Pop & Rock Vinyl New Releases - News

MAGMA, one of the most influential of all French bands, will release the Retrospektï 3xLP collection, including Retrospektï Volume I & II and Retrospektï Volume III via Southern Lord .

The collection will be made available as a limited pressing of 1500 hand-numbered copies, remastered by Brad Boatright, including original artwork by Eva Nahon, also including the classic comic strip by Solé, Dister, and Gotlib depicting MAGMA's trials and tribulations.
 
The first ten years of MAGMA were celebrated on three memorable evenings in June 1980 at the Olympia theatre in Paris. This retrospective, reuniting most of the musicians who had performed in the group, was issued as two albums, the Retrospektï I & II double-LP and Retrospektï III LP. Issued first, Retrospektï III comprises three titles. "Retrovision" is a long piece in the style of the album Attahk, in which the vocalists Stella Vander, Guy Khalifa, and Maria Popkiewicz turn in a blazing performance over a driving rhythm section. There is a supercharged version of "Hhai," in which the trio of Lockwood, Paganotti, and Widemann works miracles. And finally, "La Dawotsin," where, in a more muted register, the voice of Christian Vander triumphs through its mastery and profound sensibility.

Recorded, like Retrospektï III, during the soirees at Olympia in June 1980, Retrospektï I & II is an absolutely fundamental album in which "Theusz Hamtaahk" -- the first movement of the trilogy of the same name -- is presented for the first time. The second and third movements, "Wurdah Itah" and "Mekanik Destruktiw Komandoh," were of course already well known. Although played in concert since 1974, Christian Vander had waited for years before recording it for posterity as he wanted every note to be as beautiful, magical, essential and definitive as possible. It is with the same respect for his music that he releases here the most successful version of "Mekanik Destruktiw Komandoh," considered outstanding on account of two incredible improvisation from Bernard Paganotti and Didier Lockwood. Klaus Blasquiz, who did not perform on Retrospektï III, is the lead vocalist on this version - and justifiably so, since he was indeed the MAGMA singer who first sang these two masterworks.
 
There's no doubt about it, MAGMA has left a legacy of music that defies any of the standard and convenient classifications of rock, operating instead in a realm of their own creation. Southern Lord looks forward to being part of their ever-evolving story...

Link available on request OVERVIEW: Recorded on September 10, 1964, prior to his well-known association with John Coltrane, this eponymous album (later renamed Pharoah's First) is the debut release of the iconic tenor saxophonist.(Yes, there are some spelling oddities here: the artist -- birth name Ferrell -- only later changed the spelling from the standard Pharaoh to the more personalized Pharoah.)With one foot in mainstream jazz -- pianist Jane Getz had played with Charles Mingus -- and the other, tentatively at times, in the avant-garde, this is a fascinating glimpse of Sanders's style before he wielded the unremitting fierceness of his playing with Coltrane and the modal mysticism of his later solo albums on Impulse. Interestingly, in recent years he has deployed a more polished version of this sort of vant-flavored bop, bringing his career full circle and strongly suggesting that the hybrid heard here was not due to any failure of nerve on his debut but rather was the cornerstone of his conception.ESP-Disk' has issued this album under three different covers, for its 21st-century reissue on vinyl, we have chosen to use the second and most beautiful. It is augmented with liner notes by a current ESP-Disk' artist, tenor saxophonist Ras Moshe Burnett of The Red Microphone, who can be hear accompanying Amina Baraka on their eponymous 2017 release (ESP5021).

Beloved DJ, compiler and incurable vinyl junkie, Kev Beadle returns to BBE with a 3rd volume of his much lauded 'Private Collection' album series. Taking in a wide range of obscure jazz with a distinct nod to the dance-foor, the frst two 'Private Collections' are already considered classics by the jazz-dance community. Once again presenting a wealth of ultrarare sounds previously only available to record collectors with very deep pockets, Vol.3 sees Kev inviting us to travel even deeper into the vinyl vaults

Electric City is quite a mixed bag, a batch of vocal tunes sports the album's most overtly rock-oriented, groove-based arrangements, and vocals by Downes himself. To say that Downes' vocal gifts are not on par with his head-turning instrumental talents would be putting it kindly, but there are plenty of other sides to this outing. Such tunes as "Crush Hour" and "Dawn Until Dawn" bear heads that show the influence of '60s post-bop jazz, interwoven with modal improv sections bordering on free-blowing freakouts.

