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Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

Newly signed to Ninja Tune, Jordan Rakei has battled his inner demons and written an inspirational, soul-stirring record in the process.

At only 25, the multi-instrumentalist, vocalist and producer - born in New Zealand to a Kiwi mother and father from the Cook Islands - is a rare talent whose distinct take on soul captures a sonic and emotional awareness many artists spend their entire careers chasing. He writes with a maturity and flair that belies his years and new album Wallflower' sees Jordan edging beyond the peripheries of the genial, often sun-flecked sound his fans have come to know him for. The easy swing that has been the backbone of his sound from the outset is ever present, harking back to teenage days spent in his bedroom with his beloved MPC trying to emulate 9th Wonder and Pete Rock. On Wallflower' the tools and the process have evolved - the focus is on live instrumentation - but the groove and the cadence are unmistakable, framing soul and jazz in a truly vibrant oeuvre that simultaneously recalls his predecessors The Roots and peers The Internet, Nick Hakim and Hiatus Kaiyote.

Jordan's whirlwind rise has been a predominately solo effort. His exceptional musical ability (he writes, sings and plays most of the instrumentation on his records himself) is accompanied by an unrelenting - yet agreeably humble - ambition. His aptitude and knack for songwriting caught the attention of tastemakers following the release of his 2014 EP "Groove Curse'. His self-released debut album Cloak' (2016) lit the blue touch paper, earning him a coveted set at Pitchfork Avant-Garde Block Party that year, supports for the likes of Jamie Woon and NAO, and a call-up to play AMP. Drawing early support from the Soulection crew, he has collaborated with Taku, Tom Misch, FKJ, and lent vocals to the Disclosure track 'Masterpiece' (from their 2015 album Caracal') after the duo were tipped off by a friend who had seen Jordan play a tiny basement bar in Australia. At radio, Jordan has been championed at BBC R1/1Xtra by Annie Mac, Huw Stephens, Mistajam, Jamz Supernova, Toddla T plus Mary Anne Hobbs and Gilles Peterson at BBC Radio 6 Music.

Jordan considers Wallflower' his most personal work yet - it's an emotive opus inspired by his own struggles with introversion and anxiety. Sonically lush and complex, yet lyrically relatable and unguarded, listeners are offered a glimpse into the mind and artistry of a musician who grapples with his own self- image and fears every day. On 'Sorceress' (recently supremely reworked by Photay) the ego is personified as a sinister and controlling spirit figure led by equal parts understated ethereal guitar and Jordan's superb multi-layered vocals. New single 'Nerve', featuring Dave Okumu of The Invisible on guitar, is upbeat and incites a sense of renewal as its lyrics call out the fallacies within self-constructed paradigms. Elsewhere, the ska-tinged 'Clues Blues' is laced with trombone and saxophone by Ahmad Dayes and Wayne Francis II from South London pillars United Vibrations.

"It's about how the ego can fully control the way you act and perceive life,' he says. Jordan's decision to leave his home in Brisbane for London in 2015 has had a life changing effect on his music, his career and his outlook. Just thinking about a 10,000 mile relocation was traumatic, and these feelings were exacerbated by his introversion and anxiety. However, he plucked up the courage to make the move and never looked back.

In Australia, I was stuck in a bubble', Jordan explains. "When I moved to London I had to deal with my introversion through 'exposure therapy'. Every day I met new people for a whole year. I met every producer, songwriter, and musician I could. You have to improve as a person to improve as an artist'. Building a new community in London, Jordan linked with Tom Misch, Loyle Carner, Richard Spaven and Alfa Mist - musical likeminds experimenting on the fringes of jazz, soul and hip-hop - and also met Bradley Zero, founder of South London record label and party Rhythm Section. Bradley encouraged him to try his hand at a collection of dancefloor-driven tunes which became the EP "Joy, Ease, Lightness", released by the label at the end of 2016 under the alias Dan Kye.

In many ways Wallflower' is a direct emotional response to his new surroundings and is undoubtedly testament to Jordan's personal strength, drive and overriding passion for his art as well as a reflection of his openness and eagerness to reach out and explore London's fertile music underground. It cements not only his importance as a contemporary, and truly exhilarating, soul voice on the international stage, but his stature as a producer, songwriter and multi-instrumentalist in total command of his sonic vision.

Das siebte Album der belgischen Fusion-Band BRZZVLL (Brazzaville) ist ein psychedelisches Jazz-Funk-Werk zwischen Jazz-Fusion, Afro-Funk und Rare Groove, auf dem sie nach Kollaborationen mit Poeten wie Anthony Joseph und Amir Sulaiman wieder die instrumentale Karte spielen.

The success of the first LP and the warm welcome of the fans, convinced Guertler to release for Jolly, again in 1959, another album of the quintet, expanded to octet. With Valdambrini, Bass and Sellani collaborated Italian musicians Franco Cerri, Mario Pezzotta, Attilio Donadio and Piero humiliate, the Swede Lars Gullin and the Swiss George Gruz.

This album got a huge critical success. Exceptional performance in pure California style of Blues for Gassman'. Recently sold for over £200!

