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ie WDR Big Band, die bereits in der Nachkriegszeit als Kölner Rundfunk Tanztheater gegründet wurde, gehört nicht nur zu den erfolgreichsten Bigbands in Deutschland. Auch weltweit ist das Aushängeschild des WDR kein unbeschriebenes Blatt. Kein Wunder also, dass sie 2007 mit einem Grammy ausgezeichnet wurden.Nun erscheint eine Sammlerbox mit allen drei Aufnahmen der WDR Big Band und ihrem Tribute zu einem der größten und einflussreichsten Jazzmusiker seiner Zeit. Die Rede ist von keinem geringeren, als: Duke Ellington. Zusammen mit ekannten Künstlern wie Freda Payne, Milt Grayson, Jimmy Woode, Grady Tate, Dianne Reeves, Ray Brown, Jeff Hamilton und vielen mehr, interpretiert die WDR Big Band die großen Hits Ellingtons auf eine ganz besondere Art und Weise, die jedem Fan in Erinnerung bleiben wird

- Juniper ist das dritte Album der in Cardiff ansässigen Band
SLOWLY ROLLING CAMERA und definitiv die eindrucksvollste
Veröffentlichung der Band bis jetzt

Angeführt wird die Band vom Chef des Edition Labels, Dave Stapleton. Das von Deri Roberts und Schlagzeuger Elliot Bennet produzierte neue Album liefert Jazzgrooves mit ausschweifenden, fast filmreifen Klanglandschaften. Mit - Juniper kehrt die Band zu ihren instrumentalen Wurzeln zurück und das Ergebnis ist lebendig, kühn und aufregend frisch.

Soul Jazz Records' latest album 'Yoruba! Songs and Rhythms for the Yoruba Gods in Nigeria' is newly recorded in Lagos, Nigeria. The album is co-produced by Soul Jazz Records label head Stuart Baker and Laolu Akins (founding member of the legendary 1970s Nigerian Afro-Funk/Rock group Blo). Yoruba! features an array of local master drummers led by Olatunji Samson Sotimirin and singers (featuring the lead vocals of Janet Olufanmilayo Abe) performing heavyweight Afro-rhythms, with talking drums, Bata and Dundun drums and a mass of percussion in these deep spiritual and sacred songs used to honour and worship the traditional and ancient Yoruba gods in Nigeria, West Africa. 
The enormous impact of Yoruba and West African music and culture is worldwide - from the first Afro-centric explorations of African-American jazz musicians in the 1950s such as Art Blakey, Randy Weston and Dizzy Gillespie, the explosion of Nu Yorican Latin music in New York City starting in the 1960s - Mambo, Boogaloo, Latin funk and soul - through to the sacred and powerful Afro-derived music of the religions of Santería in Cuba, Candomblé in Brazil and Voodoo in Haiti, which all came into existence on account of the Atlantic slave trade which began over 400 years ago. On a wider scale West African music remains the primary root of all African-American musical forms - from New Orleans jazz to Bronx rap, gospel, soul and more.
This album features songs honouring the Nigerian gods of the Yoruba traditional religion - Yemoja, Obatala, Ogun, Sango and others - as well as a selection of instrumental cuts focussing on the Bata and Dundun drums. The album comes complete with extensive text and photography included in the 40-page outsize booklet/gatefold double vinyl + inners showing the influence of Yoruba culture throughout the world and the social and historical context for the music contained here.
Watch out for a limited edition remix of the project by Osunlade, also forthcoming on Soul Jazz Records.

Featuring Two More Tracks Than The Original Release Of The Clown This Is The Complete Sessions Mingus Recorded From February To March 1957. Including The Original Version Of One Of His Most Well Known Tracks, "haitian Fight Song", The Clown Is A Great Album That Is One Of The Earliest Mingus Releases To Show His Compositional Excellence As Well As His Stretched Out And Complex Sound. Another Essential Mingus Title On Wax Love.

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

Lift To The Scaffold Or, In The Original French Title, Ascenseur Pour L'échafaud, Is A Brilliant Film Noir From 1958 That Helped To Establish The Nouvelle Vague And The New Modern Cinema Scenes. No Less Brilliant Is The Score, Composed By Miles Davis And Featuring Mostly French Musicians, Including The Great Barney Wilen On Tenor Saxophone, As Well As Kenny Clarke On Drums, This Is Some Of The Most Lonesome And Morose Music Davis Recorded In His Career. Perfectly Matching The Stark, Dangerous, And Grim Moods Of The Film, This Is A Truly Amazing Score By One Of The Biggest Names In Jazz Music History.

Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.

Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, es, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.
Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie HavensWoven Entity are Patrick Dawes, Lascelle Lascelles and Paul May, three percussionists and drummers with a huge range of playing experience between them, from dance music to jazz, rock and folk to free improvisation and all points inbetween.

Their credits have included Groove Armada, Brand New Heavies, Campag Velocet, The Herbaliser, Petra Jean Phillipson, Richie Havens, Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson, , Duke Garwood, Beth Orton to name a few.

Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,
Woven Entity is an improvisational group, inspired by a diverse range of influences from 70s free jazz to Krautrock to post punk to dub, Afrobeat and Tropicalia. They make a lush, joyful noise that tickles the brain and mobilises the body at the same time. Loose clothing is advised when listening.

