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Matasuna Records is delighted to reissue this Peruvian masterpiece by Otto de Rojas - one of the best Piano players from Peru. In 1976 he and his band Los Ultra 76 released this superb single mixing Latin with Funk, Jazz and Disco. Both tracks getting remastered to provide the best possible sound - even better than on the original 45! A 7inch not to be missed.

Choca Las Caderas keeps its promises: with this tune the hips certainly won't stay still! The song builds its vibe with a funky guitar riff, a groovy bass line and Roja's virtuoso piano playing. The horn section and the vocals drive the tune to its climax: pure fire for the dance floor!

On the flipside there's another jewel: Al Ritmo del Bump Bump - a Peruvian cover version of "Soulful Strut" by the US Soul-Jazz band "Young-Holt Unlimited". Otto de Rojas and his Ultra 76's adapt the original in their own groove-oriented way of playing: faster rhythm, amazing wah-wah guitars, layers of electric piano over a funky bass and brass. Another heater for the floors!

One of the great influential figures of Latin Jazz percussion is that of Louis "Sabu" Martinez, who had been performing in groups and ensembles as early as the age of 11. Over the decades of his live, Martinez had worked with some of the greatest names in latin, jazz, and swing history, from Benny Goodman and Count Basie to Thelonius Monk and Charles Mingus to Tony Bennett and Harry Belafonte. Later after many years of session playing, he would lead his own band, which would go on to record several essential albums in latin jazz, including Palo Congo, which was listed in the book 1001 Albums You Must Listen To Before You Die, before later re-locating to Sweden in the late 1960s. During his time in Sweden, he continued to record, contributing heavily to the burgeoning jazz scene that was building there, as well as numerous visiting American musicians. It was there that he also recorded what would be his final album, Afro Temple, which is considered one of Martinez's greatest, and a masterpiece of the genre. Featuring some of his finest precision percussion, against a backdrop of Afro-Cuban instrumentation, and an air of indelible Latino pride.

Seán Mac Erlaine's richly-textured woodwind sound meets an expanded palette on Music for Empty Ears, the Irish musician's breathtaking new album. Having honed his distinctively-shaped soliloquies over his first two solo records, Mac Erlaine's work now bears the mark of collaborations with Norwegian luminaries Jan Bang and Eivind Aarset to reveal a fresh, variegated musical language. The album journeys through a splendour of musical shades: from the gently insistent minimal grooves and hushed invocations of tracks such as The Melting song, to slow pans across dark, saturated vistas on tracks such as Winter Flat Map, to a warm, celebratory treatment of the Irish traditional tune An Buachaill Caol Dubh, and to moments of visceral, splintered abstraction in Love the Way They Sing and The Alchemist III. Whether it's the elusive vocals of Galway singer Sadhbh Ní Dhálaigh or Mac Erlaine's sublime clarinet melodies that catch you, Music for Empty Ears is an album that reveals more and more with each listen. And, with a bespoke print by Dublin design studio Destinctive Repetition, the heavyweight vinyl of Music for Empty Ears is a beautiful and sumptious object to hold as much as to hear. Seán Mac Erlaine is a Dublin-based woodwind instrumentalist, composer and music producer, recognised as one of Ireland's most forward-thinking creative musicians. Mac Erlaine works in a variety of settings from free improvisation, contemporary jazz, folk music and experimental theatre, and is a member of the groups This is How We Fly and the Quiet Music Ensemble. One of the most interesting and adventurous musicians of his generation' - The Irish Times / Electronic musician/producer Jan Bang has worked with such luminaries as Jon Hassell, David Sylvian, Brian Eno, and Arve Henriksen. From his work as a pop producer in the 90s, his pioneering work in developing the concept of live remix has led to him being constantly in-demand as producer and performer today. (Jan Bang is) defying all misconceptions about the vast potential of electronic composition.' - All About Jazz / Eivind Aarset is a guitarist with a unique musical vision that absorbs and reflects all manner of music while retaining an enviable individualism and high quality craftsmanship that can span from quiet intimacy to searing intensity. As one of Norway's most in-demand guitarists, Eivind Aarset has worked with Jon Hassell, David Sylvian, Bill Laswell, Jan Garbarek and many more. Norwegian Eivind Aarset is in a class of his own proving that lyricism and raw noise aren't contradictory.' - The Guardian