After the convincing performance at the fifth Jazz Festival di Sanremo 1960, Basso and Valdambrini realized for Jolly the third album, adding to the original formation of the quintet that has recorded the album LPM 2079, the promising trombonist Dino Piana.

Also included you will find a track of Valdambrini and Basso dedicated to Turin, in perfect California style: the folk song Ciao Turin'.

Another excursion into Latin and Brazilian funk and jazz from the Raro Raro label, this time setting Bobby Valentin's classic "Use It Before You Lose It" dancefloor bomb against Mongo Santamaria's funky take on "Sunshine Of Your Love" for another killer 2 sider. Double rare!

Published in 1961 by Music of Walter and Ernest Guertler, this LP is a must-witness the meeting of one of the most prestigious soloists Americans visiting Italy, with jazz musicians of our house, supported by a flawless Dusko Gojkoviv, of Slavic origin.

Beyond at the touch of the great Buddy, stand out solos of emerging Dino Piana, Renato Sellani and Franco Cerri.

Presented here on vinyl for the first time since its original ultra rare micro-press (original copies now fetching upwards of 1000 euros) the Cacophonic release is taken directly from François Tusques very own master-tape archive. Features two rare original out-takes which did not appear on the original LP !
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As Finders Keepers disobedient little-sister-label reaches her 20th (release) anniversaries Cacophonic Records present a record that will not only leave rare record collectors salivating but will open ambitious ears to a truly pioneering album from the seldom celebrated and individualistic micro-genre that is French free Jazz.

Comprising some of the earliest uninhibited performances from key musicians behind records by Serge Gainsbourg, Jef Gilson, Triangle, Don Cherry, Barbara and countless other groundbreaking European jazz records and freakish films, this LP captures the birth of an exciting movement that would soon earn its Parisian birthplace as the go-to European spiritual home of improvised and avant-garde music. Spearheaded by polymath pianist and composer François Tusques this 1965 French LP coined the phrase free jazz' before the American genre of the same name had fully taken shape and packed its suitcase, laying the foundations (alongside Jef Gilson's Enfin!) for a unique satellite brand of jazz that would later provide visiting afro American avant-gardeners with a vibrant Parisian platform. Having recorded a very rare single in celebration of the architect Le Corbusier in late 1964 Tusques was lucky enough to play live with Don Cherry (a key player on Ornette Coleman's 1961 Free Jazz LP) thus planting a pedigreed seed for this vibrant cultivar.
With this record we not only hear the unique differences within the Gallic approach to the art form (combining masterful sombre cinematic changes with aerated free-form percussion and erratic reed and brass) but we also get to witness the early lesser savoured secret ingredients that would carry France's mainstream pop culture into truly uncharted and unrivalled territories throughout the following decades. Best known to faithful Finders Keepers fans as the soundtrack composer to the horrortica films of Jean Rollin, Tusques is joined here by sax and flute player Francois Jeanneau, who's electronic jazz album Such A Weird Plane' would later lead to his own band Triangle gaining recognition as France's leading French language prig-jazz-rock act. Featuring three players from the aforementioned Enfin! LP by French jazz pioneer and producer Jef Gilson, Free Jazz combines the skills of Jeanneau, with clarinet player Michel Portal (Gainsbourg Percussions/Claude Nougaro) and trumpeter Bernard Vitet (whose avant-garde appearances on the Futura label are indispensable). In addition to this, Free Jazz also boasts the inclusion of Tusques' sidekick and double bass master Bernard Beb' Guérin (of Sonny Sharrock Monkey-Pockie-Boo infamy) who had also appeared on the earlier Don Cherry/Le Corbusier recording providing further kudos to this LPs historical importance.
It is by no coincidence that this carefully selected ensemble would around this time become enlisted as the backing group for politically driven singer-songwriter Colette Magny (an action which would arguably later influence Brigitte Fontaine's choice to adopt The Art Ensemble Of Chicago as her backing band after the Actuel records Pan-African Jazz festival and record series). The fact that Colette Magny would provide the art direction for this very LP is a cute small-print signifier of this LPs intended manifesto status. This album also captures a rare glimpse of percussionist Charles Saudrais in free-form mode after his departure from the Barney WIlen Quartet (Moshi) - an inclusion that would surely galvanise the relationship between WIlen and Tusques resulting in the follow-up record Nouveau Jazz for actor Marcel Mouloudji's privately funded Disques Mouloudji label (on which both rare LPs were originally pressed).
This glimpse into a seldom documented underground of a domestic, revolutionary, uncompromised spiritual art-form successfully reveals the other-side of abstracted French music which alongside musique concrète, protest pop, symphonic rock and Zeuhl-skool electronic prog created a homegrown, self-contained music industry that went on to influence a universe of Gallic magnetic inspiration. This is free jazz, Jim, but not as we know it.'