Joining the core trio on a regular and irregular basis are keyboardist Ben Cowen, trumpeter Andy Knight, bassist Peter Marsh, saxophonists Alan Wilkinson,

This Hampshire & Foat project should not come astoo much of a surprise to those familiar withGreg& Warren's music, influenced heavily by not just Jazz but the library sound of the 60s and 70s along with film soundtracks from the same golden era.Greg&
Warren are avid collectors of this music,Gregsends me links night and day to LPs he has picked up digging on his travels. This constant search sends him down new musical pathways and often sparks a whole new concepts for projects. Warren andGregare both fiercely creative talented individuals which
means we have to keep them working, a challenge for us all, but the music rewards the effort many times over . We had talked for a long time about doing a Library style LP (somethingGregis very passionate about) so during different recording sessionsGreg& Warren

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- BRAND NEW ALBUM
- A VIBRANT CHOICE OF SONGS, FROM BOB DYLAN AND PAUL SIMON CLASSICS TO JAZZ, BROADWAY, AND THE GREAT AMERICAN SONGBOOK

The American jazz vocalist Kurt Elling continues his collaboration with the saxophonist Branford Marsalis on the 2018 album The Questions. It's his musical response to the times of anxiety and tension in which we're living. The rich and compelling compositions consists of 8 covers and 2 new written songs. Bob Dylan's A Hard Rain's A-Gonna Fall.' Is sung from another point of view with a soulful acapella intro, before moving on the big band sound. Some parts are based on his improvisation skills, while other songs got a more traditional feeling. Elements of folk, latin and classical music are woven into the sound of the album.

The Grammy award winner Kurt Elling can be seen as one of the best jazz vocalists of his time. His rich baritone voice features emotional depth has thrilled audiences all over the world.

- 180 GRAM AUDIOPHILE VINYL
- HIGH QUALITY PVC PROTECTIVE SLEEVE
- GATEFOLD SLEEVE
- INCLUDES LINER NOTES
- CAREER SPANNING COLLECTION FEATURING THE HITS SHE'S NOT THERE', TIME OF THE SEASON' (WITH THE ZOMBIES), WHAT BECOMES OF THE BROKEN HEARTED' (WITH DAVE STEWART), HOW COULD WE DARE TO BE WRONG', TRACKS OF MY TEARS' AND MANY MORE CLASSIC SONGS
- LIMITED FIRST PRESSING OF 1.500 INDIVIDUALLY NUMBERED COPIES ON WHITE VINYL

In a career spanning over 50 years Colin Blunstone released a list of hits both as a solo artist as a part of different bands and projects. This Collected release covers the early days when he was a member of The Zombies, his solo work and collaborations with, among others, The Alan Parsons Project.

During Colin Blunstone's school-time in St Albans he was introduced to the other members of The Zombies. They attracted a large following and after they were offered their first contract the single She's Not There' entered the charts, becoming a world-wide hit. Their second critically acclaimed album Odessey and Oracle gained a cult following and can be found in many top album lists of all time. The single hit Time of the Season' can be found on this album. After going on as a solo artist he recorded single hits like I Don't Believe in Miracles', What Becomes of the Brokenhearted', and The Tracks of My Tears'. During the '70s he was actively releasing new solo recordings and participated on various albums with the progressive pop/rock band The Alan Parsons Project. He's the singer on their hit single Old and Wise'. Nowadays he's still performing with his band, playing both his old hits and new recordings.

Colin Blunstone Collected includes liner notes and is available as a limited first pressing of 1.500 individually numbered copies pressed on white vinyl.

- 180 GRAM AUDIOPHILE VINYL
- HIGH QUALITY PVC PROTECTIVE SLEEVE
- GATEFOLD SLEEVE
- INCLUDES 4-PAGE BOOKLET WITH LINER NOTES
- CAREER SPANNING COLLECTION FEATURING EARLY
RECORDING WEST END BLUES', HITS BLUEBERRY HILL', 'LA CUCARACHA' AND DUETS WITH BILLIE HOLLIDAY, ELLA FITZGERALD AND MANY MORE FAMOUS SONGS
- LIMITED FIRST PRESSING OF 2.000 INDIVIDUALLY
NUMBERED COPIES ON GREEN VINYL

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

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

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

[B] A2 Bossa Nostra Feat. Vicki Anderson - Home Is Where The

Re-issue by Mr Bongo as part of their 'Classic African Recordings' series

We Release Jazz (WRWTFWW Records' new sister-label) is thrilled to present the official reissue of criminally overlooked Japanese jazz gem Mellow Dream (1977) by Hokkaido pianist wunderkind Ryo Fukui, released in conjunction with the its legendary predecessor Scenery, sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound as and on digipack CD.

Firmly standing on the foundation he laid down with Scenery, Ryo Fukui continues his exploration of modal, bop and cool jazz sounds with meticulous grace and absolute mastery. As its title suggests, Mellow Dream ventures into slightly mellower, more soulful, and sometimes more contemplative territories (the Bill Evans-reminiscent "Mellow Dream" and "My Foolish Heart") while still packing the commanding punch Fukui's work is loved for, as heard on the amazingly bombastic "Baron Potato Blues" or the gigantic McCoy Tyner/John Coltrane-influenced "Horizon" which sees each member of the trio (Satoshi Denpo is on bass and Yoshinori Fukui is on drums) demonstrating their virtuosity for 9 exhilarating minutes. With his sophomore album, Ryo Fukui swings from melancholy to vibrant joy with ease, reminding us that jazz is best served with a pinch of blues, and displays an immensely rare combination of pure talent, unique personal approach and focused discipline. The man undeniably deserves a spot in the pantheon of all-time great jazz pianists.

After releasing the outstanding Scenery and Mellow Dream back to back, Ryo Fukui worked on developing his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui), and even releasing 2 live albums. He sadly passed away in March 2016, leaving behind a legacy of works that all jazz lovers should explore.

For his third album for Far Out Recordings, London based multi-instrumentalist and one of Europe's finest saxophonists Sean Khan ventures to Rio de Janeiro to collaborate with iconic Brazilian polymath Hermeto Pascoal. Taking its title from the escaped slave settlement 'Palmares' in the Northeast of Brazil during the 1600s, Palmares Fantasy is Khan's utopian jazz message for the world, and features Azymuth drummer Ivan 'Mamao' Conti, bassist Paulo Russo, guitarist Jim Mullen, and guest vocals from Brazilian chanteuse Sabrina Malheiros, and Cinematic Orchestra frontwoman Heidi Vogel.

