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Mono pressing of Miles Davis' masterpiece & 1957 Columbia debut. 6 track black single vinyl

Hidden fire from the Ra archives! A double 10' set featuring Sun Ra recordings from the outer limits and the underground. Initially released on2 seperate 10"s back in 2010/13 respectively and both quickly became collectors items. Don't miss them this time around...TIP!
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Volume 1 features 'Along Came Ra', was a previously unissued live track recorded in Paris in 1983. With June Tyson in full voice, the Arkestra announce Sun Ra's arrival on a sleeping planet.

The flip features two previously unreleased cuts from the legendary Disco 3000 concert tapes, a mind-blowing quartet session that releases the full power of Sun Ra's Crumar Mainman synth. Volume 2 lifts three fine selections from the ultra-deep Sub-Underground series of Saturn LPs. The transcendent ballad 'Love Is For Always' and the driving, rootsy 'The World of Africa' come from 1974's Live at Temple U, while the myth-science poetics of 'Space is The Place/We Roam The Cosmos' is beamed down to earth from the 1975 What's New set.

Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".

So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.

AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session

Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975. Then there's nothing.

Finally, by backtracking one of those Zoom info pages, I found a summary of a "SUNY Rockland Community College" 2002 press release that no longer exists :

"Billy Parker's Fourth World Legacy Concert ...The concert, Billy Parker's Fourth World Legacy, is the eighth annual tribute honouring the late percussionist and RCC educator, Billy Parker. A long-time Rockland County resident, Parker began his affiliation with RCC in 1987, building its jazz program and maintaining his life-long tradition of teaching and inspiring others. A lifelong student himself, Parker was near completion of his doctorate in music education at New York University when he died in 1996.

But then people began to read this blog post, and in the comments, Aaron Fuller said :

"Billy Parker was my uncle. He was an incredibly talented, smart, and kind man. I'm very happy to see that folks are still enjoying his masterpiece. Just to give you a bit more information about him... He was born and raised in Buffalo, NY and then attended college at Michigan State University. He met my aunt in Lansing. They lived in NY and toured in Europe for quite a while. Sometime later they relocated to Nyack, NY and he ended up on the faculty of the community college while he pursued advanced degrees from NYU. He was an Ellington scholar. Although his name isn't well-known even among the most avid jazz fans, I think that if you were to talk to some of the great NY musicians that were around in the late 60s and 70s you would find that most knew him. He also had a huge impact as a music educator and I have no doubt that his former students are all over the place, continuing to put his love of the art into practice."

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- CHRISTMAS ALBUM BY GRAMMY AWARD WINNING JAZZ SINGER
- INCLUDES VINYL ONLY BONUS TRACK JESU JOY OF MAN'S DESIRING'

Kurt Elling is an American jazz vocalist, composer, lyricist and vocalese performer. He released multiple albums on Blue Note Records and has been nominated for ten Grammy Awards, winning Best Vocal Jazz Album for Dedicated to You in 2009.

He has performed and recorded with David Amram, Bob Belden, Joanne Brackeen, Oscar Brown, Jr., Billy Corgan, Orbert Davis, George Freeman, Buddy Guy, Jon Hendricks, Charlie Hunter, Randy Bachman, Bob Mintzer, Rex Richardson, and Bob Sheppard.

The Beautiful Day is much more than a seasonal production. The album follows up his eclectic 2015 album, Passion World, and arrives on the heels of his collaboration with saxophonist Branford Marsalis, 2016's Upward Spiral (MOVLP1729).

Elling applies his warm baritone to a set of thoughtfully curated traditional songs reworked in his own sophisticated, harmonically rich fashion. He has crafted an album that evokes the holiday spirit in all of its wondrous complexity.

The Beautiful Day contains a vinyl exclusive bonus track Jesu Joy
Of Man's Desiring'.

The transitional Bells was just under 20 minutes, released originally as one side of a clear vinyl LP with the other side empty of music. It was recorded at a May 1, 1965 Town Hall concert of ESP artists, displaying Ayler's new group, which added Albert's brother Donald and Charles Tyler. The denser sound of "Bells" shows Ayler moving towards the bigger sonic statement made on Spirits Rejoice, his September 23, 1965 Judson Hall session. By the way, "Bells" as heard here is not, in fact, a single composition, rather, it is a medley moving from "Holy Ghost" to an unnamed theme and then into "Bells" proper. ESP-Disk' founder Bernard Stollman was so excited by Bells that it was released without delaying to record additional music to fill the other side of the LP. Both Donald Ayler and Charles Tyler were making their recorded debuts, Tyler would go on to record for ESP as a leader (ESP1029, Charles Tyler Ensemble, and ESP1059, Eastern Man Alone).