Nicole Willis, known for her collaborations with The Soul Investigators & Jimi Tenor produces an album including some of the tracks she composed with the former as well as originals specifically for a fresh collaboration with UMO Jazz Orchestra. Jimi Tenor, who is a multi-faceted artist, has penned all arrangements for the big band and their talented rhythm section. Pete Toikkanen who is a mega-talent guitarist from The Soul Investigators, along with the two, composed those original tracks that highlight their alternative influences. Indie god & personal hero of Ms Willis, Ian Svenonius introduces Ms Willis on the first track and wraps up the LP with a final plea.

LP in printed innersleeve + download card. De Beren Gieren confirms their reputation as one of the most adventurous jazz trios of the Benelux with their fourth album.Raw energy, impressionist melodies and complex structures are generated via piano, bass and drums provoking polyrhythmic soundscapes with unexpected twists and sudden turns.

'Together, As One' is the third album as a leader from British award-winning trumpet player, composer and band-leader Laura Jurd and her debut with newly named band Dinosaur.
Featuring Laura's regular collaborators, friends and creative cohort Elliot Galvin, Conor Chaplin and Corrie Dick, 'Together, As One' is a coherently powerful and bold album that not
only confirms her promise as one of the most important young musicians to emerge but is a statement that will launch her music further into the wider international jazz world.
Laura Jurd's rise as been nothing short of meteoric since she first burst onto the highly creative London scene in 2010. Very quickly she made a bold statement, releasing two highly acclaimed albums, leading to her selection as a BBC New Generation Artist. With her undeniably unique, creative and joyous spirit and approach to music making, she has developed a formidable reputation as one of the most creative young improvising musicians to emerge from the UK in recent years.

Continuing his luscious ambient beat explorations in jazz, post-Dilla hip hop and leftfield electronica Asta Hiroki produces a stunning instrumental piece in 'Channels' and cleverly enlists the help of forward-thinking producer/vocalist Suzi Analogue (Never Normal Records, Fresh Selects) to contribute the vocals on the emotive 'Vulnerable'.

In-demand as both a producer and a vocal artist, Ms. Analogue brings a neo soul twist à la Erykah Badu to Asta's gorgeous arrangement. Lyrically focusing on shedding the various masks people wear and allowing oneself to be completely themselves, she showcases all the attributes that have made her a favourite of online press like FACT, The Fader, Okayplayer, Paper Mag. It's a perfect match of styles from these two artists with the tune carrying a liberating and relevant message in today's image-focused world.

'Channels' is a jazzed-out slice of leftfield hip hop and electronica, taking cues from the likes of Robert Glasper, Bonobo and Shigeto. As per its name it perfectly captures the meditative and ever-moving nature of water with no 2 bars the same throughout. Powerful low end frequencies underpin the beautiful flowing keys work and fluttering organic percussion to keep it ever-evolving and exerting a calming influence on the listener.

Love makes the world go around. two', the second album by The Soul Session, is full of love. Ralph Kiefer, multi-instrumentalist, composer, arranger and producer from South Germany embarks on a stylistically diverse journey into Soul, Jazz, Funk and World Music.Being a highly respected session musician in the jazz as well as the crossover scene, Kiefer made a serious impact in 2011 with one', the first Soul Session album. one' was built on a solid backbeat of Soul, Hip Hop and Funk, while two' now takes a step further into a spiritual and eclectic dimension. uantraversa featuring the voice of Las Vegas based neo-soul queen Georgia Anne Muldrow is the mind- blowing opener of this album, a truly deep and intense rhythmic statement. Quantraversa is a word which you will not find in any dictionary, but that is not the point, says Ralph Kiefer. This album is a journey to the inner self. The recording process was like meditation. I often started with a loop, or an idea for a melody. It evolved from there and I simply let it happen. When I involved the lyricistsand vocalists, my drafts sometimes took a completely different paths and ended in
something unexpected and beautifully new. The Passage' is a prime example of Ralph Kiefer's visionary working style. I mainly work with my mobile studio. Nowadays you can virtually record every instrument in any place you like, you just need a good microphone. Some of my guest vocalists also recorded their part in their own studio.' This way Tokunbo Akinro, the voice of Tok Tok Tok, turned The Passage' into a futuristic, haunting soul tune. Live Your Life', introducing Anaj, works nicely as a kind of theme tune for two'. Here you have a lose groove which is tight at the same time, keeps in control and simultaneously lets it loose. And then there's Wish The Beat To Never Stop'. Ralph Kiefer is especially happy about this track. I am a fan of Omar since his first album on Talkin' Loud, I am very proud that he contributed to my album.' With his unique UK Soul stylings Omar fits perfectly to the brilliantly understated and well informed Soul Session sound. It's the two suites which are central to two'. KalimbaSuite' kicks off with a stripped down piano, percussion and Kalimba session. Then Steely Dan' gives it away in its title, sounds like it will move straight into Do It Again', but then it does not and turns into a funky Soul Session style instrumental jam. Transformation' is the perfect ending for Kalimba Suite', sticking with the Rhodes, bringing in more synthesizers and getting quite cosmic. Liberation Suite' has Anaj coming in again. Got To Go Where To Go' is pure bliss and funky fun. Samba De Alfana' is a spiritual and deep Brazilian, irresistible jazz-house dance floor mover. With a motto like Liberation for the nation' and a vocoder meeting a Caribbean style Funky Nassau' groove you will agree: Open up your mind!' You Are Everything' uses a Horace Silver style piano motif, then adding the sampled voice of philosopher Jiddu Krishnamurti: His philosophy is very central to my creative process. In the troubled times we live in I think his message is more relevant than ever. Without self-knowledge there is no basis for peaceful thought and action." Fatma Tazegül closes the album in taking Never Let Me Go' to another level with her soulful gospel voice. Think of the open mindedness and global funk and fusion rhythm in the Seventies, but also of the Acid Jazz movement during the Nineties and you get the picture of what two' is about love, peace, being true to yourself and getting involved.