Like Hermeto Pascoal, Sean Khan is a self-taught musician. Never able to afford his original dream of studying at Berklee, and having been turned away from Guildhall School of Music for being 'too raw', he became disillusioned with what he saw as the exclusivity, elitism and dangerous institutionalisation of the jazz world. Yet Sean's love for music and the drive to create never faltered.

Hermeto Pascoal, the man Miles Davis once dubbed the most impressive musician in the world', is a similarly independent artist. A true maverick whose ingenuity and freedom from conventional restraints is so great that he has essentially conceived his own musical language, made him the dream collaboration for Sean.

Aspiring to inclusivity and equality also informs the message in Khan's music. Inspired by the 17th Century settlement of Palmares in Brazil's Alagoas region, which was free from the Portuguese crown's murderous exploitation of South America for a century, Khan notes his fascination with the fact that while majoritively made up of escaped African slaves, many deserter conquistadors also joined the settlement.

Hearing the deep-grooving title track with this history in mind, the listener is transported to a futuristic musical eden, with Mamao's insatiable 10/8 rhythm back-boning Hermeto's wild improvised vocals, rhodes and whistles, while Sean's harmonically brilliant sax and flute add more layers of moody, characterful expression. 'Moment of Collapse' is Sean's poetic study on the uncertainties of modern day western civilisation, delicately presented by the gorgeous vocals of Heidi Vogel and drenched in lugubrious strings and Alice Coltrane-esque harp. The two covers on the album are of Hermeto's own 'Montreux' (on which Hermeto plays solos on a teapot and a pint of water), and an uplifting soulful jazz-funk take on Milton Nascimento & Lo Borges MPB classic 'Tudo Que Voce Podia Ser' featuring the vocals of pioneering nu-bossa voice Sabrina Malheiros.

The recording sessions for the album were part of an intensive and hugely productive eight-week excursion to South America for Far Out boss Joe Davis in the summer of 2016, which also saw the sessions for Azymuth's Fênix and a forthcoming album from Uruguayan fusion legend Hugo Fattoruso.

Fantastic' Gilles Peterson

Loving this!' Opolopo

Thank you!' Sassy J

Proper! Great track.' Colin Dale

this is great!' Yannick Elverfeld (RBMA / Needs Records)

I've enjoyed Sean Khan's earlier releases, but this really seems like he's grown into his fairly considerable talent.' Mark Sampson (Songlines)

His last album was his best so far, but I think this one may be even better.' Laurence Pragnell (Soul Brother Records)

dope!!!' Kyri (R2 Records)

this is great - really cool vibe!' Sam Redmore

wonderful track - can't wait to hear the lp.' Simon Harrison (Basic Soul Radio)

This is very tasty indeed.' Gavin Boyd (Soul Has No Tempo)

Stunning!!!' Mark Milz (Further In Fusion)

Oi Oi' Samuel Lloyd (Balamii Radio)

PRESS / ONLINE

VINYL FACTORY (UK) News (Anton Spice) 09/03/18 online

SOUNDS & COLOURS (UK) News (Gabriel Gahan) 09/03/18 online

THE WIRE (UK) Review confirmed (Joseph Stanard) print

EVENING STANDARD (UK) Review confirmed (Jane Cornwell) print + online

ECHOES MAGAZINE (UK) Review confirmed (Laurence Pragnell) print

LIBERATION (FR) Feature confirmed (Jacques Denis) print + online

MUSIC IS MY SANCTUARY (CA) Premiere confirmed (Mike Jones) online

JAZZ MAGAZINE (FR) Review confirmed (Frederic Goaty) print

SHINDIG! (UK) Review confirmed (Grahame Bent) print

MUSICA MACONDO (UK) Premiere confirmed (Tim Garcia) online

RAWCKUS MAGAZINE (USA) News (Randy Radic) online

KIND OF JAZZ (UK) Review confirmed (Fernando Rose) online

TONART MAGAZINE (DE) Review confirmed (Michael Moehring) print

WORLD MUSIC NETWORK (USA) Review confirmed (Raul Da Gama) online

BADD PRESS BLOG (USA) Review confirmed (Kevin Press) online

ORKESTER JOURNALEN (DK) Review confirmed (Patrik Sandberg) print

LIVE

WORLDWIDE FM (UK) Sean Khan live session confirmed (Gilles Peterson)

RADIO

BBC RADIO 6 (UK) Gilles Peterson - Palmares Fantasy (24/02/18) link

OTHER

BRITISH AIRWAYS On board BA flights (June 2018)

Nach langer Studio-Pause schlägt BUSTER WILLIAMS mit "Audacity" ein neues Kapitel in seiner langen Karriere auf. Vinylversion als 2xLP.

"Audacity" (dt. "Kühnheit"). Es ist ein Wort, das ideal zu dem mutigen und unerschrockenen Bassisten Buster Williams passt. Ob als geschmackvolle Begleitung für Sängerinnen wie Nancy Wilson und Sarah Vaughan oder als Mitglied von Herbie Hancocks bahnbrechender Mwandishi-Band in unbekanntes Neuland vorstoßen, Williams' Spiel hat immer die furchtlose Bereitschaft gezeigt, ohne zu zögern in die Welt des Unbekannten zu springen. Mit seiner neuen Aufnahme markiert Buster Williams ein weiteres Kapitel in dieser fortlaufenden Geschichte. Auf diesem Album fungiert Williams erstmals seit 2004 (Griot Liberté) als Leader und führt mit dem Saxophonisten Steve Wilson, dem Pianisten George Colligan und dem
Schlagzeuger Lenny White sein langjähriges All-Star-Quartett "Something More" an.