One vinyl pressing of Spiritual Unity in the '60s substituted a different track for Spirits.' Mr. Stollman had no memory of how this had happened, but it was subsequently corrected and became a rarity known only to rabid collectors and ESP fanatics. The one that is on all the CDs (except for one Japanese release with both) and all the rest of the vinyl editions is the same tune as what is titled Saints' on Witches & Devils (AKA Spirits, recorded on February 24, 1964). The anomalous substitution, which does sound somewhat similar, is the same tune known as Vibrations' on the album Vibrations (AKA Ghosts) and as "(tune Q)
2 " in Revenant's Holy Ghost box set. Martin Davidson (owner of Emanem, another indie label responsible for many groundbreaking jazz releases) suggested we include this mysterious rarity on
our 50th anniversary CD edition of Spiritual Unity, and supplied the sound file, for which we are grateful. We have kept the vinyl edition of Spiritual Unity as originally intended. How to get it out on vinyl, then Well, Bells has long had plenty of open space on its B-side...

On the surface, Giallo Oscuro is a pop-oriented project about 60's italian love songs. Giallo Oscuro is the missing link between romance, lightness, recklessness and fear, terror, murder and psychosexual dementia. It's an homage to the music of those "maestri" who forever changed the sound of pop music, as much as the movie soundtracks of the time: Bruno Nicolai, Egisto Macchi, Alessandro Alessandroni, Gruppo di improvvisazione Nuova Consonanza, Ennio Morricone...

More than a rereading of this beautiful music, Giallo Oscuro is about love, loss, distance, time, heartbreak, falling, "pop star's" fall and decadence. This project is about death, about the dead.

Silk-screen, hand printed cover.

On the surface, Giallo Oscuro is a pop-oriented project about 60's italian love songs. Giallo Oscuro is the missing link between romance, lightness, recklessness and fear, terror, murder and psychosexual dementia. It's an homage to the music of those "maestri" who forever changed the sound of pop music, as much as the movie soundtracks of the time: Bruno Nicolai, Egisto Macchi, Alessandro Alessandroni, Gruppo di improvvisazione Nuova Consonanza, Ennio Morricone...

More than a rereading of this beautiful music, Giallo Oscuro is about love, loss, distance, time, heartbreak, falling, "pop star's" fall and decadence. This project is about death, about the dead.

Silk-screen, hand printed cover.

When Oscar Peterson moved from Montreal to New York in 1949, then-17-year-old Bley took over Peterson's residency at the
Alberta Lounge on Oscar's recommendation, in his twenties, Bley played with Charlie Parker. Bley incorporated maverick
pianist Lennie Tristano's approach to improvisation and collaborated with Charles Mingus, and in 1958 in Los Angeles
famously put together a band with Ornette Coleman, Don Cherry, Charlie Haden, and Billy Higgins. His move into free improvisation in the groundbreaking Jimmy Giuffre 3 brought him acclaim. After moving to New York, he was one of the performers at the Cellar Café in Bill Dixon's "October Revolution in Jazz" four-day festival, which led to Bley being one of the co-founders shortly thereafter of the Jazz Composers Guild. It was in the midst of that fabled month that Bley recorded his first LP for ESP-Disk' (sixth overall to that point), Barrage. Bley returned to the studio for his second ESP-Disk' LP a bit less than two months later. Closer finds Bley again heavily featuring then-wife Carla's compositions, she's credited on seven of the ten tracks, including two also heard on Barrage, "Batterie" and "And Now the Queen." They sound quite different on this quieter trio date, and the performances are more concise (no track tops the 3:30 mark). Paul included one of his own tunes, "Figfoot," as well as Ornette Coleman's "Crossroads" and future wife Annette Peacock's "Cartoon." Closer features the distinctive pianism we've come to associate with Bley in one of its earliest recorded manifestations. The other players are fellow Jimmy Giuffre 3 member Swallow and, in his recording debut, Altschul.

