit der CD-Ausgabe (DY 029) am 07.09.18 das erste Studioalbum seit 37 Jahren der legendären Soft Machine.
Das Studioalbum - Hidden Details' ist das erste Soft Machine Album (mit Ausnahme von Soft Machine Legacy) seit 37 Jahren. Mit John Etheridge, Roy Babbington und John Marshall sind noch
drei von vier Mitgliedern aus der damaligen Besetzung der 1970er Jahre dabei, die seinerzeit mehr als gefeiert wurden. Die legendäre Jazzrock Band wird vervollständigt durch den außergewöhnlichen Saxophon Star Theo Travis (Robert Fripp/David Gilmour/Gong).
Die Musik rangiert zwischen psychedelischen Sounds, Jazzrock bis hin zu freien Improvisationen, Pop sowie hypnotischer Klänge. Die Band spielt Material aus der Ära (Kompositionen von Hugh Hopper, Mike Ratledge und Karl Jenkins) sowie viele zeitgemäße Stücke. - Hidden Details' erscheint genau 50 Jahre nach ihrem Debütalbum - The Soft Machine' von 1968, welches im späteren Jon Hiseman's Studio in Surrey aufgenommen wurde.

Sacha Distel ist ein französischer Sänger und Gitarrist, der Hits mit Coverversionen des Oscar
prämierten 'Raindrops Keep Falling on My Head', 'Scoubidou' und 'The Good Life' hatte. Er
gelangte zu Ruhm im Jahr 1958 mit dem Song 'Brigitte', einer Homage an Brigitte Bardot. Distel
wurde zu einem professionellen Jazzgitarristen. Während seiner Karriere arbeitete er neben Dizzy
Gillespie und Tony Bennett und tratt in der berühmten Ed Sullivan Show Ende der 50s auf, nachdem
er sich als ein französicher Crooner etabliert hatte. Sacha Distel wurde 1997 als Chevalier (Ritter)
der Légion d'honneur geadelt.

Debut album from the blues rock trio, fronted by
Pascal Danaë and complemented by drummer
Baptiste Brondy and sousaphone player Rafgee.
Traversing myriad sounds and influences they meld
their own route via their cultural, historical and
emotional roots - the missing link between French,
Caribbean and US musical culture - that arrives
amidst Ali Farka, Creole and The Black Keys to
create their own exhilarating brand of bluesy
garage rock.
Inspired by and from where they take their name -
the influential figure of Louis Delgres, who was
instrumental in the fight against colonial slavery,
looms large on the album - title track, 'Mo Jodi' (I'll
Die Today) is a tribute to his fight.