In Early September 1969, Tim Buckley Played Four Sets Over Two Days At La Club The Troubadour, Along With A Rehearsal Set, All Of Which Were Recorded. These Shows Featured Buckley At His Improvisational Best, Each Performance Of Every Song Being Different From Other Performances Of The Same Song.
On These Recordings, Buckley Was Accompanied By His Guitarist Lee Underwood And Congas Player Carter C.c.Collins, Along With John Balkin On Bass And Frank Zappa/captain Beefheart Drummer Art Tripp.
These Recordings Have Been Issued Across Three Cd Releases In 1994 And 2017, But This 6 Lp Box Set Is The First Time That They Have Been Gathered Together In One Release. Features Extensive And Explanatory Annotation By Compiler Pat Thomas, Along With Photos And Ephemera.

The Smooth Jazz Configuration Of Young-holt Unlimited Was Based Around Two Key Figures: Drummer Isaac "redd" Holt, And Bassist Eldee Young, Both Of Whom Were The Former Rhythm Section Of Jazz Pianist Ramsey Lewis. As Young-holt Unlimited, The Duo Released A Slew Of Instrumental Soul-jazz Which Frequently Invoked The Spirit And Vibes Of The Jazz Crusaders, Lou Donaldson, And Dr. Lonnie Smith. Their 1968 Record Soulful Strut Was The Ultimate Peak Of Their Artistic Output, Which Rendered A Billboard Hit Out Of The Title Track, Which Consisted Of The Instrumental Track To The Failed Single "am I The Same Girl" By Barbara Acklin. (stories Go That Holt & Young Never Actually Played On The Track However.) The Hit Single Would Also Be Bolstered By Breezy Covers Of Tracks By Carl Davis, Bobby Russell, And Eugene Record, Among Others. Though Soulful Strut Was A Smash Success, The Duo Never Managed To Produce A Worthy Follow-up, Leading Young-holt Unlimited To Disband Back To Smaller Acts In Chicago, And Eventually Return To Ramsay Lewis' Trio.

Mercury Music Prize album of the year 2014

Deluxe remastered gate-fold double-LP with three bonus tracks (black vinyl version).

Noted for their hypnotic melodies, visceral bass-lines and tidal rhythm, Manchester-based leftfield piano trio GoGo Penguin are pianist Chris Illingworth, bassist Nick Blacka and drummer Rob Turner. Their music has been described as acoustic-electronica but they draw equally on rock, jazz

and minimalism, game soundtracks and glitchy-electronica to create their unique music. They are now one of the most successful bands in contemporary music, topping the jazz charts globally and playingsold out shows around the world and have just announced their biggest tour yet including the Royal Albert Hall in London (Nov 12).

Originally released in March 2014, v2.0, was their breakthrough album and the first to feature the rebooted line-up with new bassist Nick Blacka, pianist Chris Illingworth and drummer Rob Turner. It was named a Mercury Prize album of the year 2014 alongside albums from Damon Albarn, Young Fathers and Jungle.

The extended version was first released on 2xLP for RSD 18 on clear vinyl. This version features the same extended tracklist on black vinyl.

Newly remastered for vinyl (by the original engineer)
2xLP deluxe gatefold edition.

v2.0 includes the hit singles, Hopopono, Garden Dog Barbecue and Kamaloka as well as the remarkable One Percent and live favourite To Drown in You. Included here for the first time is theincessant 'Break' featuring a killer groove that offers a notdto the one and only Squarepusher, 'Wash', a haunting slice of the band at their most ambient and the wonderful 'In Amber', the first track that the new line-up wrote completely together.

Can You Sleep (04:30) Idler Chronicles A Personal Struggle With Insomnia That Inspired The Album's Title, It Combines Bossa Nova, 70s Analog Synths And The Polymorphous Vibrations Of London's New Burgeoning Jazz Scene.