Reginald Omas Mamode IV follows last year's self-titled debut album with 'Children Of Nu', set for release on 3rd November 2017. The 20 track album draws influence from the world around us, everyday life. As we witness rising poverty, global events, political and ethnic divisions - these factors prompt some of Reginald's themes and call for humanity to recognise we are all interconnected. We are all related. We're all brothers and sisters with common ancestry, common history and a common origin regardless of race, geographic location or belief systems. Love and compassion are universal feelings/practices we all should embrace and apply to all aspects of our lives, our interactions and our relationships, regardless of the kinship'. - Reginald Omas Mamode IV Children Of Nu' encompasses Reginald's musical and sonic influences - Afro Roots music through to jazz and soul. It draws from Africa as much as the west, an attempt to make a record that can exist in many contexts, the present, the future and past.Recorded with freedom - most tracks remain from the first take - the process of creating 'Children Of Nu' was an open ended development from a natural, intuitive, starting point. Made with minimal thought of how tracks would end up, the music was led through the creative process. Born of a moment, each track
is an attempt to capture that instance, mood, feeling or subject.
Last year's self-titled debut album was warmly received, collecting critical success including Mojo ( A brand-new-retro delight'), Mixmag ( Peckham beat brilliance'), Record Collector ( Equal parts D'Angelo to J Dilla'), The Wire ( Soul music turned all the way inward') and a Bandcamp Album of the Day ( Breathing
lifeforms that are equally steeped in hip-hop, funk, soul and jazz'). It was also nominated for 'Album of the Year' at Gilles Peterson's
Worldwide Awards 2017.Along with Mo Kolours, Jeen Bassa, Henry Wu, Al Dobson Jr and Tenderlonious, he's helped forge in the 22a co-operative that The FADER calls a kaleidoscopic patchwork of hip-hop, house, and groove investigations bound by one thread: a timeless belief in rhythm as a universal language'.

Far Out Recordings are honoured to be working with master composer, arranger and pianist, Antonio Adolfo for the first time since releasing his Destiny album in 2007. This time we present the first ever vinyl reissue of his era-defining Viralata LP: An essential album from Brazil's majorly progressive heyday of late seventies jazz-funk. Viralata is a sacred artefact of Brazilian music, which Antonio himself describes as 'a product of my hybrid musical influences that joins together flavours of marchinhas de carnaval, frevo, toada, classical, baia o, mpb and jazz, etc'.

The album's first track 'Cascavel' is the emotionally charged, celebratory dance anthem, which became a London jazz-dance classic in the early '90s after Far Out label boss Joe Davis discovered a handful of copies in a second hand shop in Sao Paulo and brought them back to London to sell to DJs like Gilles Peterson and Patrick Forge. In recent years the track has been played out by the likes of Floating Points, Mr Scruff and Andrew Ashong, it was also the last song ever to play on the hallowed soundsystem of London's beloved club Plastic People...

Saturday nights at Plastic People wouldn't have been the same without this album. Cascavel was such an important track for the club, it was the last tune we played there before the doors were closed forever.'

(Sean McAuliffe, Plastic People & NTS Radio)

Viralata sits comfortably on the same pedestal as Azymuth's Light As A Feather and Joao Donato's Quem É Quem, which is no co-incidence. All three keystone LPs were recorded and engineered by Toniniho, considered by many to be "the Brazilian Rudy Van Gelder" whose magic touches in the studio also helped to produce Marcos Valle's Previsão Do Tempo and Joyce's Água E Luz among many other holy grails and unassailable classics of soulful Brazilian music.

Antonio's work has been widely performed by his legendary Brazilian contemporaries including Sergio Mendes, Emilio Santiago and Erasmo Carlos, but also by platinum-selling American icons including Stevie Wonder, Herb Alpert and Dionne Warwick. Following an early 70s spell of studying jazz in the USA, Viralata's release in 1979 arrived at the height of a flourishing period of Antonio's career. With his late 60s and 70s output following through on his influences of tropicalia, funk, MPB and easy listening, the almost entirely instrumental Viralata marked an apex for Brazilian jazz.