Following the success of their 2015 album Astronautilus, jazz-rock mavericks Get The Blessing return with their spellbinding new Album 'Bristopia'. Blending their mutant jazz sensibilities with spacey electronics and post rock atmospheres, 'Bristopia' ventures into new, unexplored territories.From the jagged, interweaving brass patterns of opening track 'If It Can It Will', through the brooding atmosphere of 'Bristopia' and absorbing, haunting melodies of 'Not With Standing', the Bristolian quintet channel subterranean depths and soar from dizzying heights, leading the listener through a complex labyrinth of tangled melodies and sliding soundscapes of dark, immersive production.Having been conceived, born and raised in Bristol, the band now pay tribute to their hometown with an album that careers around the city's one-way system (not always in the correct direction of travel), darting into some of its hidden alleyways and lesser-known night-time hot-spots, and occasionally just stopping to take in the dizzying vistas of sprawling buildings and distant hilltops.'Sometimes you have to go away to see where you're from' - with this in mind, they headed up into the the picturesque setting of Vale Studio, Worcestershire- taking their old friend Tim Allen to engineer and to select from the studio's excellent vintage mic collection., 'We recorded as we have for the last two albums, dividing the time between prodding and poking at things we'd prepared in advance, and summoning up the spirits of invention from complete unpreparedness, unleashing little soundtracks for imaginary films. After three days we returned to base camp to pick over the spoils, at which point the process became more like sculpting: Jim wielding the chisel and the rest of us jogging his elbows until we're left with some beautifully strange shapes.'.Enlisting the help of regular / irregular collaborator Adrian Utley, whose guitar-sprayed some strikingly unexpected colours across some of the objects, they then persuaded pedal-steel guitarist Margerethe Bjorklund to add some skilfully applied brushstrokes to the piece. Just as they were examining these new creations on their sonic plinths, and wondering what exactly they were, the Bristol Jazz and Blues Festival invited GTB (and their long-running visual collaborator John Minton) to scour the Bristol Archive and create 'Bristopolis', an abstract, poetic film homage to Bristol. 'We realised that some of the new music is the soundtrack for a real film after all, even stranger than the one in our heads. We get to play these new tunes live at a one-off happening for the festival, with John's visual creation filling an enormous screen behind us. All begins to make (non)sense.'With this powerful return, Get The Blessing send their sonic transmission deep into the furthest corners of the universe, setting the pace for the current UK Jazz revival, demonstrating that the early pioneers of the scene still have something important to say.Formed back in 1999 by bassist Jim Barr and drummer Clive Deamer (rhythm section of seminal act Portishead) alongside Jake McMurchie (on sax and electronics) and Pete Judge (trumpet and electronics) the Bristol-based four-piece boast a truly international fan-base, having forged a unique signature sound that defies easy classification. Despite several short breaks for other projects over the years - most recently in 2016 when drummer Clive Deamer was on tour with Radiohead, they have never lost sight of thumping tunes, monstrously infectious beats, or joyous collective spontaneity. After eighteen years, their ability to produce such creative and intelligent music - balanced with wit and passion - is testament to the free spirit that they embody.

Crazy Beautyfull Cheezy Vibes ! A Pure Pleasure ! Needed !!!

In 1955, Miles Davis played a beautifully received set at the Newport Jazz Festival and was offered a contract with Columbia Records if he could get a steady group together. In order to record for Columbia, Davis would first have to settle an obligation to Prestige and so he put together the now legendary quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones. It was under these conditions, in a desire to churn out as many records as possible to change labels, that Davis recorded some of the most celebrated music of his entire career. This group, in the span of several months released a half-dozen LPs including this one and the great Cookin', Workin', etc. titles. This title, originally recorded in 1955 features a great Ellington piece, the brilliant Miles original 'The Theme', and several other great tunes, but most importantly it is the introduction to a group that features two towering giants of jazz together on some of the fieriest playing of either's career. Brilliant.

Limited edition of 300 copies.

With this second release, Hawaii Bonsaï Records proves once again that they are your number one destination for all your Latin Bass needs ! Few labels have the insight necessary to gather all those producers and deliver a comprehensive and exciting picture of what tropical and latin bass is today as it grows in the hands of South-American, European or US producers. Think some blends shouldn't exist Listen to this incredible mixture of dub, cumbia, trap, traditional Andean music, beats, latin pop, folk, Zouk, and think again as this compilation sets yet another landmark in this expanding musical family.

Ghent's Steiger are a piano trio, but not in the classical sense. With their versatile style, influenced by different musical genres such as jazz, rock, pop, classical and electronic music, they try to find a balance between composition and improvisation through the use of experimentation and electronics.

Considered pioneers of the Belgian jazz crossover scene, Steiger have been active for 6 years and have recently found themselves performing at major jazz venues in Flanders, picking up numerous accolades along the way.

The trio's highly anticipated sophomore album 'Give Space', released 14th September on Sdban Ultra, was recorded at 7 different locations, with the music composed to fit and fight these locations within a dialogue of acoustics, atmospheres and appetition. Field recordings, reverbs, ambient sounds, all collected within the search for the unpredictable, were given space within this dialogue as the essential part of the encounter. As a result, the locations emerge somewhat as a fourth member of the trio. The music - sometimes fixed, sometimes completely free - takes on an ever-changing journey into their multi-faceted world.