Mingus at the Bohemia fixed a moment in time where Mingus found his musical identity. The concert was recorded at Café Bohemia in New York on December 23, 1955, and Mingus' group featured the great Max Roach as a special guest. Further recordings from the long date were released under the title The Charles Mingus Quintet & Max Roach, while some others appeared in compilation sets. Only one song with Roach was included on Mingus at the Bohemia, but it is the most important one, consisting of a unique duet between the drummer and the bassist: Percussion Discussion'. Apparently Mingus added a piccolo bass part to this one in the studio. Septemberly' is a fusion of two songs: September in the Rain' goes over into a romantic Tenderly'. The last song is the standard All the Things You Are' blended with Sergei Rachmaninoff 's Prelude in C sharp minor'. The Work Song' included here is a Mingus composition, not to be confused with the better known homonymous Nat Adderley song.

Jimmy Witherspoon was a singer and songwriter who regularly defied rote categorization. The rudiments of his vocal approach were based primarily on the blues. However, over a career that spanned five decades he sang in a range of styles that ran the gamut from R&B and gospel to pop. His deep and mellow voice and impeccable taste also made him a successful jazzblues crossover artist. More than any other male singer, Witherspoon straddled the line between blues and jazz, becoming an integral participant in the history of both of these classic genres of American music.

This essential LP edition includes the blues giant's sensational live album, At The Monterey Jazz Festival, which was originally released in 1959 on the HiFi Jazz label. This long play is filled with superb tracks featuring tremendous solos and great accompaniment by Coleman Hawkins, Ben Webster, Roy
Eldridge, Woody Herman and Earl Hines, among others. During the course of the set Jimmy Witherspoon sang at Monterey', recalled journalist Ralph J.
Gleason, there were many moments that remain in my memory. Most of them are on this album. For instance, there's the great introduction Earl Hines plays on 'Ain't Nobody's Business' ...Roy Eldridge's meted trumpet on the same tune ...'Spoon crooning 'rain, rain' later in the song and then Ben Webster's
magnificent solo. Ben started to blow that solo and a thrill ran through the audience.'

Over the course of his career, Ray Barretto had worked alongside Dizzy Gillespie, Tito Puente, Celia Cruz, Wes Montgomery, and even the Bee Gees among others, earned a legendary reputation among the jazz music scene, and the title of Godfather of Latin Jazz. When one listens to his 1968 album Acid it's not hard to understand why. The album features eight selections of Barretto's finest, which formed a unique hybrid of jazz and Latin sounds, from the frantic salsa of "El Nuevo Barretto", to soul-crossover tracks like "A Deeper Shade Of Soul" or "Teacher Of Love." The song "Mercy, Mercy, Baby" would also be notably sampled on Group Home's remix of "Good Life" by Pete Rock & C.L. Smooth in 1991. A high reccomendation for fans and collectors of the classic Latin sounds of the 60s.

Burt Bacharach was called the greatest living composer' by the Grammy panel that gave him a lifetime achievement award in 2008. He has enjoyed major hits in a variety of musical genres, including Top-40, pop, soul, R&B, jazz, country, and movie soundtracks. He has also collaborated with a host of major lyricists, including Hal David and Bob Hilliard.