'The Outsiders' is the new album from "absurdly prolific" (Scenstr Magazine) multi-award winning composer, producer and bass player Ross McHenry. Known for his work as bandleader ofThe Shaolin Afronauts, Ross has collaborated with the likes of Mark de Clive Lowe, Corey King and Marcus Strickland, and been heralded as "The Future of Australian Jazz" (PBS FM).

This is his third album release for us at First Word (following 'Child of Somebody' in 2016 and 'Distant Oceans' in 2013), but his first trio album. Joining McHenry on this new venture are long time collaborators, NZ drumming powerhouse and First Word label mate Myele Manzanza and NY based multi-award winning Australian pianist Matthew Sheens. 'The Outsiders' is dynamic trio jazz from the perspective of three forward thinking musicians who although steeped in the jazz tradition are not bound by jazz influences alone.

Six-track vinyl album (with two additional tracks on the digital release), this also includes extensive sleeve-notes written by Ross himself.

Alwin Lopez Al' Jarreau (March 12, 1940 - February
12, 2017) was an American singer and musician. He received a total of seven Grammy Awards and was nominated for over a dozen more. This vinyl 1965' is pure jazz and showcases his superb jazz vocal chops. This was recorded in June 1965, on Four Rock Island, Illinois.

Al Jarreau died February 12, 2017 of respiratory failure, at the age of 76, just two days after announcing his retirement.

Hard Drive is an album by drummer Art Blakey with The Jazz Messengers recorded in late 1957 and originally released on the Bethlehem label. AllMusic awarded the album 3 stars stating The music on this album is typical hard bop of the period, well played and full of enthusiasm and fire'. All tracks were remastered in 2012. This vinyl is made with the original artwork.

Eddie Harris (October 20, 1934 - November 5,
1996) was an American jazz musician, best known for playing tenor saxophone and for introducing the electrically amplified saxophone. He was also fluent on the electric piano and organ. His first album for Vee Jay, Exodus to Jazz', included his own jazz arrangement of Ernest Gold's theme from the movie Exodus'. A shortened version of this track, which featured his masterful playing in the upper register of the tenor saxophone, was heavily played on radio and became the first jazz record ever to be certified gold. This release presents three original Eddie Harris albums along with the single versions of Exodus' and Alicia'. All tracks recorded in Chicago, in 1961.

Revival is an as-of-yet totally undiscovered electric jazz rock recording from 1977 composed by visual artist and multi instrumentalist Herbert Bodzin. It features brilliant soulful fusion with echoed Fender Rhodes, phased flute, and electric bass and guitar. Most tracks are overdubbed with synthesizers. Fellow musicians are Hans Kämper (of legendary Krautrock group Annexus Quam), Bernd Szemeitzke, Peter Johannesdotter and Bernd Schöttner. Unreleased instrumental versions taken from the rare protest album "Niedersächsische Schlachteplatte".
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"In 2016, a friend of mine randomly told me about a "...German Placebo album" - he was referring to the Marc Moulin led Belgian jazz fusion supergroup. Of course, this was an audacious comparison and he may have only used it to gain my attention. So he continues with "well, not really - but this album certainly has some breaks". He was talking about the Niedersächsiche Schlachteplatte - an album that I had neither seen nor heard about.

A few weeks later, I had a copy in my hands. Here was an LP that had been privately released in early 1977 by an artist collective as a protest action against the division and reformation of several rural districts close to Bremen. The original recording itself is an odd mixture of fusion jazz and "Platt", a northern German dialect, which is pretty hard to understand, even for most Germans. The idea for the project initially came from Mr. Gronau, a political activist and art teacher from Heiligenfeld. Assisted by Mrs. Traute Dittmann, they both provided the lyrics for the album. The musical background was written and composed entirely by Herbert Bodzin. I contacted Bodzin immediately when I heard the record. The story began.

Although Herbert Bodzin, born in 1936 close to Dortmund, may be little known within jazz circles nowadays, he was a prominent figure in the local scene in his day. He played piano, saxophone and flute and had been experimenting with synthesizers since the early 1970s. From 1957 until 1964, in the golden age of European modern jazz, he was in charge of the Jazzclub Hohenlimburg, in partnership with pianist Heinz Wendel. The scene nurtured countless fabulous jam sessions with local musicians and also led to contacts with other German and European jazzmen. Klaus Doldinger was invited a few times as well as the George Maycock Quintet from Düsseldorf, some of the best of the hard bop groups in Germany at that time. Bodzin even recalls how he used to jam with Peter Herbolzheimer in the mid 1960s, while legendary trombonist Albert Mangelsdorff and Dutch jazz pianist Jack van Poll inspired his playing as well.