Jamie Isaac Is A Young Producer And Songwriter, Born In Croydon To Burmese And British Parents. He Signed To Marathon Artists In 2014 And Has Been Harnessing His Sound Ever Since, Operating In The Space Between Jazz, Soul,

R&b, Electronics And Hip Hop. Across A Handful Of Singles And Eps, As Well As A Mixtape, His Debut Album And Its Follow-up, He Has Evolved Into A Formidable Artist With A Transatlantic Following.

Wings And Doing Better Have Both Been Heavily Featured On Spotify, Apple And Deezer Playlists.

'Voyager' is the third full-length album from LA's Moonchild, whose candid style of soul and newschool jazz has propelled them onto a swirling, emotionally charged journey of the heart. Since 2014 they have dedicated their time and energy into honing dreamlike and ethereal compositions which explore the intricacies of relationships with emotional nuance.

Since cementing themselves into the vibrant LA soul scene, Moonchild have released two albums and collaborated or toured with highly-respected names in the soul-jazz crowd including Stevie Wonder, Jill Scott, India.Arie, Leela James, The Internet (Odd Future's Syd tha Kyd & Matt Martians) and more. Along the way, Moonchild have accumulated a host of iconic supporters from Robert Glasper and Laura Mvula to James Poyser, Jazzy Jeff, Jose James, 9th Wonder and Tyler, The Creator who have all shown love for the band.
Praise for Moonchild...

2x12" 180g

Thelonious Monk Was One Of The Most Innovative And Idiosyncratic Figures In Jazz History. A True Originator He Collaborated With Some Of The Finest Jazz Musicians Of All Time Including John Coltrane, Sonny Rollins And Miles

Davis. This Compilation Features Many Of Monk's Standards Including blue Monk', round Midnight' And straight No Chaser'. Almost From The Outset The Pianist Pursued A Singular Artistic Vision As Player

And Composer And Played A Key Part In The Birth Of The Music Which Emerged From New York City In The Mid-1940s, Which, With Its New Harmonic And Rhythmic Ideas, Ultimately Became Known As Bebop.

By The Time Of His Passing In 1982 He'd Long Established A Classic Canon, Many Of Which Are Included Here And Are A Fitting Tribute To Monk In 2017, His Centennial Year.










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Special remarks:
PENCIL INCLUDED - ONLY FOR THE FIRST 300 OF THIS EDITION (OUT OF 500):
Included in the release pack (first 300 copies only, once gone , it´s gone) you'll find the Apparel Wax Pencil as we thought that after you listened to the 3 tracks of the 3rd release, you might end up wanting to play tris!!

Relentless Apparel Wax never misses a beat and is back at it with APLWAX003, the 3rd chapter of the saga. The release is made up of 3 tracks, 3 distinct parts of the same engine, 3 proper dance floor bangers. The EP kicks off with a compelling broken-jazzy beat, with its groovy breakdown and reprises and its funky vocals it's that one track you'll need to shazam on the spot. The 2nd tune will have you right away when you'll hear those tribal rhythmics and hypnotic vocals that drive it till the end while the 3rd is the typical one you'd call a "peak time track"; that tune you drop when the ballroom has warmed up enough and is ready to finally step u

One of the best Jazz-Funk-Fusion albums from the 70s Euro scene, featuring such giants as Charly Antolini (famous for his MPS recordings) on drums, Max Greger jr. on electric piano, Moog, Hammond, Mellotron and Milan Pilar on electric bass. Top notch jamming & soulful funky-jazz sound with some kraut-prog touches, recorded at the legendary Studio 70 in Munich and originally released in 1975 on the Calig label.

Including the rare-groove classic Onkel Joe' and more.

Original artwork and master tape sound.

With her jazz-inspired songwriting and distinctive smoky voice, acclaimed Canadian singer Jill Barber creates the type of music that harks back to an earlier era. A native of Toronto, she initially began her career in Halifax, where she released her 2002 debut, A Note to Follow So. From the start, Barber's range included a mix of jazz, Americana, and folk-inspired pop, not unlike her older brother, roots pop songwriter Matthew Barber. She continued to develop this mix over the course of her next two releases, 2004's Oh Heart EP and 2006's For All Time. A couple of years later, she relocated back to Toronto, where she and producer Les Cooper began developing a new approach that relied heavily on the lush, orchestrated style of old jazz standards and torch songs.