On a list of post-1956 songwriters, Bacharach has had 133 hits and ranks No. 6 - right after Paul McCartney, John Lennon, and the Motown team of Lamont Dozier, Brian Holland and Edward Holland, Jr. Put in perspective, Bacharach is a direct link to the great composers of the '30s and '40s - and author of the American Songbook's final chapter. This splendid LP edition presents Burt Bacharach's most essential and enduring works from the beginning of his career, gathering a variety of the great sides he composed (and in several cases, also arranged) for different labels, between 1955 and 1962. Included here are classics like Dionne Warwick's Don't Make Me Over,' Gene Pitney's Only Love Can Break a Heart,' Tommy Hunt's I Just Don't Know What to Do with Myself,' and The Shirelles' Baby It's You,' to name a few. Our release also contains lesser-heard tracks, which are just as enjoyable as the hits, such as Jimmy Radcliffe's Long After Tonight Is All Over,' and Jack Jones' Dreamin' All the Time,' as well as Bacharach himself at the piano performing Rosanne'.

Marcel is at home in the Cuban tradition, but he is also a vibrant
improviser in modern jazz as a member of saxophonist David Murray's group. With the addition of Swedish sax player Karl- Martin Almqvist - a member of the Danish Radio Big Band - Blanco y Negro was reborn. The new Blanco y Negro features the original rhythm section: Jonas Johansen is one of Denmark's leading drummers. He has appeared on more than 170 albums, and he has performed with a long list of international stars including Mike Stern, Steve Swallow and Eliane Elias. Eliel Lazo is word- renowned for his conga playing (Herbie Hancock, the Danish Radio Big Band, Savage Rose, Wayne Shorter),
and Cuban Yasser Morejon is a very popular bassist in many varying contexts. This powerful ensemble plays with an international sound inspired by the heritage of its members - Denmark, Sweden and Cuba - as well as the many places they have travelled digesting the local music.

180gr) Edition of 500 copies, includes a post card and an insert with liner notes. Rare 1973 Freddie Hubbard Quintet concert from a rural church released on vinyl for the first time. Liner notes by Gilles Peterson & Peter Anthonissen.



Previously unreleased live recordings, recorded by Belgian Radio and Television (BRT) on a cold night in the church of Our Lady Queen in the small Heist-op-den-Berg hamlet of Zonderschot in 1973. The concert was organised by Juul Anthonissen, the owner of Hnita-Jazz Club.



Personnel

Freddie Hubbard: trumpet

Herman 'Junior' Cook: tenor sax & flute

Kent Brinkley: bass

George Cables: electric piano

Michael Carvin: percussion



Recorded by National Belgian Radio & Television Broadcast Service (BRT) in 1973

Mastered by Gert Van Hoof

Cut by Dubplates & Mastering

Lay out by Jef Cuypers

In the late 1950s, it was common for big labels to record performances simultaneously in Mono and Stereo, and then release both versions at the same time, with different reference numbers. This was explained at the time by the fact that Stereo was still a very recent innovation, and not everyone had sound systems capable of reproducing the new technology. The Stereo
albums were slightly more expensive than their Monocounterparts. Over time, the Mono versions were condemned to oblivion, and only recently some music fans began to value these long forgotten masters, which capture classic performances from a different aural point of view.

Oliver Edward Nelson was born in St. Louis, Missouri on June 4, 1932. A talented jazz saxophonist, clarinetist, arranger and composer, Nelson came from a musical family (his brother was also a saxophonist who played with Cootie Williams in the 1940s, and his sister sang and played piano). He played tenor saxophone with Quincy Jones from 1960 to 1961, both in the U.S. and on tour in Europe. After recording six albums as a leader for the Prestige label between 1959 and 1961 (with such outstanding musicians as Kenny Dorham, Johnny Smith, Eric Dolphy, Roy Haynes, King Curtis and Jimmy Forrest), Nelson recorded his breakthrough LP The Blues and the Abstract Truth, on Impulse!
The album featured jazz luminaries Freddie Hubbard, Eric Dolphy, Bill Evans, Paul Chambers and Roy Haynes, and contained the tune Stolen Moments,' now considered a standard. In fact, it had already been recorded by Nelson the previous year as The Stolen Moment' on an album by the Eddie Lockjaw'
Davis big band titled Trane Whistle. Curiously, this early version (added here as a bonus track at the end of the Stereo version) also featured Eric Dolphy and Roy Haynes, as well as George Barrow, who played tenor sax and flute instead of baritone sax.