After attending college and getting deeper into computer music, Sam Obey began releasing music as Obey City. The project quickly took off with EPs for LuckyMe, forming the Astro Nautico label with his best friends, multiple tours and collaborating with Kelela and Flatbush Zombies. Now, as Sam O.B., he returns to what his oldest confidants know he's always had up his sleeve: his voice and his bass guitar.

'Positive Noise', the debut album by Sam O.B., is not a 'journey of a record' but it's also not Party Time USA. It's nuance, cloud patterns, like good progressive jazz. Like the refinement of refinement, the elegance of elegance. Sound propelled by its own smoothness. A coolness that isn't cold. The earnestness of an old friend. Expanse. Experimentation. Actual warmth.

Sam O.B. is (and has always been) a man of classics. When you hear the sax on 'Salt Water' you'll understand this ambition with precision. Arpeggiated horn delay and female 'oohs' fall like geodesic rain. The blasting synth leads on 'Midnight Blue' and 'Nearness' waver and find their way. The sing-and-play harmonies of 'Sirens' refer to the stunning bliss of smooth jazz, which has been in Sam's arsenal of interests for longer than anyone can remember.

'Positive Noise' also has a strong anchoring in the thick pulsing rhythmic stylings of 70s and 80s disco and funk grooves. Sam is a dedicated vinyl collector, having curated DJ residencies around NYC (Hot Sounds Island, Astro Nautico, The Lot) that practically worshipped smooth jams.

LP format includes digital download card.

Collecting some of his finest early recordings from 1958 and 1959, Indifferente finds the provocative chanteur in his rawest form. Pulled from his first two 10" releases and including live cuts and duets with Juliette Gréco, this is the essential document of Serge's beginnings, not long after his songwriting and singing prowess had been discovered by the famous chanteuse Michèle Arnaud and she had recorded some of his earliest tunes. If you dig Serge the sex symbol and international pop star, you've got to hear the jazzy, sultry, early chansons that launched him to stardom.

Endgame of the Anthropocene marks Talibam!'s return to ESP-Disk', a partnership begun in 2009 with the highly acclaimed Boogie in the Breeze Blocks album. Talibam! is a 14-year working unit based in New York City that can be described in various ways -- as a classic keyboards/drums expanded-jazz duo, as Dadaist provocateurs with an innate love for the history of music, as a Fluxus-informed theater troupe, as an electronic ensemble inspired by Stockhausen, or as a rhythm section at the cross hair of agility, speed, punctuation, and intention. Since their inception in 2003, Talibam!'s ultimate goal has been to wed disparate ideologies through proficiency, controversy, inquiry, and compassion. Every Talibam! album attacks from a different angle, Endgame continues this tradition of each new release sounding completely different from everything they've done before, as does HARD VIBE (ESP5015), which will be released on the same day.
Talibam! has made a geopsychic prediction: after it expires in 2048, the Antarctic Treaty System will be rejected. As the rest of the planet will have been rendered uninhabitable due to wars rooted in overpopulation, global warming, and the relentless exploitation of diminishing resources, human interference and the failure to ratify will lead to international war over the sovereignty and control of Antarctica's vast resources. Endgame of the Anthropocene is Talibam!'s first cinematic album of through-composed ecogothic geosonics. It is the soundtrack to 2048's despotic nationalism and crumbling international infrastructure, underscoring an eco-mercantilistic tragedy and the desperate plundering of the last pristine landscape on Earth. This inevitable destruction of Antarctica's purity marks theglobalenvironmental endgame of the Anthropocene. Endgame of the Anthropocene is a dystopian sonic pronouncement of failed socio-environmental memes, and features Talibam!'s emergence into hyperkinetic rhythm-based instrumental/ electronic music. Syncopation via polyrhythmic electronic drum and synth pads create corporeal dance floor beats that would make a super computer perturbed. Kevin Shea is a master of cyber swing and ecowar rhythm — on this record, he keeps it android yet anthropoid, like Aphex Twin meeting a hologram Phil Collins. Keyboardist Matt Mottel anchors wide sweeps of analog synthesis — his sonic palette oscillating between the Silver Apples, Sun Ra, and Arca via an Arduino beta bass drop. This music is hallucinatory composition — electronic muzik via an ethnographic sonic landscape influenced by Parmegiani, Don Cherry, Front 242, Hailu Mergia, Vangelis, Suicide, Islam Chipsy, Stockhausen and DJ Shadow.