Featuring the Miles Davis Sextet and the Thelonious Monk Quartet recorded in 1958 and 1963, respectively, this classic album features two of jazz music's most famous groups at the peak of their powers. This 1958 recording from Miles Davis is, in fact, one of the finest live documents of the classic Kind Of Blue era group featuring Coltrane and Adderley, along with the great Bill Evans on piano. Monk's group as usual featured tenor-man Charlie Rouse, with help from Pee Wee Russell on clarinet, and they really stretch out on two 10+ minute tracks. Another great American jazz classic from Cornbread on 180 gram LP.

33 Minutes Of Pure, Unadulterated, Psychedelic Krautrock Courtesy Of Pyramid: An Obscure Studio Project Produced By Toby Robinson Aka The Mad Twiddler. These Sessions Were Recorded Circa 1975-76 In Cologne For The Underground Pyramid Label, Which Was Operated By Toby And His Friend Robin Page (the Fluxus Artist). During That Time, Toby Worked As Engineer And Assistant At Various Studios In Cologne, Including The Famous Dieter Dierks Studios, Where Most Of The Albums From The Ohr/pilz/cosmic Courier Catalogue Were Registered. Having Access To The Studios During Dead Hours, Toby Recorded Lot Of Sessions Just For Fun Without Any Commercial Interest, Featuring Friends And Musicians Who Frequented The Studios And The Underground Art/music Scene Of Cologne. Some Of These Sessions Were Later Relesed As Hand-made Vinyl Micro Pressings On His Pyramid Label With Help From Artist Robin Page.

*master Tape Sound

*digital Download Card

*insert With Liner Notes By Alan Freeman (the Crack In The Cosmic Egg, Ultima Thule)

...from Trippy Phases With Echo Guitars And Mellotron Onto Headfirst Plunges Into Space-rock Overdrive Territory. In All, An Excellent Album Of Spacey Krautrock' - Alan Freeman

Riyl: Pink Floyd, Cosmic Jokers, Agitation Free, Ash Ra Tempel, Gila, Porcupine Tree, Amon Düül Ii...

The Nineteenth Whole'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 (500 copies) deluxe vinyl edition.

Presented here are five lengthy soul-jazz pieces (including material from 'Sly Stone', 'War' & 'The Jackson 5') with funky grooves and some of the best sparkling organ & guitar licks you'll ever hear. This album sets the stage for a constant shift in grooves, a collage of earthy Funk, Soul, Rock and Jazz Fusion straight outta 1972... an emotional ride packed with the main ingredients for a 'get down'.

The Nineteenth Whole were an Indianapolis-based funky jazz outfit who were part of a very vibrant scene. Jazz guitar legend 'Grant Green' had originally hailed from there and he recruited the members of the 19th Whole as his rhythm section for live dates. (Green also discovered the other great Indianapolis jazz outfit Funk Inc. at about this time.) The attention that followed their work with Green allowed the Nineteenth Whole to sign with producer Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic) on Eastbound, a label he had set up with Detroit independent Westbound Records.

Fronted by Billy Wooten's distinctive vibes, joined by guitar legend Cornell Dupree (you all know his opening riff on the intro of Aretha Franklin's 'Respect') and percussionist Buddy Caldwell (THE session musician for respected labels such as Prestige & Muse) makes Smilin' an organ funk groove classic at its best!

Recorded in 1972 by the legendary Rudy Van Gelder (known for recording Miles Davis in the early 1950's and the countless work he did for Blue Note, Prestige, Verve .. and many others) at the Indianapolis club that gave the band their Eastbound name: 'The Nineteenth Whole'. Production on the album was handled by Bob Porter (responsible for many superb jazz productions for Prestige and Atlantic).