DREAMS is Eeg's ninth album as a leader. Her last album, the critically acclaimed and award-winning Eeg-Fonnesbæk, a duo project fea- turing only vocals and bass, was her first album distributed in the U.S. On DREAMS, she's once again joined by
her longtime collaborator Christoffersen, with the rest of the ensemble comprising some of the most respected names on the U.S. jazz scene today. Eeg first met drum- mer Joey Baron, who has played with a Who's Who of jazz greats, when he gave a master class at The Danish National Academy of Music in 2002. Larry Koonse is a widely respected L.A.-based guitarist whom Eeg met on a gig in Japan around five years ago. The two beca- me friends and musical compatriots, and Eeg has since performed with him numerous times in Europe and Asia, as well as
around the States.
Eeg was thrilled to have Scott Colley in the band. She has been a fan of the bassist for many years. Not only has he been a sideman with many well-known headliners, he's also childhood friends with Koonse. According to Eeg, It's important to perform with great musicians, but it's also important to perform with people you genuinely like. I find it essential to have a good rapport with the band, as I do with the guys on this CD. Musicians can have a lot of ego, which can make the music suffer, but when you genuinely like each other, it's easier to listen to one another as co-equals.
You can drop your ego, immerse yourself in the song, and allow the music to speak through you. It's almost like meditating.'

Tom Rogerson's life as an improviser began when, as a toddler, he would clamber up onto his family piano stool and try to emulate his sister's playing. Now releasing his second solo album, a collaboration with legend of future-thinking music Brian Eno, he feels that his musical life has come full circle: I remember smashing out C Major chords again and again and really loving it. It's the same as what I do now, funnily enough, I've come back to it.'

After stints playing jazz in New York, a delipidated fenland hotel and in noise rock band Three Trapped Tigers, Rogerson ran into Eno at a gig. Bonding over a love of the countryside of their Suffolk home, the pair entered the studio and worked with The Piano Bar, a device that converted the sound of the piano into midi signals, which were then further manipulated. It was this classic Eno, almost scientific thing,' Rogerson says now. He always finds a system that can be a source of creativity.'

The result is an album that uses Eno's magic to pull deep from Rogerson's subconscious to evoke the strange flat landscape of Eastern England, all heathland, military testing sites and estuary mud. I do totally hear it, I'll listen and think, 'oh that sounds like the bells at Woodbridge, that's the birds, the wind rustling in the reeds,'' Rogerson says. I think it permeates my music, and Brian's ambient records. That 'is it organic or is it electronic thing' is so interesting.'

Favorite Recordings proudly presents Le Premier Disco Sans Toi, new single EP by Andre Solomko, 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.
This new single also results from a long and solid partnership, led by a shared and deep passion for analog music and vintage grooves. Announcing a new album planned for 2018, the EP unveils two new compositions with Disco flavors. Andre's backed again by a team of great musicians and vocalists, such as Mr Day and Lili Wagner on Le Premier Disco Sans Toi' (The First Disco without You), or Charlotta Kerbs on Moonbeach Disco'. And if
not really the first, this Disco journey fits perfectly with Andre Solomko's Jazz-Funk style and sense of melody, showing another facet of his many talents.

Recorded live at Abbey Road Studios, London Dec 2 2015. 

Hidden Orchestra's 'Dawn Chorus Remixes' follows the illuminating 'Dawn Chorus' album, reworking producer and composer Joe Acheson's latest album of immersive field recordings and expansive soundscapes into an journey through electronica, deep house and ambient psychedelia. Fronted by Wingbeats (Max Cooper Remix)', 'Dawn Chorus Remixes' features reworkings from Max Cooper, Matthew Herbert, Throwing Snow, The Physics House Band, Nuage, Floex, Nostalgia 77, Wrongtom and Skalpel.