Personnel/Credits: Matthew Mottel: Fender Rhodes,synthesizer, Matt Nelson: tenor saxophone, Kevin Shea: drums, Ron Stabinsky: Hammond B3 organ, John Olson (Wolf Eyes): Overview: Talibam! delights in creating music that cannot be pinned down within the safe-spaces of existing genres. With each new album, Talibam! reinvents their methodological palette in order to bolster a fresh clarity of joyous auditory surprise, something their fans have come to depend on. Talibam! focuses on compositional clarity, with reverence for their diverse interest in genre. On this new album they push the pulse of Motorik rhythm through a Psychedelic Jazz filter. This time out, they have created a sonic edifice so radical, so intricate in its density, that additional hands were required to bring it to life, thus was born the Talibam! Hard Vibe Band with Matt Nelson (Battle Trance, tUnE-yArDs) and Ron Stabinsky (Mostly Other People Do the Killing, Peter Evans Quintet, Relâche) joining Mottel (CSC Funk Band, Alien Whale, Nymph, Platinum Vision) and Village Voice "Best Drummer in New York" Shea (Mostly Other People Do the Killing, Rhys Chatham, People featuring Mary Halvorson). The scientists in the Talibam! laboratory describe the results thusly: The HARD VIBE composition transforms aspects of rhythm changes into a disciplined sequence of minor key modulations to create a rigorous Hard Vibe obstacle course for the soloists over a tight melodic/rhythmic grid. Inspired by Herbie Hancock's '70s cosmic music, long-form repetitive works such as Miles Davis's On the Corner, Charlie Parker's "Salt Peanuts," Tenor Sax endurance soloists, Albert Ayler's New Grass, the legendary organ brutality of Larry Young, and the NYC Avant-Garde Rock Minimalism of Rhys Chatham and Glenn Branca, Hard Vibe maintains an infectious pulse with virtuosic structural jazz improvisation. The Jan Hammer/'80s soundtrack-inspired Keytar payoff (second half of side B) brings festival audiences to its feet in epic dance and ripping solo proportions.

But those are inspirations more than ingredients. As we at ESP-Disk' are fond of saying, "You never heard such sounds in your life."

Tracing the musical heritage of the Caribbean, Zara McFarlane explores her interconnected vision of the diaspora.

On Arise , Zara McFarlane returns to a buoyant UK jazz scene with a head-turning third album. Exploring the musical possibilities of British-Jamaican identity, it's a cultural exchange that's born of London's current musical climate. Released on Gilles Peterson's Brownswood Recordings, it sees her working with much-feted drummer and producer Moses Boyd. Both rose through London's Tomorrow's Warriors programme, a finishing school for many young vanguards of the live, ascendant jazz scene springing up across the UK capital. Sharing Caribbean family heritages, it's a product of their joint exploration of the meeting points between jazz and the rhythms of Jamaica, reggae, Kumina, calypso and nyabinghi, shaded with hints of the psychedelic.

Zara's breakthrough 2012 track, a jazz cover of Junior Murvin's 'Police and Thieves', provided a jumping off point to further explore the blurred, colourful territory in between jazz and roots-reggae. Covering Nora Dean's 'Peace Begins Within', she breathes a syncopated groove into a soulful, reggae classic. A beautifully poised version of the Congos' Fisherman teases out the poignant lyrical content of the 1977 classic. Meanwhile new, original compositions from Zara, like 'Fussin' and Fightin'' and 'Freedom Chain', combine a deep, reverberating bass with a steady-stepping roots rhythm. Album opener 'Ode To Kumina' touches on the kumina tradition brought to Jamaica by indentured labourers from The Congo in the later part of the 19th Century. Part of Zara's deeper research into her Caribbean heritage, it alludes to a deep-rooted culture encompassing music, dance and religion.

Similarly, 'Silhouette' arose from that same research, in this case, however, it was about how records and documents often get lost in Jamaica. It kind of came out of the idea of black history and blackness and feeling like you're trying to find yourself,' she explains. Trying to be proud of your history and who you are. And never forgetting the things that brought you to where you are.' Alongside drummer Moses Boyd on production, the album features a stellar line up of some of the key players on the London scene Binker Golding on tenor sax, Peter Edwards on piano, Shirley Tetteh on guitar, Nathaniel Cross on Trombone and an unusually restrained turn on Clarinet from Shabaka Hutchings.
Shared between all of them is a tendency to find the common points between different musical ilks: from US hard bop jazz, to dub and London-rooted hybrids and permutations, the band on Arise reflect the musical diversity of their home. Boosted by new platforms, like East London showcase Church of Sound and a newly-refreshed Jazz Café, the record surfs the momentum currently propelling jazz-influenced music in the UK.

For Zara, Jamaica's musical legacy is deeply intertwined with her sense of the place itself. Spending whole summers in the hills of Jamaica, it's the sounds and smells which she most vividly associates with her stays there. In particular the local sound systems which were an everyday feature of the local area, be it in shops or bars, each of the small local shacks would have a sound system where they'd play music through the day and evening.