Whether Re-defining Experimental Fusion Sounds With The Hugley Acclaimed Yussef Kamaal, Or His Catalogue Of 12's For Imprints Such As Mcde, Eglo, And Rhythm Section As Henry Wu, South London's Kamaal Williams Has Been A Key Figure In His Thriving International Scene For The Past Few Years. The Return Is A Natural Evolution From The Yussef Kamaal Project, Mining The Influence Of Visionary Jazz But Blended With All Kinds Of Texture, Sounds And Signals From The Over-saturated London Streets.
At Times The Keyboard Work Evokes The Classic 70s Fusion Work Of Lonnie Liston Smith Or Roy Ayers, But Underpinned By Rhythms More Reminiscent Of Blunted Hip-hop And Arrangements Subliminally Laced With The Cut-ups Of Pirate Radio. Progressive, Funky, Cosmic, Exploratory And Effortlessly Musical, This Is The Sound Of A Musician Honing Their Craft Into Thrilling New Shapes.
In The Us The Like Of Kamasi Washington And Thundercat Have Made Great Strides In Opening A Whole New Dialogue Between Jazz And Hip-hop, Drawing In A Young, Highly Engaged New Audience In The Process. Kamaal Williams Mine A Similar Seam On The Other Side Of The Atlantic Alongside Other Exciting London Talents Such As Ezra Collective, Ruby Rushton And Shabaka Hutchings.
The Return Is Exactly That: A Return And Refinement To The Sound Yussef Kamaal Were Progenitors Of, And First Set The Scene For One Of The Most Exciting Musical Movements London Has Had In Years.
Notable Tracks For Old And New Listeners Are 'slow', 'situations', 'medina', 'london Shuffle' Which Features Mansur Brown (of Mansur's Message) And For Those Die Hard Yussef Kamaal Fans - They Should Hear The Interpolated Roots Of 'strings Of Light' In The Title Track 'the Return'. And That Signature Wu Funk Can Be Heard On Broken Theme, And High Roller.
The Return Will Be The Debut Album Released On Wu's New Label Black Focus Records.

Following the reissue of his cult album "Ti jan pou vélo", HS decided to continue their collaboration with Edmony Krater and record a new album! The first one in 30 years! Comes with Insert.

As an avant-gardist percussionist, singer and trumpet player, Edmony Krater has always worked to develop and promote the gwoka music of Guadeloupe and to feed it with different influences, from jazz to reggae.

Way back in 1967, an animated superhero cartoon was released into the world. It was created by Grantray-Lawrence Animation and was based on a web-spinning, crime fighting blue and red dressed character that had originated in1962, in Marvel Comics by Stan Lee and Steve Ditko. This amazing series (that we're not allowed to mention the name of for legal reasons) ran on ABC TV in the USA, then Canada, then a few years later started to spread its web further, running here in the UK throughout summer holidays, after school and possibly early mornings at weekends in the late 1970s. The series then got released on VHS video (and probably Betamax too) in the mid 1980s and still continues to spin its animated magic around the world through further broadcasts, YouTube and DVDs.

The series was notoriously low budget, with animated errors everywhere and numerous scenes, sequences and backgrounds being re-used all the time, often across the same episode. Even a certain spider logo on a costume would appear with six legs, then eight legs later on, then back to six again in the same show.

Series One opened with a newly written spider theme, a classic, hooky song all about doing whatever spiders can, and had, as Big George (RIP) once pointed out to me, a set of session singers falling slightly out of time with the backing track after the first verse. Series One also featured background music by jobbing composers Bob Harris and Ray Ellis but these cues and master tapes are now believed to be lost.

After Series One the company Grantray-Lawrence went bankrupt, so the amazing spider series (that we're not allowed to mention for legal reasons) was taken on by producer Steve Krantz. He brought in new talent, including animation director Ralph Bakshi who later went on to turn a Robert Crumb strip cartoon into the feature Fritz The Cat. Krantz also slashed the already cripplingly small spider budget, and brought in the idea of using economic library music. Here, thanks possibly to an independent sync agent (it has been suggested that a company called Music Sound Track Services may have been the one) production turned to the KPM catalogue. This was one of the few really established library catalogues around at the time with a modern edge, it was full of fabulous, modern dramatic music tracks - often all on the same LP. But more importantly all the tracks were far longer than the one minute musical cuts that many of the fledgling USA library companies were issuing at the time. Not only would this KPM music be efficient, affordable and very easy to use, it would also mean syndication worldwide would not be held up by any future musical issues. Krantz produced two amazing spider series (that we're not allowed to mention for legal reasons), and both were smothered with KPM music. In fact barely a spider second goes by without music playing in either the background or foreground.