Built around a collection of birdsong and other field recordings captured over many years across diverse locations around the UK and abroad, the snapshots within 'Dawn Chorus' intertwine for a transporting listen. The 'Dawn Chorus Remixes' album revisits this vast source material, reinterpreting the structure of the tracks and uncovering new layers of hidden sounds and instruments for the listeners, sometimes unearthing entire musical progressions that bring the tracks into clearer focus.

Max Cooper provides his take on Wingbeats, focussing on the synchronised recordings of birds beating their wings, to reveal a beautiful chord structure hidden amongst the rhythms. Matthew Herbert applies intricate electronic components with a purist house beat on Stone' which follows into The Lizard', remixed by Polish duo Skalpel who were an early influence of Acheson's. Electronic producer Floex transforms 'Still' with layers of oscillating synths, while Wrongtom provides a dub remix and The Physics House Band deliver ambient and progressive sounds for their rework of Long Orchard'.

Key Marketing Points:
- Remixes from high profile acts such as Max Cooper, Matthew Herbert, Floex, Throwing Snow, The Physics House Band, Skalpel and more.
- Available on 2x LP, housed in reverse board sleeve with silver embossed foil title and printed inner-sleeves. Cover art comes from acclaimed artist and printmaker, Norman Ackroyd.
- European AV 'Dawn Chorus' Tour starts November 20th 2017.
- Radio support for 'Dawn Chorus' from Lauren Laverne (BBC 6Music), Nemone (6Music), Huey Morgan (BBC 6Music), Gideon Coe (BBC 6Music), Jamie Cullum (BBC R2) + more
- Previous press support from The Arts Desk, Clash, The Independent, The Guardian, Line Of Best Fit, Blues & Soul, Record Collector, DJ Mag

Praise for the original Dawn Chorus album
You could just listen to that forevermore, couldn't you' MARY ANNE HOBBS (BBC 6MUSIC)
Such a beautiful project' - LAUREN LAVERNE
Out of this world' - THE LINE OF BEST FIT
Gorgeous' - NEMONE (BBC 6MUSIC)

We started with the principle - the cosmic idea that we were taught by our father from a very young age - that the stars and planets make a sound, that deep in outer space there is audible harmony.'With its cathedral-like, richly resonant acoustics, the new HBE album is a brilliant expression of this interplanetary principle. The album is by turns urgent and contemplative, funky and reflective, varied in its textures, but entirely of one piece. Underpinned by concepts of our earth's place in the cosmos, held in place by meditation, swirling with notions of history, science, theology, ancestry, there is a rich conceptual brew here. But always, what talks loudest is the music. The album rings with what back in the 1950s the jazz critic Whitney Balliet called the sound of surprise'. At a time when the phrase Spiritual Jazz threatens in some quarters to become a tired cliche, this is a record that makes you believe again in the genre's validity.

Talking to Cid, one of the Ensemble's two trombonists, one phrase recurs: back to the beginning'. We wanted to go back to the beginning, when we were kids, real young, and our father would wake us up at 5 AM to practice for two hours before breakfast.' One outcome - initially unplanned but subsequently embraced - is that unlike their two previous albums on Honest Jon's, this is an album without a drummer. When we started, as Wolf Pack, just brothers on the street with our horns, there wasn't a kit in sight.' Book Of Sound retains plenty of rhythmic heft, but the absence of a drummer opens up space for a notably varied instrumental palette. Acoustic guitar, piccolo, synthesiser, alto sax - none of them typical HBE Instruments - all have their place on the album. Most striking perhaps are the vocal lines that thread through the album and give it a palpable warmth. In Wolf Pack, we rapped and played, this time we took it a step further.'

Sessions were recorded in Brooklyn and Chicago, and brilliantly mixed at Abel Garibaldi's studio in the Loop ( Abel was like a musician on this record'), and it's the Hypnotic's hometown that permeates. For Cid this is a deeply Chicago record: it's got the vibe of the lake, the vibe of the prairies opening up to the west'. It also has the vibe of those Sun Ra Arkestra albums recorded in Chicago in the 1950s, and - of course - the Phil Cohran albums from the 1960s.