While the public interest in jazz waned with the rise of the Beatles and other beat bands, Bodzin continuously sought out new developments within the genre. The days of Soul Jazz, Jazz Funk, and Jazz Rock came, bringing with them electrification and further tonal and rhythmic innovation. Meanwhile, Bodzin lived in Weye, close to Bremen - one of the districts that were about to be reformed. When it was time to perform the "Schlachteplatte', he was ready with his Fender rhodes and his new synthesizers to provide what he called "Modern Jazz Rock", as noted on the back of the original album sleeve.

The recording session with the band took place in two days in late 1976 at Boccacio, a small studio in Bremen. On the third day, Bodzin went back into the studio to record the synth backgrounds. The band consisted of Hans Kämper, former member of the legendary Krautrock band Annexus Quam, on trombone and guitar. Bernd Szemeitzke and Peter Johannesdotter, both local artists, featured on drums and percussion, while Bernd Schöttner played electric bass. Though the quintet didn't exist for very long and was initiated originally for the recording session only, a few live performances at political events took place. One of the bigger ones was "Das große Schlachtfest" on February 27th, a major event among the many actions against the division and reformation of the local districts.

The record itself was released just six days earlier, on February 22nd, 1977. 500 copies of the album were pressed, recalls Mr. Bodzin. The price was 12 DM (German marks, roughly about 6 EUR). About 300 were sold to the local constituency, almost entirely within non-jazz circles. The name "Niedersächsische Schlachteplatte" is a play on words. Niedersachsen is the region in question, whereas "Schlachteplatte" is a German meal with sausages and meat - the name literally translates to "slaughter dish" - a reference to how the land of Hoya was to be slaughtered.

Even though the combination of jazz and spoken word was moderately popular during that time, because of it's extreme locality, and perhaps also because it was politically motivated, the album was never a huge success. The few jazz fans that were reached by this album could not relate to the artwork and prose, and many local listeners could not relate much to the progressive music. Hence, the Schlachteplatte slipped into obscurity.

Nevertheless, the compositions and themes, the instrumentation with drums and percussion, electric bass, trombone, Bodzin's delayed piano, the phased flute and his overdubbed synth "string arrangements" make this album a serious hidden treasure. It is arguably one of the most unique German jazz recordings from the 1970s. It stands apart from most contemporary fusion as it retains notable touches of Bodzin's bebop and hard bop influences, yet builds progressive and even psychedelic elements into it. The musicians provided uptempo tunes such as Landswien Hoya (Land of Hoya), deep psychedelics on Kreisteilung (Flute of Freedom), 6/8 grooves on Ik kann di seggen (Let Me Tell You This) and more.

Due to the short run and its strictly local distribution the original record really never made it to the surface for jazz and rare groove collectors. Even in recent years and during the German rare groove trend in the late 90s it remained undiscovered. Unsurprisingly, the LP was not added to the Discogs database until late 2017. The aforementioned friend simply used it as a nice odd trade item with other vinyl collectors when original backstock copies of the album were being given away for a short time in 2013 at a local newspaper and later sold from a museum for a low price until they were gone.

Unfortunately, instrumental master tapes from before the vocals were overdubbed in a later session are inevitably lost. Either thrown away from the studio or, more likely, destroyed during a fire in September 1986 when an arsonist was active in Bodzin's hometown of Weye. One night, while he was away at a birthday ball, Bodzin's house - a 250 year old historical building - became engulfed in flames. Herbert Bodzin lost almost all of his personal belongings including an array of early synthesizers and his TEAC tape reels. Luckily and most importantly, his wife and four children were safe.

Because of the nonexistence of the master tapes, we carefully re-edited and re-mastered the material from a mint vinyl copy to a version whose quality surprised even us. All tracks still have a length of 4 minutes, the arrangements are intact and one surely will not miss anything. Any of the six tracks is a winner, and has something for everyone! Our approach to this album required fresh artwork and new title because of the omission of the original political speech and poetry. Even though we respect the political aspirations of the artists of the original work, and appreciate the lyrical approach of the "Platt" dialect, we hope that the new recording, "Revival", can finally reach the ears and hearts of jazz fans and fusion enthusiasts. It may not be "...a German Placebo", but Herbert Bodzin's brilliant compositions and beautiful production represents an important missing piece in German jazz history.