For many years I - and many nostalgic others - have been thinking about putting this vinyl album together. For many enthusiasts this really is formative music - a junior foray into hip swinging crime jazz and esoteric musical grooviness. I've also read on line accounts by DJs from WFMU on the trail of original spider master tapes, and there's even a whole forum dedicated to Spidey-Jazz'. Then recently I was looking at an old spider tracklist and realized that several of my favourite KPM cues were there including Syd Dale's Hell Raisers' and Walk And Talk', both from one of the most elusive and desirable KPM albums of all time (yes, you just try and find yourself a copy of KPM 1002 right now), so I decided to push on and get the album made.

So, what features on this Spider-Jazz Lp Well it's music from the amazing TV series we are not allowed to mention for legal reasons, BUT, not music from Series One. No, but it is all from Series Two and Series Three. From looking at archival cue sheets, over 50 tracks from various early KPM 1000 series albums were used across episodes. I've distilled this down into one exciting and enthralling LP, and if this works a further Spider Jazz album may well swing in to production. If you're interested (and I'm sure you may well be) cues here came from KPM1001, KPM1002, KPM1015, KPM1017, KPM1018 and KPM1043 and were composed by master library composers of the era - Dale, Hawkshaw, Hawksworth, Mansfield etc.

And if you are listening over there in the USA, you may well recognize many of the cues here not just from the amazing TV series (that we're not allowed to mention for legal reasons) but also from classic 1960s and 1970s NFL highlight shows that we are allowed to mention.

Guido Spannocchi, Vienna Born London Based Jazz Saxophonist. Folk Lullabies And Soothing Melodies In Unique Harmonic Structures With A Fresh Rhytmical Approach Together With This International Ensemble Consisting Of Japanese Bassplayer Mao Yamada As Well As The Brazilian Drummer Cyro Zuzi And Brazilian Bassplayer Matheus Nova. This Album Was Recorded At Total Refreshment Studios By Kristian Craig Robinson, Studio And Engineer Of Acts Such As Comet Is Coming, Sons Of Kemet And Many More On The Forefront Of The New London Jazz Scene.

Guido Spannocchi Played Over 150 Shows In 2017, More Than 60 In 2018 Already. Toured Extensively In Continental Europe With His First Release In 2017 And Brazil In Early 2018, New Release Will Be Toured In Europe (germany, Austria, Italy, And France) As Well As Uk From Mid May 2018.

Cover Art By Critically Acclaimed Photographer Holly Birtles

Played On Austrian National Radio Oe1, Worldwide Fm, Jazz In London Radio, Delite Radio, 199radio

Good Reviews In: The Wire, Loose Lips Blog, Public Pressure, Concerto, Die Presse, Der Falter

* 180 gram audiophile vinyl
* Original songs by Gene Harris & The Three Sounds, Donald Byrd's "Distant Land" (previously unreleased track, now available on vinyl), Bobbi Humphrey, Wayne Shorter and more tracks by jazz icons
* Tracks were the foundations of Madlib's jazz-hip/hop album Shades Of Blue

As One Of The Most Prolific Hip Hop Producers Of All Time Madlib Collaborated With Different Artists And Recorded Own Songs Under Different Pseudonyms. During His Outstanding Year 2003 He Released The Crown On His Work, The Remix Album Shades Of Blue. The Album Untinted Contains The Source Material For The Project And Is Fantastic Intro To Compare All The Material From Both Recordings. It's A Great Dose Of Jazz In Which Madlib Focuses On The Soul And Jazz Stuff He Used For The Recordings. With Songs By Among Others Herbie Hancock, Horace Silvers And Donald Byrd The 12-track Album Gives You An Indication Of The Way Madlib Created His Pieces.

After Oliver's and Fran's track "Echoes" already received the full remix treatment it is now the slow jazzy trip-hop ballad "I Might" that gets cured for the dancefloor.

The basic feel of the songs is Jazz, but you also find a portion of Funk and lots of spirituality in them too. Whether you like your Jazz funky or your Funk jazzy - check out this 45. You can't go wrong with it! 300 copies pressed.