sleep Warm' Ist Die Platte, Die Frank Sinatra Für Seinen Neu Gefundenen Kumpel Dean Martin Dirigiert Hat. In Nur Drei Nächten Im Oktober 1958 Aufgenommen, Ist Dies Dinos Erste Veröffentlichung In Stereo Gewesen, Die Bis Heute Ein Favorit Der Fans Geblieben Ist, Sowohl Dank Sinatras Einfühlsamer
Arbeit Am Taktstock Als Auch Martins Bewusst Zurückgenommenem Gesangs. Die Arrangements Stammen Von Pete King. In Den Begleittexten Als Ein verführerisches Set Aus Schlafliedern Für Zeitgenossen' Beschrieben, Verfolgt Die Sammlung Ein gute-nacht' Konzept, Bei Dem Schon Eine Reihe Von Songtiteln Die Worte traum' Und/oder schlaf' Enthalten. Diese Ausgabe Enthält 5 Bonustracks, 4 Mit Einem Von Dick Stabile Dirigiertem Orchester Sowie 1 Geleitet Von Don Costa.

Aufgenommen am 15 Dezember 1957, präsentiert 'Lou Takes Off' Donald Byrd an der Trompete, Curtis Fuller an der Posaune, Sonny Clark am Piano, George Joyner am Bass und Art Taylor am Schlagzeug. Das Album enthält zwei ausgedehnte Original-kompositionen von Lou Donaldson, 'Sputnik' und 'Strollin' In' und kürzere Ausgaben von Charlie Parkers 'Dewey Square' und Dizzy Gillespies 'Groovin' High'.
Diese Aufnahme markiert eine Phase in Donaldsons Entwicklung kurz vor einem stilistischen Schwenk weg vom Bop hin zu einer größeren Rhythmus und Blues Betonung.
Aufgenommen von Rudy Van Gelder.

Der in Uganda geborene und aufgewachsene MARK KAVUMA ist einer der wichtigsten jungen Trompeter der britischen Jazz Szene Er ist eine treibende Kraft der neuen, jungen Londoner Jazz Szene . Sein Debütalbum "Kavuma" bietet ein Kollektiv aus Ausnahmekünstlern aus London und New York dar, die gefühlvollen Jazz liefern. Ihr Ziel ist es, Menschen zum Tanzen zu bringen, indem sie das Herz und Seele der Musik spüren. Bei "Kavuma" geht es darum, den Menschen eine schöne Zeit zu bereiten - was hier auf außergewöhnliche Art und Weise gelingt.

- new Devices Ist Das Brandneue Studio-album Des Aus
Leeds Stammenden Roller Trios

Ein Einzigartiges Jazz-trio, Dessen Sound Sowohl Modern Als Auch Hart Ist Und Die Klanglichen Grenzen Austestet. Die Melodie In Kürzester Zeit Von Ausgefallenen Improvisationen Zu Fast Hymnischen Klängen Zu Wechseln Ist Eine Der Stärken Des Kraftvollen Und Progressiven Roller Trios. Ihr Debütalbum Wurde 2012 Für Den Mercury Prize Nominiert.

* 180 gram audiophile vinyl
* Mono recording
* Limited edition of 750 copies on orange colored vinyl

The Jamaican Reggae Record Producer Harry Zephaniah Johnson, Better Known Under His Stage-name Harry J, Started Working As A Producer At The End Of The 60s. He Combined Some Of His Recordings On The 1970 Album What Am I To Do. The Title Track By Tony Scott Is The Most Famous Song That Can Be Found On This Album. It's One Of Those Exciting Tracks In Which You Can Hear The True Jamaican Skills In The Dub And Reggae Sounds. Another Great Track Is The Instrumental And Horn-driven "wha Pen".

This Mono Recording Is Available As A Limited Edition Of 750 Copies On Orange Colored Vinyl.

BRUNO PRONSATO returns with his new album, A FACE WASTED ON THE THEATRE, written & produced in collaboration with the Israeli musician, YONATAN LEVI. PRONSATO and LEVI have been collaborating intermittently since 2014, with LEVI adding bass guitar to tracks on both PRONSATO's US Drag LP from last year and 2016's NDF EP, Cruel Is The Color, as well as contrabass on a track on PRONSATO's Archangel LP from 2014. Written in the afternoons and between two different studios in Berlin's Prenzlauer Berg, the album spans eight tracks, with YONATAN LEVI playing on bass guitar on six of them. It also features guest appearances by downtown composer/producer PETER GORDON and Israeli saxophonist YONATAN YUDKOWITZ on Bring Me A Kill.'

BRUNO PRONSATO (aka Steven Ford) has been subverting expectations within techno and house's upper echelons since 2003. A former speed-metal drummer with a serious appreciation for 12-tone composers, he moved to Berlin to focus on music full-time in 2005, and captured the attention of the electronic music world with his redefining Why Can't We Be Like Us LP from 2008, receiving a 5/5 review from RESIDENT ADVISOR along the way. This was followed up with Lovers Do in 2011, dubbed a massive and striking statement' by PITCHFORK in their 8.1/10 review. After a six year-hiatus, he released the rejuvenated US Drag LP in June 2017, with RESIDENT ADVISOR commenting that the album was a fresh perspective on Bruno Pronsato that keeps intact the best aspects of his music, proving that Ford's singular project still has a lot left to give.' Pronsato is also a member of HALF HAWAII with PANORAMA BAR resident and ex-PANTYTEC member, SAMMY DEE-they release mainly on PERLON. His 2010 collaboration with SERGIO GIORGINI (of BENOIT & SERGIO) as NDF (on DFA) was hailed as one of the 'tracks of the decade so far' by PITCHFORK in 2015. PRONSATO was also a member of the electronic supergroup, NAROD NIKI alongside RICARDO VILLALOBOS, RICHIE HAWTIN, DANIEL BELL, AKUFEN, LUCIANO, DIMBIMAN etc, and he also co-produced ELLEN ALLIEN's 2013 LP, LiSm.