From where my nan used to live, in Cauldwell there's a sound system almost opposite her house,' she says. So you feel this boom of the bass, and then all the smells of the hills and the greenery of Hanover. When you land in Jamaica and you go to walk off of the plane, the heat and the smells hit you and it feels like home away from home for me. When I hear Jamaican music, these are the senses that come.'

For decades, if you wanted to listen to great music all you needed to do was stare at a screen! TV and film soundtracks were often the work of US legends such as Lalo Schiffrin, Oliver Nelson & Quincy Jones, and their Uk counterparts Ronnie Hazelhurst and Alan Hawkshaw, provided the soundtrack to the 60's & 70's at a time when film and TV music was unashamedly funky and featured the ensemble of choice for the jazz arranger.. the big band!

A 21st century musician with comparable skills is Andy Tolman - an astounding bass player, but also highly adept at writing & arranging for a big band and who is heavily influenced by those greatest practitioners of the art. Andy met to Nick van Gelder (the original Jamiroquai drummer) and keyboard guru Carl Hudson whilst doing a run of gigs backing artists like Leon Ware and Jean Carne. Andy played Nick You What! and he asked if he could lay a drum track down and at around the same time Carl offered his services on the record also. Nick went on to drum on the entire album and produce the recordings too.

At the tail end of 2011, when Freestyle Records A&R man Greg Boramans' compilation 'Sounds From The Soul Underground' was released the glorious noise of The Andy Tolman Cartel first came to public attention. The amazing track You What! had one foot in jazz-funk & the other in film & TV themes of the 60's and 70's, found champions in Jazz FM's Peter Young and BBC 6 Musics Craig Charles who both featured it on their radio shows heavily.

Andy himself takes up the story, "After You What! found it's way onto Gregs' compilation he asked me how many more tracks I had, I kind of lied (sorry Greg!) and said a whole albums worth. Having shot my mouth off I thought I had better set about delivering... a daunting prospect, and a promise I probably wouldn't have made had I been sober at the time. So I called upon the services of some of the amazing musicians I have worked with over the past few years. Move Over was the first song I heard Jo Harman sing and Stevie Watts award winning Hammond organ playing seemed like a natural fit too"

'Cypher' is indeed the perfect example of a natural fit of like minded musicians and their natural talents and the delightfully natural sound of a big band cutting loose that has not been heard for a long time making a welcome and long overdue return.

Afantastic 10' from the legendary jazz saxophonist, known as The Sound', Stan Getz.

Getz came to prominence in the 1940s working with artists like Jack Teagarden, Nat King Cole, Jimmy Dorsey, Benny Goodman and Woody Herman's Big Band. However he is probably best known for popularizing bossa nova, particularly through the release of the worldwide hit single "The Girl from Ipanema" performed with Astrud Gilberto who Getz worked extensively with, alongside her husband João Gilberto and Antônio Carlos Jobim.

Split Kick was originally released as a 10' LP in 1955 and features a group of classic standards, including 'On The Alamo', 'It Might As Well Be Spring', 'Fools Rush In' and 'Out Of Nowhere' - this reissue sees the release back on 10' vinyl, in its original format, for the first time since the 50s.

This year marks the 90th anniversary of his birth.

(printed innersleeve + download) One piano, two musicians, four hands. Music at the crossroads of minimalism, chamber music, contemporary jazz and impro.

One piano, two musicians, four hands. Music at the crossroads of minimalism, chamber music, contemporary jazz and impro.
In their new duo, the jazz pianist Christian Mendoza and classically-trained pianist Heleen Van Haegenborgh explore Bach's oeuvre, starting from Kurtág's transcriptions for four hands. This inspired them to make their own music, a mixture of compositions and improvisation. The result is a meeting of two worlds, a unique symbiosis of age-old music and the constant urge for renewal felt by two present-day improvisers.
Copper, their debut album, will be released March 3rd on the W.E.R.F. label, a mark of quality in Belgian jazz since 1993.

All original organic groove trip hop coming out of Cincinnati Ohio. Analog recorded, hard hitting vintage funk drums, thick grooving bass lines, meticulous guitar riffs, soulful electric piano's & Hammond organs create an original soundscape of emotion & groove. This music (we feel) is in a class of it's own. We are not trying to duplicate a sound of yesteryear but explore a distinct natural sound of our own. In 2016 Grimez brought some of Cincinnati's best musicians in the studio to record raw analog recordings using vintage gear. Guitarist Brad Myers currently has a phenomenal jazz cd out Prime Numbers.' Organ/Keyboard prodigy, J-SKillZ, is a frequent session musician for Hi-Tek. Tim Hensley is the drummer for The Cliftones, a reggae band that is touring and receiving well deserved national notoriety. The remaining musicians all have degrees in Jazz and perform in many shows throughout Cincinnati.

Berlin's Andromeda Mega Express Orchestra returns with its fourth album Vula'. Having celebrated their 10-year anniversary with a stunning series of concerts last year, the 18-piece's new full-length showcases a stronger focus on harmony and melody - and yet AMEO sound no less explosive or unpredictable than before.