It's Phil Cohran (the father of all seven members of the Ensemble and their first teacher, and not just in music) who is the album's guiding spirit. For Cid it's a major regret that, in the months before their father's death early in 2017, Phil was not well enough to play on the album. He loved the whole idea, and we had the perfect place for his zither'. But Book Of Sound is a magnificent testament to their Cohran legacy. You know, it's tough trying to satisfy everybody with our music. It's hard enough satisfying ourselves, let alone the jazz scene, the hip hop guys, what have you. With this album we just dropped all that as a consideration, and tuned into deeper principles.'

Having been endorsed by Andrew Weatherall on his June 2017 NTS radio show, the band were inspired to release this four-track vinyl EP on their own label Big Shanty Records.

A heady mix of influences colour The Spellbinder Project sound, with elements of jazz, post punk, psych and funk in the blend. These tracks were produced by Malcom Catto, head instigator of the Heliocentrics and collaborator with DJ Shadow, together with Mike Burnham, who has worked extensively with Little Barrie.

The core band of Sean Pereira Summers (guitar), Michael Levison (bass) and Michael Rathbone (drums) are joined live by Lascelle Gordon from Vibration Black Finger on percussion and Chris Williams from Led Bib on saxophone.

Based on the worldwide success of Max Richter's groundbreaking eight-hour work SLEEP, his personal lullaby for a breathless world' - and the one-hour extraction from SLEEP, a series of remixes produced by a selection of well-known musicians and young artists. Vinyl release on March 4. (USA: March 25) The legendary Scottish post-rock band Mogwai, known for its special feel when remix of works by other artists, transforms Max Richter dreamy Path 5 in a darkly throbbing track, marked by snare drum and complemented by haunting guitar soundscapes and cool, arpeggiated synthesizer , In Remix Electronic Artist Clark (Warp Records) is from Max Richter Path 5 a sequence of three different, highly insistent musical scenes that send the listener on a heady trip - in Clarks words by Danny Elfman on Popol Vuh to Slint, merged in a planet of music.

Anglo-Mauritan producer, percussionist, and vocalist Mo Kolours
makes a welcome return to 22a following on from his two highly
acclaimed albums on One Handed Music. The tropical Meroe EP takes you on a journey through hip hop, dub, funk and house - a choice selecton of cuts presented on a limited 7' vinyl (500 copies), with original artwork designed by the man himself!
Side A opens with 'Cerasee Doctor,' a classic Mo Kolours producton. Hip Hop meets Dub Reggae, with a catchy vocal loop throughout, equipped with a healthy dollop of dub sirens - this one is sure to grace many a soundsystem worldwide! 'Margoze' follows and takes the listener on a journey to West Africa
where cowbells and syncopated rhythms take lead whilst the distant sound of local dialogue blends seamlessly in and out of the mix, rootng it deep in its African foundaton.
Side B begins with 'Goya,' which brings about a fusion of traditonal Vietnamese folk mixed with snippets of slap bass to create a collage of worldly sounds - a technique synonymous with the acclaimed producer. The EP fnishes with the ttle track 'Meroe,' where Mo Kolours once again efortlessly fuses ancient and modern sounds to create a dancefoor winner.

Released in 1974, Téo Azevedo's first album Grito Selvagem ( Wild Shout') is an irresistible blend of soul and rock with an unmistakable Brazilian character. As many other lost gems of time past, the album found little commercial success, and still during the 70s Téo turned forever to the true Brazilian popular music - the forró, the roots of sertanejo and the rhythms and traditions of Brazil's often forgotten countryside - becoming, from then on, a genuine cultural reference in Brazil not only as musician and composer, but also as a poet and researcher of popular folklore, being awarded the Grammy Latino prize in 2013.