By the way, while in contact with Herbert Bodzin - who is now 80 years old and still active as steel artist, painter and musician - we were led to a totally unreleased recording employing experimental synths from 1982 that survived the fire. This unreleased masterpiece will be entitled "Revival II" and is slated to be our next project on "The Artless Cuckoo". "

Nina Simone was one of the most extraordinary artists of the twentieth century, an icon of American music. She earned the moniker 'High Priestess of Soul' for she could weave a spell so seductive and hypnotic that the listener lost track of time and space as they became absorbed in the moment. She was who the world would come to know as Nina Simone. Herewith an EP Selection from Nina with I Love To Love You', Jazz As Played In An Exclusive Side Street Club' and My Baby Just Cares For Me,' previously recorded by Nate King Cole, Count Basie, and Woody Herman. The song was used by Chanel in a perfume commercial in Europe in the 1980's and it became a massive hit for Nina, a British chart topper at #5, and thus a staple of her repertoire for the rest of her career.

For fans of jazz, Latin and cumbia as well as tropical-minded DJs and deep-digging collectors - First in a three part regional series of albums from exploring Peru's diverse musical heritage - The official single from Tiger's Milk/Strut's new album ANDINA: Huayno, Carnaval and Cumbia - The Sounds of the Peruvian Andes 1968-1978 to be released on October 20th on Double LP, CD & Digital. - Martin Morales is the chef, restaurateur and founder of Peruvian restaurants, Ceviche and Andina in London. Martin is a pioneer of Peruvian food in Britain and is the GQ Food & Drinks 2017 Innovator of the Year award winner.



cheese salad)

Jazz Impressions Of Black Orpheus was recorded in San Francisco in November 1961 & February 1962 with Vince Guaraldi (piano), Monty Budwig (bass) and Colin Bailey (drums). The album contains both original compositions and covers of songs from the 1959 film Black Orpheus'. It spawned the hit single Cast Your Fate To The Wind', which won the 1963 Grammy Award for Best Original Jazz Composition. The album A Flower Is A Lovesome Thing' exhibits the trio's growth from the safer jazz style played in their self-titled album Vince Guaraldi Trio. Recorded in San Francisco, April 1957. The members of this trio were pianist Vince Guaraldi, guitarist Eddie Duran and bassist

Dean Reilly. Guaraldi began exploring his personal style on the piano with these tracks before truly becoming recognized as a great jazz pianist with Jazz Impressions, his subsequent release.

Official re-issue of Danish electronic music from 1974! Vinyl LP comes with booklet and limited to 500 copies - no repress.
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Frederiksberg Records announces the first re-issue of 'Stoned' which is exclusively licensed from the artist and has been carefully restored from the original master tapes. It comes
with a booklet of liner notes by Thomas Knak.

'Stoned' by Gunner Møller Pedersen is a pioneering partly-electronic composition from Denmark. Gunner believes that it's musically out of category'. It was created for a slide show
with focus on sculptures by the late american photographer Stuart Fox. Gunner self-released the record in minuscule numbers in 1974.

The music on STONED has an original and meditative quality which transcends time and should appeal to today's music lovers with a taste for something different.

One of the best albums of the late '60s and Tim Buckley's most underrated album, "Happy Sad" was a change-up pitch for the eclectic L.A. singer/songwriter. Sounding like Fred Neil's albums, Buckley and his small, acoustic-based ensemble create beautiful, jazz tinged folk-rock. On red vinyl.

The Coltrane Legacy
Recorded at the Palace of Culture (Congress Hall) 23rd October 1987 Warsaw, Poland (Jazz Jamboree festival).
Courtesy of The Jazz Society of Warsaw.

Numbered edition of 1000 for Record Store Day 2017.

Features a previously unreleased recording of a solo harp improvisation by Alice Coltrane, known also by her sanskrit name Turiyasangitananda.