It arrives gently, with shimmering lights, soft winds, sashaying melodies, and of course, the isotherms and isotheres function just as they should: All of a sudden, lighting strikes amid the concord of instruments, unforeseen energies erupt and upset the rhythmic scenery with elemental force. Making a combined effort to create sheltering patches of harmony within the unfolding drama, leader Daniel Glatzel and his 18-piece working band' set out to harness album #4: Vula' is out 09/07/ 2017 via Alien Transistor/Morr Music.

Another musical tour de force that connects too many dots, decades, traditions and genres to mention, Vula' is quite a different beast compared to its live predecessor or the orchestra's last studio effort Bum Bum' (2012): There's bigger, bolder strokes, and the compositions are linked by recurring motifs and harmonies, which is why the new LP sounds like one entity: It is ONE hour-long adventure that needs to be listened to in full. Listeners who just dip in and out won't be able to grasp it, I'm afraid,' says Glatzel. It takes concentrated listening from beginning to end with good sound to feel it out. It might sound somewhat anachronistic, but it actually reflects the working process, because there were so many hindrances and obstacles we had to overcome during the five years in which we worked on 'Vula'. And yet, despite all the hullaballoo I felt inspired to see it through: the music seems to tell us 'if you can't devote yourself to this, you're lost, but if you can, you're bound to experience this ride fully.'

A musical deluge of incredible breadth and depth, the title Vula,' taken from the Tumbuka language (spoken in the northern region of Malawi), indeed translates to tempest or thunderstorm: Compared to what we get in Germany, rainstorms in Malawi are actually a lot heavier - they really shake your senses,' says Glatzel, a frequent visitor of the area. The storms in Malawi are announced by playful winds that arrive in the sweltering heat, and the giant clouds soon erupt into downpours that can last hours. The sky is utterly black, as the loud rain keeps hitting the earth incessantly. Plus, there's the loud cracks of thunder, of course...'

Ranging from softly trickling melodies ( Lakta Makta Ha') and hazy interludes, the mood, vibe, and pace change faster than cloud formations come flying across the screens nowadays (e.g. qwetoipntv vjadfklvjieop' with its arrangement à la Helmut Lachenmann). In fact, even the flight of swallows is often misleading: head-nod bliss, motion picture soundtrack vibes, and even J.B. licks aren't mutually exclusive in these compositions, as AMEO showcase with J Schleia,' a track that nods both to Dilla/Grandmaster Flash and to Bach-era counterpoint techniques. Elsewhere, a pounding surf-rock beat metamorphoses over the course of 14 minutes ( In Light Of Turmoil'), only to see them return to patches that are surprisingly catchy and calm. The final applause turns out just as thunderous though, after the album ends with the vibrant and colorfully orchestrated Papaya Flyers IX Epsylon,' a live recording that already foreshadows the group's later collaboration with Hermeto Pascoal.

A work that's born out of turbulent times - both internally and externally,' Glatzel says that AMEO's fourth album is generally driven by an urgent search for some kind of truth, a feeling that pushes its way through countless layers.' In fact, one can actually hear that the entire process, from writing to intricate post-production, took almost five years: The album's somewhat vintage, almost dreamlike and unrealistic sound is due to the fact that a full year lies between recording and mixing', Glatzel explains. It resembles the feeling of looking back and experiencing the past all over again. There was an element of detachment, but at the same time I was able to see things in a clearer light.' And it's true: These puddles, rippled and ripped open by an onslaught of raindrops, do look even more magical in that sepia-hued light.

About Andromeda Mega Express Orchestra:

A self-organized, independent group of likeminded individuals, AMEO is unlike any other orchestra: It's a steadily working ensemble with a steady focus on experimentation. Comprised of 18 young, in-demand musicians hailing from various countries and musical backgrounds, its members have previously worked in constellations that couldn't be more diverse - including Ensemble Intercontemporain, Tony Allen's Afrobeat, Jazz-Legend Kenny Wheeler, Camerata Bern, The Notwist and post-conceptual artist Cory Arcangel. Daniel Glatzel, the orchestra's leader and saxophonist, has been the main composer over the last decade since it's inception in 2006, overseeing the groups three previous releases Live on Planet Earth' (2014), Bum Bum' (2012) and Take Off' (2009).
Besides playing concerts in internationally renown venues around the world, AMEO also hosts and curates its own genre-defying events such as their music festival Kosmostage', concert series and special projects with artists like Hermeto Pascoal from Brazil, tribal musicians from Malawi or the Latvian chamber orchestra Sinfonietta Riga'.

REPRESSED !!
Minds expanded and bodies soothed by Krakatau's deep spiritual eruptions, Growing Bin take us back to the beginning with three impressionistic jazz landscapes from the magical Merge. Inspired by childhood memories of an Iranian oasis, Jo Lienen let his fingers breeze over the keys like a warm shamal, leading him back through dusty streets and covered markets to his long forgotten Kashan..