The 2nd Vinyl Ep From Terre's First Album In Five Years 'deproduction' Features Its Two Bonus Tracks: Admit It's Killing You (and Leave) (piano Solo)' And Sprinkles' Corresponding 'dead End' Deep House Mix
Presenting Vinyl Versions Of The Bonus Reworks To His 43 Minute Deproduction Album Track Admit It's Killing You (and Leave) , The A-side Includes Terre's Haunting 14 Minute Piano Solo, Where He Drops The Unsettling Backdrop Of Samples Of Domestic Violence To Leave The Keys Suspended In Reflective Space, Reverberating In Plangent Overtones Which Take On A Starker Effect If You Care To Play It At 33rpm.
The B-side Is Sprinkles' Uncannily Brilliant Dead End House Mix, A More Percussive Adjunct To The House Arrest Mix Off Ep1, Framing Traces Of The Original Vocal And Keys In A Sumptuous, Rolling And Swinging Deep House Workout Full Of Rustling Congas And Lustrous Low End That Marks Up Among Her Most Affective, Especially In Its Closing Minutes. So Damn Good...



(14:39)

Everybody Digs Bill Evans was Evans's second album, done two years after his first record as a leader. Though his producer (Orrin Keepnews) had wanted Evans to record a follow-up album to his debut sooner, the self-critical Evans felt he had "nothing new to say" before this album.

The recording captures Evans at a time when he frequently played extended musical ideas using block chords, a technique also favored by Milt Buckner, George Shearing, Oscar Peterson, and other jazz pianists. That combined with his use of pedals gave him a sound considered by critics to be innovative. Though Evans had quit the Miles Davis band a month before the album was recorded, Davis was enamored of Evans's piano sound as it was developing through 1958, and decided to use him as the pianist for four of the five tracks on the 1959 recording Kind of Blue.

Probably the most influential avant-garde musician in the world, Ornette Coleman has been a leading force in jazz since his startling debut in the late '50s, Coleman's emotive alto saxophone style relies on melodic improvisation unbound by chord changes. This style (and philosophy) was dubbed by Ornette "harmelodics" and reached its peak in a small combo whose virtuoso playing had the power of the blues and the multi-rhythmic sophistication of Monk, Mingus, or Coltrane.

The landmark series of albums Coleman released in the late '50s and early '60s still define the shape of jazz to come. This 10-LP deluxe box set showcases the "free jazz" pioneer's most seminal sides, featuring his entire recorded output for Atlantic Records from 1959 to 1962.

- 180g LPs
- Remastered
- Deluxe vintage style sleeves
- LP-size booklet with classic photos
- New essay by jazz writer Ben Ratliff.

Discs:
1. The Shape Of Jazz To Come (atlantic, 1959)
2. Change Of The Century (atlantic, 1959)
3. This Is Our Music (atlantic, 1960)
4. Free Jazz (atlantic, 1960)
5. Ornette! (atlantic, 1961)
6. Ornette On Tenor (atlantic, 1961)
7. The Art Of The Improvisers (atlantic, 1959-61 (1970)) - Issue Of Outtakes From The 59-61 Sessions
8. Twins (atlantic, 1961 (1971)) - Issue Of Outtakes From The 59-61 Sessions
9. To Whom Who Keeps A Record (atlantic, 1959-60 (1975)) - Issue Of Outtakes From The 59-61 Sessions
10. The Ornette Coleman Legacy

Acid Jazz is pleased to announce that it has teamed up with the legendary Fania Records for our latest 7 inch release.

June 1st will see us release Ray Barretto's Mercy Mercy Baby lifted from his classic album Acid produced by Harvey Averne.

It is backed by an astounding and previously unreleased instrumental version,which is longer than the released version and has a stunning trumpet solo making it a summer dance-floor cooker.

Released on a specially designed label, which pays tribute to the first Gold Fania labels, this will be limited to a run of a 1000.

Sophie Hunger Returns With Her Brand New Album 'molecules'.