Right after LA POLIZIA INCRIMINA, LA LEGGE ASSOLVE (HIGH CRIME), the magic duo of Italian poliziotteshi conceive yet another highlight of the genre - the groovy, melancholic score of MILANO TREMA: LA POLIZIA VULE GIUSTIZIA (THE VIOLENT PROFESSIONALS, 1973), which perfectly sets the tone of metropolitan violence presented on the screen. A dramatic sound, which preludes the acidprog and gloomy music created for IL GRANDE RACKET (THE BIG RACKET) just three years later, with lots of flutes, clavinet, frenzied percussions, deep basslines and experimental effects.

The result is a disturbing atmosphere of suspence, always on the verge of exploding in deep piano notes that highlight the most violent moments of the film. With the main theme Blue Song', repeated several times with endless instrumental variations, the De Angelis brothers set a dark-romantic atmosphere which becomes a manifesto of disenchantment and the perfect accompaniment for the detective story.

Four Flies Records, in collaboration with Bloodbuster Edizioni, is proud to present the complete soundtrack for the first time on vinyl (only the two songs of the movie were published before on a 7''-inch by RCA), featuring exclusive liner notes by the film's director,

Sergio Martino.

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- Four Flies Records explores

Piero Umiliani's Sound Work Shop archives to select rare and unreleased tracks - First archive compilation of Piero Umiliani's work for the Rome-based record label and the first one focussing on Piero Umiliani in recent years - Exotica, psychedelic jazz-funk, proto-trip hop: this selection is a cross-cutting portrait of Umiliani's activity during the golden years of his Sound Work Shop, the

studio-laboratory where he has been playing, creating and experimenting with total freedom from 1969 to 1983

- The compilation will be released as a limited edition 2LP, accompanied by Four Flies' Pierpaolo De Sanctis liner notes and archive images. Four Flies Records strikes again, releasing their first archive compilation of Piero Umiliani's work and the first compilation focussing on the Maestro's legacy in years. Studio Umiliani' is a collection of sunken treasures and hidden beauties yet to be

re-released, and of stunning unpublished works surprisingly unknown for quite some time. The project, born from the initial effort of Andrea Fabrizii, who has far and wide been exploring Umiliani's soundtracks before anyone else, led Four Flies research to seek for new unreleased recordings at the Maestro's archive. A challenge that Pierpaolo De Sanctis from Four Flies Records accepted without hesitation - with the help of the Umiliani family. His two daughters Alessandra and Elisabetta Umiliani, true keepers of their father's memory, together with their husbands Francesco Argento and John Linkowski, and of course, Piero's wife Stefania Baffa, have been pivotal in compiling this exciting project.

The result is a cross-cutting portrait of Umiliani's activity during the golden years of his Sound Work Shop, the studio- laboratory where he has been playing, creating and experimenting with total freedom from 1969 to 1983.

One of the most unique albums on the Strata East label - and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! Descendents Of Mike & Phoebe is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) - working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers - recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time - and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins - all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace - singing wordlessly and with a really heavenly sort of quality - and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan.

By Drago Museveni

The Ellington performance is best remembered for Paul Gonsalves' multiple choruses on Diminuendo and Crescendo in Blue', which brought the audience's excitement level to its zenith and led to a resurgence in Duke's popularity. He used to say in later years that he had been born' at Newport '56. From that point on he was a regular attraction at the festival (as well as many other similar festivals that began to appear later). Ellington tended to introduce new pieces at these events, and the album Festival Session was a studio recording that primarily featured tunes he had presented at the Newport and Playboy jazz festivals during 1959. Two songs have been added to the original album that complete the session.

In November/ December 1961 Ella and Nelson reunited again in the studio for a series of sessions which produced the album Ella Swings Brightly with Nelson. In fact, the dates produced much more material than necessary for a single LP, so in April of 1962 the singer and arranger got together for a couple of sessions more which would round out a second album, Ella Swings Gentle with Nelson (Verve V6-4055).

Esquivel is widely considered the king of a style of late 1950s early 1960s instrumental pop known today as lounge music. His orchestration tended toward the very lush, employing novel instrumental combinations such as Chinese bells, mariachi bands, whistling, and numerous percussion instruments blended with orchestra, mixed chorus, and his own heavily ornamented piano style.

"The King of Space Age Pop...Esquivel's use of stereo recording is legendary."