This career turn also contributed to push Grito Selvagem' onto the dusty and forgetful shelves of time, until its rediscovery in recent years by DJs and record collectors. With lyrics reminiscent of the life in the city and the countryside, the album is one of Brazil's forgotten treasures, with arrangements and production by Téo in partnership with maestro Daniel Salinas - producer / arranger very active in the Jovem Guarda movement, and known to collectors for his 1973 album Atlantis-, ten tracks which deliver the unmistakable groove you'll only find in Brazilian records from the 70s. If you like Luiz Gonzaga, Tim Maia, Jackson do Pandeiro or Gilberto Gil, get ready to hear Téo Azevedo and his Grito Selvagem!

Comes with full-size Poster / info insert in English and Portuguese revealing the full, undisclosed story of the album. Includes free Digital Download Card.

(180gr vinyl) For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions). The multi-instrumentalist Miles Davis called 'the most impressive musician in the world'.
There have been few musicians to ever reach the stature of Hermeto Pascoal. A true maestro and a cultural icon, he represents the highest level of musical evolution; as a multi-instrumentalist, as a composer and as an arranger. Once described by Miles Davis as 'the most impressive musician in the world', there is good reason (beyond his Gandalf-like appearance) why he is known as "O Bruxo" (the Wizard). For the label's 200th release, Far Out Recordings proudly presents a previously unreleased album by Hermeto Pascoal and his 'Grupo Vice Versa': Viajando Com O Som (the lost '76 Vice Versa Studio Sessions).Recorded in just two days in 1976, at Rogério Duprat's Vice Versa Studios, São Paulo, the sessions featured Hermeto's go-to 'Paulista' rhythm section of the day: Zé Eduardo Nazario (drums), Zeca Assumpção (bass) and Lelo Nazario (electric piano), as well as saxophonists Mauro Senise, Raul Mascarenhas and Nivaldo Ornelas, guitarist Toninho Horta and vocalist Aleuda Chaves. Hermeto decided he would record with this particular group following a show at Teatro Bandeirantes, during which an almost spiritual musical connection amongst the group was realised. The performance lasted hours on end, without any breaks in playing, and Hermeto saw the potential for his compositions to reach a 'higher level' as the music organically moved from structured compositions to 'freer' improvisational works.In the studio, the sound engineer Renato Viola understood that things needed to happen quickly. Almost everything recorded on the first take ended up staying in the final mix. After the mixdown, Lelo Nazario would ask Renato to make him a copy of all the material, from machine to machine. As far as we know, the master tape eventually got lost over time, but Lelo kept his copy in his studio's archives, where it stayed for over forty years.
With the tape rescued and restored, this release fills a void in time. Recorded at an especially experimental period in Hermeto's career, it's a compelling insight into the incredible efforts of this group, who under Hermeto's revolutionary vision, created a unique musical language which would have a profound influence on countless artists to come.Nowadays, the 1970s is indeed considered a golden age of Brazilian music, but it's often forgotten how desperately hard it was for artists to get their music past the military dictatorship's censorship efforts throughout the decade. Yet in 1976, despite the often musically radical nature of Hermeto Pascoal's compositions, he was in a typically productive phase of his career. The year before the release of his seminal album Slaves Mass, '76 saw Hermeto amass performance credits on Flora Purim's 'Open Your Eyes You Can Fly', OPA's 'Goldenwings' and Cal Tjader's 'Amazonas' to name just a few.

The release of Viajando Com O Som re-writes the already remarkable story of one of the world's most supernaturally talented musicians, whilst illuminating a truly magical, yet hitherto lost and forgotten, moment of Brazilian musical history.

We're proud to introduce the new Superfly reissue of the rarest LP at cult Strata East label! Reissued for the first time, John Gordon's 'Erotica Suite' is one of the holy grail for deep and spiritual jazz fans, check the superb 'Neleh'! As usual, beautiful quality repress with paste on covers made in Japan, Obi and 180grs vinyl, limited to 1000 copies only!

Two volumes that go through the ESP Disk story, compiled by Flavia Stollman, wife of the label founder Bernard Stollman. The label motto was "where the artist alone will decide what you will hear", now the ESP Disk story is a must have for all the free-jazz freaks, and also a good way to approach the label catalogue for all those who never heard such sounds in their lives.