YONATAN LEVI aka L.A Teen is a 31-year-old musician born in Tel-Aviv, Israel. Displaying musical tendencies since infancy, he studied at a school of arts between ages 6-16, growing within the music department. He began classical guitar training at the age of 7 and finished his studies as a music major. At age 13 he was awarded a scholarship for classical stand up bass studies from the Israeli Conservatory of Music in Tel Aviv. By age 16, he was honored a full scholarship to the prestigious Berkley College of Music. In 2006 he moved to New York City and immersed himself in the New York Jazz world, playing alongside numerous celebrated musicians including FRANK WESS, BEN DIXON, EDDIE HENDERSON, HARRY WHITAKER and "Killer" RAY APPLETON and DONALD HARRISON.

He has recorded a quartet album alongside WILLIE JONES III, AARON GOLDBERG and OFER GANOR and is featured in OFER GANOR's album "Miles Away", starring the legendary drummer JIMMY COBB. COBB chose Levi to accompany him in his Japan tour as a part of the world renowned JIMMY COBB QUARTET. Yonatan Levi is currently based in Berlin, Germany, but is constantly on the road between Europe, the US and Israel.

Songs about the unity of Sudan, peace between Muslims and Christians and the fate of war orphans, backed by grooves equally taking influence from Arabic sounds, American funk as well as neighboring Ethiopia.

Kamal Keila was among the first artist we met in Sudan during our two trips to Khartoum and Omdurman last year. He is one of the key figures of the Sudanese jazz scene that was a vital part of the musical culture in Sudan from the mid 1960s until the islamist revolution in the late 1980s. When we meet Kamal he luckily presented us with two mold covered studio reels.
Each tape included five tracks. One with English lyrics and another with Arabic ones. Musically you can hear the influence of neighboring Ethiopia much more than on other Sudanese recordings of the time, as well as references to Fela and American funk and soul. His lyrics, at least when he sings in English which gave him more freedom from censorship, are very political. A brave statement in the political climate of Sudan of the last decades, preaching for the unity of Sudan, peace between Muslims and Christians and singing the blues about the fate of war orphans called "Shmasha".
A note inside one of the boxes specified the track titles, durations and the fact that the sessions were recorded on the 12th of august 1992. Both sessions stand as a hearable testament how Kamal Keila stuck to a sound aesthetic from decades ago, while incorporating current events into his lyrics.
Kamal Keila's album is the first in a series of releases covering the Sudanese jazz scene on Habibi Funk. Be on the lookout for albums by The Scorpions and Sharhabeel coming soon.

2LP + Download Code + 8 Page Booklet

Khalab has summoned a futuristic afro-centric soundscape by
weaving a poly-phonic tapestry of future bass, jazz and field recordings. The LP's title track tells hard truths from the mind of spoken word artist Tenesha The Wordsmith. Along with her words the LP's title has been augmented with a date marking the arrival of an emancipated future. 'Black Noise 2084' casts aside the worn and surface level cliché of black music being soul music. Khalab guides us to the beginning of a journey, the journey of rhythms and he takes us within earshot of the voices and spirits that carried them. Soul gained over aeons of terror and forced transportation, soul driving survival against systematic ppression, wholesale against a people.Khalab looks to the noise, the messages, the spirits, and evokes the light of 'Black Noise 2084' out of darkness. From dystopian roots, the beat marabout Khalab has led his assembly of messengers to invoke this myth of cathartic liberation. 'Black Noise 2084' features the voices of musical voyagers seeking new pathways: Shabaka Hutchings, Moses Boyd, Tamar "The Collocutor" Osborn, the master Gabin Dabire, Tenesha The Words-mith, Tommaso Cappellato, Prince Buju and Clap! Clap! Within the tapestry of Khalab's 'Black Noise 2084' the myth moves through its cycle of life, initiations and ceremonies with a cast of unnamed messengers. Khalab was invited to work with field recordings from the archives of the Royal Museum for Central Africa of Bruxelles. The museum's recordings made for a post-colonial World, hold ethnographic and historical insights into the cultures of the region over the last 500 years. The Museum is far from the horrors that Belgian King, Leopold II unleashed during his colonial reign, however it is a dark legacy that is far from absolved.. 'Black Noise 2084' opens a portal where displaced rhythms, chants, screams and dreams collide with quaking bass, a vortex of shattering synths, jazz rains and emotion all amalgamate. Empires for millennia thrived across the African continent and Empires are being willed to rise. As Khalab draws the LP to a close he brings light with 'Dawn' ft Moses Boyd. A dawn firmly squared-up by its past, hard truths of a barbaric history embarking on the beginning of reconciliation. Drum beats usher in the arrival home for a new glory. 2084 a time when rhythms have shed the cargo of their haunted odyssey. The myth of 'Black Noise 2084' is a new dawn where the ghosts of Leopold and all his kind are finally excised. Atonement in hearing the truths carried across the ages, carried in noise, Black Noise.

Tenderlonious led jazz outfit Ruby Rushton drop their second album of 2017. Following on from the success of 'Trudi's Songbook: Volume One' the band are back with their highly anticipated 'Volume Two'. Comprised of a further six cuts the listener is treated to another journey through modern day jazz!

Stand out tracks include "Tisbury Truckin", which is a stunning opener! Starting with an atmospheric soundscape it unexpectedly drops into a neck-snapping hip-hop groove with a punchy melodic line before effortlessly sliding into an up-tempo, afro-beat inspired rhythm with strong solos from trumpet and keys in tow. "Song For Christopher" is a heartfelt ballad, which begins with a touching flute solo and continues to take the listener on a journey through the emotions, ending in a crescendo of optimism - a fitting tribute to the late Christopher Rushton.