The period cover of "Other Worlds, Other Sounds" says it all. Like the woman in red dancing on a moonscape, this 1958 LP was all about fantasy. Esquivel wasn't afraid to fantasize about his instrumentation nor the new audio sound known as "stereophonic or Hi Fi". At the time, Esquivel was using this new technique to its fullest by arranging the music in a unique manner as well as considering right channel-left channel. Voices ring back and forth between speakers, horns explode out of nowhere and piano sounds cascade out of the stereo. This is what hi-fi was all about. It is seamless, quite enjoyable and rather magical.

The sessions that produced this album marked the first of only two studio albums featuring Paul Desmond and Gerry Mulligan. Basically this is the same instrumentation employed by Mulligan in his classic pianoless quartet with Chet Baker, but with Desmond's alto instead of Baker's trumpet. A highly lyrical player, Desmond's sound fits exactly with the deep sound of Mulligan's baritone sax, and their interplay is very satisfying. Their second album, titled Two of a Mind, would be recorded in 1962, and after that Mulligan and Desmond would be reunited for several concerts, mostly featuring Gerry as a guest of the Dave Brubeck quartet. Their last recorded encounter dates back to a Berlin performance on November 4, 1972.

Bashin' -The Unpredictable Jimmy Smith (Verve V6-8474), presented Smith for the first time in front of a big band, with arrangements by Oliver Nelson. The four big band sides filled Side A of the LP, while Side B contained three trio tracks taped during the same sessions, featuring Smith's regular guitarist and drummer, Quentin Warren and Donald Bailey, respectively.

- 180 GRAM AUDIOPHILE VINYL
- GATEFOLD SLEEVE
- FIRST PRESSING OF 1.000 INDIVIDUALLY
NUMBERED COPIES ON TRANSPARENT VINYL

Seven is the seventh studio album by Soft Machine, released in 1973. Roy Babbington, who had previously contributed to Fourth (MOVLP1601) and Fifth (MOVLP1599) on double bass as a session musician, replaced Hugh Hopper on bass guitar, who left to begin a solo career.

Their unique take on jazz rock was groundbreaking. Seven is a highly diverse album combining minimal, spacey elements and some great instrumental jamming. It was also the last of their studio releases to carry a numbered title.

A limited run of 1.000 copies will be available on transparent vinyl.

The Green Line is a new project from Oliver Cherer under the name 'Gilroy Mere'. Trading as Dollboy, Rhododendron, and Australian Testing Labs as well as his own name, Oliver has meandered his way through the backwaters of left of centre English folk, ambient and electronic music, issuing numerous albums of original music to much critical acclaim via highly regarded boutique labels such as Static Caravan, Second Language, Deep Distance, Polytechnic Youth, and Awkward Formats.

The Green Line is an instrumental album inspired by the buses that once linked central London to country towns. Established by the London General Omnibus Company in the 1930s, with their striking green livery they were a common sight in the outer London suburbs.

The Green Line is written as a remembrance of childhood trips into the exterior via the green double and single decker buses that took Londoners out to the countryside. It was recorded at his home studio in Sussex using a collection of instruments and obsolete electronics amassed over a lifetime of being unable to resist junk shops, charity shops and car boot sales.

Basil Kirchin was a unique talent. A man brought up as a drummer in the post war big band era, he soon shunned the sounds of London ballrooms for world travel, marijuana and spiritual enlightenment. On his return to London in the mid 1960s he started work on experimental sound picture music', a direction that led him into horror film music, library music and eventually to field recordings. He then developed the idea of slowing down the sounds of bird, insects, animals, autistic children - anything he recorded in fact - to reveal the hidden particles of sound that made them up. Mixing this with free jazz improvisation in 1969 he developed a new, peculiar sound that we now know as ambient'. Here, in this unique Trunk Record's sampler, we offer a fascinating musical glimpse into his world, bringing together work from three decades, PLUS parts of a long conversation between Jonny Trunk and Basil Kirchin recorded a few months before he died. There is unreleased film music, field recordings including autistic children from Schurmatt, music for advertising, the opening of Quantum', brilliant mixes of jazz and birds ( Charcoal Sketches'), the newly discovered digital post punk classic Silicon Chip' plus brilliant and moving homages to his life with Esther, his wife. Together it makes extraordinary listening.