* 180 gram audiophile vinyl
* Gatefold sleeve with deluxe spot varnish
* Includes download coupon
* Limited edition of 1000 numbered copies on transparent blue vinyl

In 2018 the Dutch band New Cool Collective celebrates their 25th anniversary, but before this celebration starts, there's another reason for a celebration, in cooperation with Dox Records, Music On Vinyl announces the release of the brand new and 19th New Cool Collective album Electric Monkey Sessions 2 on November 24th.

Electric Monkey Sessions 2 is the highly anticipated follow up to their critically acclaimed 2014 album Electric Monkey Sessions 1 (MOVLP1315).

The eight-piece band have, again, recorded the follow-up to EMS 1 in the Electric Monkey studios in Amsterdam. Their goal was to obtain a raw and more analogue sound. Recordings took place in the purest form, everyone gathered in the studio room at the same time, a couple of microphones, a few takes, straight to tape. The analogue spacedubs by studio owner/engineer Kasper Frenkel completed the vintage feeling.

The result Electric Monkey Sessions 2 is a multi-diverse album with a typical stubborn psychedelic cumbia vibe.

* 180 gram audiophile vinyl
* includes insert
* Limited Tour Edition of 300 numbered copies red & gold mixed vinyl
* includes download coupon feat bonus track "Frankie Conga"

New Cool Collective's fifteenth album Electric Monkey Sessions refers to the sound studio in Amsterdam where the recordings were made. They have drawn inspiration from Senegalese Orchestra Baobab, as well as psychedelic cumbia, Cape Town, Italian cinema and many major jazz heroes. Electric Monkey Sessions also features two unique tracks recorded at a beach-side studio in Dakar with local musicians the band met on one of their many international adventures.

Psychedelic Cumbia tropical Bass compilation ! MASTERPIECE §

Head producer and engineer for the Z and Turntable Training Wax, Reole brings you the 4th live studio album 'Sazerac & Haggis'.

As expected, with music and food playing a special part, the 12 track album features signature dishes, special ingredients and served up alongside highly acclaimed chef's - Geoff Gascoyne heated bass, Charles Brereton dicing keys, Ben Trickey slicing guitars, a herb rack of brass sections, Ritchie Ruftone on the cuts and a whole larder full of extra cooking talent - from the UK, US and JA.

Superbad jazz, funk, soul and reggae soulfood. Careful attention to audio hygiene and preparation has been used throughout the cooking process, from live studio recordings to Michelin Star 1087 Mastering.
This album is timeless. If you like your music and food super fresh, then this album is super dope! It covers many genres - it's a menu - it will feed your vinyl and mouth platter!

Critically acclaimed jazz reissue on the Disques Vogue label. Brown coloured vinyl. Specialist marketing.

It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way.

"Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.

Hailing from Britain, with origins in Guyana, Jamaica, and St. Vincent, critics and historians agree that the world simply wasn't ready for Cymande. Formed in 1971, the band would become renowned for their progressive, and complex brand of funk music, which fused elements of calypso, jazz, R&B, African music, and British glam rock. Despite touring with Al Green, performing at venues like The Apollo and Soul Train, and having a Billboard R&B hit, Cymande languished in obscurity before disbanding in 1974, only to develop a widespread cult following over the years, and become a treasure trove for crate diggers and beatsmiths. Though their debut album was not a monster hit for Cymande, it allowed them enough fortunes to re-locate to the US, where they further developed their distinct blend of world-influenced funk, and took in the political climate. Their stay in America led to their 2nd album, 1973's Second Time Round, which cultivated afro-inspired arrangements, as well as fusions of reggae and jazz, and a touch of social commentary thrown in. While Second Time Round didn't reach even the minor level of success of Cymande's debut, it did render a dancehall monster in the track "Fug", and numerous other underrated soulful classics. A definite must for any deep funk historian worth their salt.

Critically acclaimed jazz reissue on the Disques Vogue label. Beige & yellow vinyl with black splatters. Specialist marketing.