"Charlotte Emma Victoria" is another strong track and includes some tasteful sousaphone and trombone parts to add extra oomph to its bounce, accompanied by a soaring saxophone solo by band leader Edward Cawthorne (aka Tenderlonious). The album ends with a classic Herbie Hancock jazz-fusion standard, "Butterfly", which the band handle with finesse. A fitting cover that I have no doubt would impress its original writers.

'Trudi's Songbook: Volume Two' is a fantastic album, which further solidifies Ruby Rushton's place on the modern jazz scene. This is a must have album that would hold its own in any jazz enthusiasts record collection - make sure you check it out!

As the '60s progressed, cultural and political revolutions occurred both in the US and in Europe. Jazz was both a victim and a saviour, with radical developments in the music occurring in both continents.

Electronic duo Spring Heel Jack return with a collaboration with the legendary American trumpeter and Pulitzer Prize nominee Wadada Leo Smith.Wadada was born in the Mississippi Delta and became immersed in the music of the great blues masters as a young musician. He then moved to Chicago and became an early member of the AACM alongside the likes of Muhal Richard Abrams, Anthony Braxton, Malachi Favors and Roscoe Mitchell. Recorded last year in London, this LP sees Smith's authoritative trumpet joined by Steve Noble's drums and Pat Thomas' piano, to make a stunning piece of aural theatre in six acts.

Discover Le Deltaplane, fifth album by Andre Solomko, and third produced on Favorite Recordings, pursuing a collaboration that started more than 5 years ago.

Born in Ukraine in 1965 and now based in Finland, Andre Solomko is primarily a rich and engaging personality, but above all, a brilliant saxophonist, composer and engineer, whose contagious passion cannot leave anyone indifferent. After beginning a meteoric career in USSR, fate led him to Finland, where he started the adventure Vinyl Jam, a label / studio / group. It resulted in two self-produced albums that will capture the attention of some international collectors, including Pascal Rioux (founder of Favorite Recordings). Between 2012 and 2014, they released 2 albums together, Où es-tu maintenant and Le Polaroid, hailed by many tastemakers and meeting notable success in Japan.

Following Le Premier Disco Sans Toi, an acclaimed single released earlier this year and unveiling two new compositions with Disco flavors, Andre Solomko and Favorite Recordings also proudly present Le Deltaplane. Fully composed and arranged by Andre Solomko, the 6 tracks of the album are deeply infused with his longtime passion for Jazz-Funk and Movie-Soundtracks, this time also injecting more influences from WestCoast and Modern-Soul music.

Andre's backed again by a team of great musicians, recording and producing the album in analog like he always did. As for vocals and lyrics, he teams up with Charlotta Kerbs, a young emerging and talented singer from Helsinki.

Andre Solomko, an artist who spreads love like in the good old days!

* 180 gram audiophile vinyl

Herbie Hancock Is One Of The Most Prolific Jazz Pianists Of The 20th Century. A Child Prodigy, He Played With The Greats Such As Donald Byrd And Miles Davis. As He Was A Bit Of A Geek, He Enjoyed Gadgets & Buttons And He Was One Of The First To Embrace And Master The Electric Piano, But He Always Stayed True To The Acoustic Sound. In Fact, He Always Bounced Back And Forth Between His Electronic And Acoustic Sound, Touching Upon Almost Every Development In R&b, Funk And Jazz While Retaining An Original And Distinctive Voice.

Head Hunters(1973) Was Thefirst Offering Ofherbie's New Backing Band,the Head Hunters. In His Own Words: "i Began To Feel That I Had Been Spending So Much Time Exploring The Upper Atmosphere Of Music And The More Ethereal Kind Of Far-out Spacey Stuff. Now There Was This Need To Take Some More Of The Earth And To Feel A Little More Tethered, A Connection To The Earth....i Was Beginning To Feel That We (the Sextet) Were Playing This Heavy Kind Of Music, And I Was Tired Of Everything Being Heavy. I Wanted To Play Something Lighter."

This Is One Of Herbie's Funkiest Records Andone Of The Best Selling Albums In Jazz, Due To The Fact It Appealed To A Broad Audience - Think Hip Hop, Funk, Soul & Jazz Funk Fans. With Head Hunters, Hancockclaims Astake In Jazzwith Hisinfectuous Synthesizers And Clavinetmelodies On Top Of A Supertight Groove, Augmented By Subtile Horn Soloing.classic Songs Such As "chameleon" And "watermelon Man" Are Living Proof Of His Genius And Ability To Craft A Coherent Jazz Fusion Album.special Mention For Drummer Harvey Mason, Bassist Paul Jackson Andreedist Bernie Maupin (who Also Contributed To Miles Davis' Bitches Brew (movlp020).

The youthful jazz iconoclasts of SCHNTZL are undoubtedly among that much-talked-about 'new wave of Belgian Jazz'. Since releasing their untitled debut in the fall of 2016, the band has played an impressive number of concerts, adorned the stage of Gent Jazz Festival and hosted the popular Badbadnotgood in Amsterdam's Paradiso.