'she Makes President', The Album's First Offering, Was Written Before The Us Presidential Election, With Hunger Having Listened To A Radio Programme That Declared That The Female Voters Would Wield The Deciding Vote On Election Day Owing To Their Greater Numbers And Likelihood Of Voting. I Wrote That Song Trying To Portrait This Future Female Identity And Then Trump Got Elected,' She Says, Still Audibly Stunned. Knowing That Women Had It In Their Hands Not To Elect Trump, But They Proved To Be Yet Again Unreliable When It Came To Standing Up For Their Own Rights.'
'molecules' Is Hunger's First Full Album In English, And Is What She Describes As Minimal Electronic Folk'. Her Most Compelling Qualities - An Ingenue-like Delicacy And Contrasting Solitary Darkness - Haven't Changed. Familiar Trickles Of Funfair Weirdness Still Permeate The Music, Calling To Mind Beth Orton And Regina Spektor. Moreover, She's Still Enigmatic And Self-possessed To The Point Where It Feels Too Intrusive To Ask Certain Questions.

(a) A1. She Makes President
(b) A2. Silver Lane
(c) A3. There Is Still Pain Left
(d) A4. Tricks
(e) A5. Let If Come Down
(f) B1. I Opened A Bar
(g) B2. Oh Lord
(h) B3. The Actress
(i) B4. Electropolis
(j) B5. That Man
(k) B6. Coucou

'Ancient Lights' is the debut album from Uniting of Opposites, the new musical venture from Tim Liken, Clem Alford and Ben Hazleton, bringing to life a melting pot of cultures and inspiration, using new technology

as an opportunity to explore and merge aspects of jazz, electronica and traditional Indian musical styles. The band was established when, within the myriad forms of jazz, Hazleton met Alford and begun studying the classical Indian tradition in order to open

(his) ears to new melodic and rhythmic possibilities'. As a lover of all types and styles of music, Liken's involvement fused together their collective musical journeys, creating Uniting of Opposites.

Coming from a DJ/producer background, Tim Liken started making music in 1995, setting up one of the UK's original garage labels, Ice Cream Records, later spawning the monikers Double 99 and Tim Deluxe. Clem Alford's musical

journey began when he purchased a sitar and a Jayasri Banerjee record before hitch-hiking to India in 1968 to be taught sitar by Pandit Sachindra Nath Saha (Banerjee's father). Over the past five decades Alford has recorded for EMI

and collaborated with western musicians and pop groups to film composers, including Amancio D'Silva, John Williams, John Mayer, John Dankworth and Hemmant Kunar. Having been named 'Young Jazz Musician of the Year' in 2003, Ben Hazleton

is predominantly a jazz double bass player and has played with many of the British Jazz greats, performing regularly with The Tony Kofi Quartet and The Jonathan Gee Quartet. Named after the 'Ancient Lights' English property law,

that gives home owners the right to receive natural light, the LP brings together creative musical forces, colliding to continuously redefine the music itself and express a fluidity that's found at the heart of Uniting of Opposites' ethos.

Bespoke artwork comes from acclaimed Japanese artist Tokio Ayoama.

It Was A Musical Cocktail Born In A Marketing Meeting: Two Parts Easy Listening, One Part Jazz, A Healthy Dollop Of Conga Drums, A Sprinkling Of Bird Calls, And A Pinch Of Textless Choir. Serve Garnished With An Alluring Female On The Album Jacket For Best Results. Exotica! The Soundtrack For A Mythical Air Conditioned Eden, Packaged For Mid-century, Tiki Torch-wielding Armchair Safariers. Be It Mosquito-bitten Torch Singers, Landlocked Surf Quartets, Fad-chasing Jazz Combos, Mad Genius Band Leaders, D-list Actors, Or A Middle Aged Loner Programming Bird Calls Into A Hammond, Exotica Was Always More Concerned With What Geography Might Sound Like Over Who Was Conducting. Captured Across Three Albums Are 48 (54 On The Cd) Curious Examples Of The Short-lived Genre's Reach, Each Summoning Their Own Sonic Visions Of Shangri La, Bringing Their Versions Of The Pacific, Africa, And The Orient To The Hinterlands Of America. Technicolor Paradise Is Where One Makes It, After All.

Various Artists - Technicolour Paradise: Rhum Rhapsodies & Others Exotic Delights