Over The Last 20 Years, Ozay Moore (fka Othello) Has Proven Himself To Be An Exceptional Storyteller Time And Time Again. Whether As A Member Of The Classic Hip Hop Trio, ightheaded, Or As A Solo Artist, Moore's Alto Flow Has Always Moved Crowds. Aided By Some Of The Most Soulful Production And A Deep Knowledge Of Hip Hop Culture, Moore's Music Is Highly
Relatable Because He Blends Personal Experience With Larger Themes That Cross Cultural Lines. Moore Has Been Making Records For Quite Some Time So It Would Be Understandable If He Didn't Have More To Say. Thankfully, Ozay Moore Is Back And Better Than Ever With In The Wake Of O.
Throughout His Life Moore Has Seen A Lot, Done A Lot, And
Wake Is A Reflection Of His Journey In And Outside Of Being An Mc. Moore Is No Longer A Young, Ambitious Rapper From Seattle Focused Solely On Writing Rhymes And Traveling The World. Instead, He's A Family Man In Lansing, Mi Having To Strike A Balance Between His Artistic Goals And What's Best For
His Wife And Two Kids. How Do You Strike That Balance This Is One Of The Central Questions Driving The Record.
As The Album Unfolds, Moore Grapples With The Decision To Drop The Othello Moniker, His Faith, Racial Politics In The U.s. And The Impact Of Hip Hop On His Life. The Word wake' Can Mean Many Things, And In The Wake Of O
Takes Into Account Every Single One. With An Exceptional Set Of Producers Including Stro Elliot, Tall Black Guy, Ess Be, Freddie Joachim And Ohmega Watts, Wake Is A Seamless Blend Of Boom Bap Crunch And Soulful Grooves. With Guest Appearances By Braille, Sareem Poems, Jahshua Smith, James Gardin And Propaganda The Wordplay Is As On Point As It Is Thought Provoking.
Ultimately, In The Wake Of O
Is A Reminder Of Why Hip Hop Is Such A Powerful Mode Of Communication. It Also Speaks To Ozay Moore's Deep
Love And Respect For Hip Hop Culture. As Wake Plays From Start To Finish, Moore Beautifully Speaks On His Personal Journey While Also Making Space For Listeners To Reflect On Their Own Lives. There Is Something For Everyone On This Record.
Written By Gus Navarro

A Beautiful Album. A Jazz Album.

Hello, Summer
Is The Third Full Length Solo
Lp From The Talented Pat Van Dyke—a Recording Full Of Soulful, Upbeat And Superbly Well-thought-out Arrangements That Is Destined For Your Heavy Rotation Bin For Years And Years To Come. Van Dyke Has Upped The Ante On This Release, Playing All Instruments Himself (with The Exception Of The Horn Section And Featured Soloists)—in Addition To Writing, Performing,
Producing, Recording, And Mixing The Record (mastering Was Left To K-def). This Is A Completely Confident And Imaginative Artist Able To Put His Ideas On Wax Exactly As Intended. Hello, Summer Places Emphasis On The Word Album. Listeners Are Encouraged To Carve Out Time To Enjoy It With Zero istractions. There's Nuggets To Be Found In Each Listen—whether It's Picking Out Your Favorite Horn Arrangement, Appreciating A Flute Solo Or Simply Marveling At How Fluidly Everything Comes Together Over The Course Of The Album's 11 Tracks.
The Vibe Is Summer. Windows Are Open And An Ice Cold Beverage Is In Hand.´

BBE's new 7 vinyl imprint Alim Music presents its latest release, a limited edition pressing from two of the label's most prominent artists, will.i.am and Pete Rock.

First up on the 45 is a classic cut from Black Eyed Peas frontman will.i.am's 2001 debut solo album 'Lost Change'. Featuring vocals from R&B singer, songwriter and actress Terry Dexter, 'Lay Me Down' is a smooth and soulful slow jam, undoubtedly one of the album's highlights.

On the flip is 'Pete's Jazz', a boom bap classic taken from Pete Rock's 2001 album 'Petestrumentals', originally recorded in the early to mid 90's and containing all the smooth, laid-back swagger Pete's productions are known for.

About Alim Music:
Celebrating its 22nd year of barely breaking even, respected underground label BBE announces the birth of ALIM Music, a daughter label releasing 7' vinyl in strictly limited numbers. Digging deep in the BBE archive as well as issuing exclusive edits and original material, Alim Music offers up a series of choice cuts on that most magical of formats, the vinyl 45.

The world has barely recovered from the previous sting of the Scorpio Man, when he lands in another dose. "Cold Turkey Time" from Ernie Hawks' debut album gets a single treatment here arriving back to back with the 45 only track "Tracking Down". The latter should make the b-boys move even if heard in the relaxing steams of a Turkish bath, where its breezy melodies eventually point at.

"Cold Turkey Time" is a serious slab of jazzy funk that shares many of the exotica qualities of its partnering side. It might sound nice, while driving a fine European sports mobile down on a spiraling mountain road, preferably in a 60's dandy state of mind. The eerie wordless vocals at the end tie the package together so nicely that Dario Argento could have made a scene out of it.

The continental vibes emanating from this vinyl single are bound to appeal to rare groove fanatics and secret agents alike. Ernie Hawks and his merry bunch of professionals are on a mean streak here, so keep listening.

Ian Dury, Like Ray Davies And Paul Weller Was A Very English
Talent. The Colourful, Metropolis Inhabiting Characters Like
Billericay Dickie Or Plaistow Patricia He Sung About And The Ever So Cockney Music Hall Accent He Chose To Sing In Were A Big Part Of That. But Most Of All It Was The Detailed, Poetic Way He Catalogued English Life And The Melting Pot Of Musical Styles Used To Do So, From Punk To Funk To Jazz And Rock 'n' Roll, Which Left The Listener In No Doubt That Dury's Work Could Only Come From One Place: The Very Heart Of England.
Released On Yellow Coloured Heavyweight Vinyl, This Is All Killer And No Filler. With Dury's Most Loved Songs, Including 4 Uk Top 40 Singles And The Number 1 Smash, Hit Me With Your Rhythm Stick.

Re-mastering By: Ray Staff At Air Mastering, Lyndhurst Hall, London

Recorded In 1963, The Sheriff Features The Modern Jazz Quartet In Fine Swinging Form. The Program Is Not As Sharply Focused As On Some Of The Earlier Atlantic Releases, But It Is Compelling Nonetheless. There Are Four Originals By Pianist John Lewis, Including The Fleeting, Bluesy Title Cut, And The Moody, Spacious "in A Crowd" -- Originally Composed For The 1961 Film A Milanese Story. Its Stepped-up Time Signature And Series Of Phrases Played By Milt Jackson Grounds The Tune In Blues, But Lewis' Solo Feels More Like A Solo Trumpet Breezing Through The Center. The Set Includes Heitor Villa-lobos' "bachianas Brasileiras," A Classical Piece The Quartet First Performed With Guitarist Laurindo Almeida. Bassist Percy Heath Is Stellar Here, Playing Both Arco And Pizzicato And Alternately Moving The Work Forward With Deftness And Precision. Lewis And Jackson Engage In Gorgeous Counterpoint Throughout. It's Knotty, But Exotic And Beautiful. Another Latin-based Work Here Is Luiz Bonfa's Brilliant "carnival," Which Closes The Set. Jackson's Melodic Interplay With Connie Kay's Brushwork Is Subtle And Rich, Moving Through A Series Of Verses Before Jackson Takes It To The Blues In His Solo. Lewis Keeps The Pulse As Heath Underscores The Backbeat. Thom Jurek/amg

In naming her among the greatest singers of all time, Rolling Stone magazine described of blues/jazz singer Nina Simone: "her honey-coated, slightly adenoidal cry was one of the most affecting voices of the civil rights movement." A ground-breaking and innovative performer, Simone's songs are among the most influential of the 20th century, inspiring a wide-reaching range of artists, from Madonna to David Bowie to Alicia Keys to Kanye West to Maynard James Keenan of Tool, to name just a small sampling. Throughout her career, Simone wrote, recorded, and composed innumerable albums and singles, many of which would become standards, including her versions of "My Baby Just Cares For Me", and "Wild Is The Wind." More than just her recordings and performances, Nina Simone paved new ground for African-American women for frequently breaking away from the musical industry to inject social commentary into her music. (One of her most famed songs, the civil rights anthem "Mississippi Goddam" courted wide controversy in the South.) It was certainly this social awareness that led Simone to release the live album Emergency Ward in 1972. Considered to be her statement on the Vietnam War, (At the time still escalating) the album was a medley of gospel-jazz with high-running emotions reflecting the events of the time. Featuring orchestrations by Weldon Irvine, choral arrangements from the Bethany Baptist Church Junior Choir Of South Jamaica, and Simone's own velvet croon across somber and introspective material, including several George Harrison covers.

This Is The Third Album By Osamu Kitajima, One Of Japan's Most Prolific Artists From The Ethno Rock, World Music And Progressive Department. You Can Certainly Not Divide All The Mentioned Stylistic Aspects From Each Other For They Were All Incorporated In A Homogenious Sound And Complex Arrangements. It Is The Same With His Other Albums Like - benzaiten And Or His Fourth - masterless Samurai , Traditional Japanese Music Meets Western Jazzrock And Progressive Sounds To Form A New Style Unheard By Most People In Western Countries At The Time. Osamu Kitajima Easily Plays With Elements Of Reggae And Funk, Fusion Jazz And Colorful Pop While Staying True To His Japanese Roots With Bits And Pieces Of Traditional Melodies And The Use Of Old Asiatic Instruments. The Japanese Influence Makes This Music Uniqe And Still It Gets As Close To Western Rock And Pop Sounds As It Could. An Adventurous Journey Through The World From East Asia To West Africa And To The Steaming Metropolises Of The Uk And Usa Is Your Reward When You Put This Perfectly Produced Album Onto Your Turntable. The Former Pink Floyd Comparison Coming With - benzaiten Is Not Totally Out Of Place With This Selftitled 1977 Album Here But There Is Much More Latitude In The Allover Style. Osamu Kitajima Gathers A Few Well Talented Musicians Around Him On This Record Despite Playing And Arranging Most Of The Instrumental Passages Himself. He, The Multi Instrumentalist Who Discovered Progressive Rock Music In The Early 70s During A Stay In London Where He Released A First Album Under The Monicker - justin Heathcliff Before Moving To California Around The Mid 70s. And This Group Of Musicians Creates Something Special That Sticks Out Of The Mass Of Similar Art Pop And Fusion Bands In The Late 70s. Osamu Kitajima Is Something Like The Japanese Answer To Mike Oldfield, And Others Equal In Vision And Output!

World Music And Ethno Sounds With An Obvious Japanese Origin Meet Progressive Rock And Psyche. The Result Is A Captivating Piece Of Melodic And Deeply Atmospheric Music That Paints Pictures Of Life In Ancient Japan Into Your Mind When You Lay Back, Close Your Eyes And Listen Closely With Your Thoughts Turned Off. If Pink Floyd Were Japanese Their Music Might Have Sounded Like That. The Frequency Of The Arrangements On - benzaiten Reminds Of What Our English Heroes Have Created In The Early To Mid 70s Just With A Different Ethnical Approach. - benzaiten Is Even A More Progressive Effort Than Anything Most British Bands Have Ever Managed To Fabricate And Still Utterly Natural And Vivid Concerning The Flow Of The Music. All Participating Musicians Here Are Professionals And Their Performances Are Tight And Still Passionate. The Sound Is Warm And Vivid, The Song Structures Are Wide Open And Welcome You To Slip Inside. East Meets West On This Record And Osamu Kitajima And His Companions Really Grab You By The Soul. Electronic Elements In The Percussion Section Add Some Oddity To The Whole Musical Picture. Not Sure What Osamu Kitajima And His Band Intended When They Recorded This Record But I Am Certain They Achieved It. The Cool Aspect Of - benzaiten Is The Rocking Guitar Which Keeps The Whole Album Together. Must Be The Japanese Pendant To German Acts Like Amon Düül Ii, Embryo And Guru Guru. Well, There Is Definitely Some Truth In This Comparison. Anyway, This Album Will Enchant You!