Running a record label offers adiversified and challenging field of activity. This is particularly true when speaking of tiny independent re-issue labels where one, two or three guys have to take care of everything. Tracking down musicians, collecting their stories, writing the liner notes, creating the cover artwork, mastering the songs, promoting the release, communicating with pressing plants and distributors, and so on. Most of the tasks mean fun with the exception of one thing which nobody here at Tramp is keen on doing: writing the sales notes.

Far be it from us to praise our release to the skies. Naturally, we are pretty much convinced of the sheer quality of each song, otherwise we would not have invested so much time and efforts into completing those compilation albums. One thing which surprises us is that despite thousands of Rare Groove compilations on the market neither of the songs to be found here has been compiled elsewhere yet. A fact that not only fills us with pride but also determines our claim for the future. As for now we have done our homework and it is time to let the music speak so that the Gunn High School Jazz Reunion, Keither Florence, Robert Cote, Plas Johnson, Charlie Chisholm Boss-tet, and all the others get the recognition they so richly deserve for their talent and work.

When Tramp opened its doors in the early 2000s it was just for the fun of it. A business plan did not exist and nobody involved with the label had studied anything music related. It was just a bunch of crazy record collectors and music lovers with a simple idea: to share their favourite music with the world. Nobody could have known that this would last for 15 years - and there is no end in sight.

No musician embodies more the dramatic transformation in the British jazz scene over the past thirty years than Courtney Pine. His debut album, Journey To The Urge Within in 1987, was the first serious jazz album ever to make the British Top 40, notching up sales to qualify for a silver disc.

Aside from being the preeminent figure in the resurgence of British jazz, Courtney became a renowned presenter and broadcaster, best known for his long running radio show for BBC Radio 2, 'Jazz Crusade'. He was also awarded an O.B.E in the 2000 New Year's Honours, and was also made a C.B.E in 2009 for services to Music.

As an artist always looking to work outside of and across established musical genres, it is easier to list the musicians and artists he hasn't worked with, but now in 2017 Courtney releases brand new music featuring another British music legend of equal repute, his Freestyle Records label mate and an artist also honoured for his own creative endeavours, Omar Lyefook M.B.E.

Both tracks of this single are taken from Courtneys' forthcoming album Black Notes From The Deep - the 19th of his stellar career. The exciting and fresh interpretation of Herbie Hancocks' Butterfly demonstrates straight away that this is a dream team combination. With Alec Dankworth laying down the bass, Rod Youngs' drumming underpinning the groove, the song also gives the outstanding keyboards of Robert Mitchell space to stretch out - Omars fantastic vocal performance rides sweetly on top of the dreamy backing vocals of Charleen Hamilton - and of course Courtneys' flowing, imaginative and creative solo perfects this modern version of a much loved classic.

Rules is a brand new, collaborative composition by Courtney & Omar - the punchy drums and bass line patterns hints simultaneously at classic jazz and funkier club-centric sounds. Courtney cooks on tenor saxophone and also the organ - whilst Omar marinades the super catchy melody with that unmistakable voice.

As an introduction to the forthcoming album Black Notes From The Deep this single points the way to what 2 British legends, both exemplary in their own right - can come up with when joining forces.

REPRESSED !!
Operating on their own and free from outside control, the Melbourne trio ''Krakatau'' had gone further than ever before, diving deep into black holes and solar flares to create their own style of sun-kissed funk and moonlit jazz.

180g blue vinyl
A significant moment in the early career of Nina Simone came when she was invited to perform not just at a Town Hall, but the New York City Town Hall, one of the most prestigious venues in America. It happened on the night of 15 September 1959, when the young singer and pianist performed a selection of ballads, standards and traditional songs that perfectly suited her own musical tastes and talents. As a rising star and proud representative of African-American culture, Nina showed audiences and critics alike, her prowess as a commanding and gifted performer.

180g green vinyl

All he was buyin' was rags'n'old iron....' When Nina Simone waltzes into a song that exudes such bitter-sweet poignancy, her extraordinary singing voice sends chills down the spine and grips the imagination in a way few others can. The Oscar Brown Jnr. composition Rags And Old Iron was a perfect vehicle for Simone, and its inclusion on this 1961 solo album demonstrated her admiration for Brown's work as a lyricist, as well as his roles as a singer and activist.
It is one of a selection of superb performances that helped establish Nina's reputation as a singer and pianist whose
appeal would extend well beyond the realms of jazz and soul. Of course, these musical genres were the cornerstones of her work but, ultimately, she transcended categorisation. Simone was a woman of substance, a powerful personality and a singularly captivating artist.

180g purple vinyl

A thunderous, pounding piano signals the start of an electrifying performance at one of the world's most famous jazz venues: The Village Gate, home to dozens of visiting guest stars, but none quite so special as the girl they called 'The Amazing Miss Nina Simone.' It was one hot New York night in 1961 when the singer and pianist arrived at the club on the corner of Bleecker Street, Greenwich Village, for a gig that would become legendary, thanks to this cherished, on the spot 'live' recording. This performance emphasises Nina's joie de vivre and sense of humour - traits that offset her tendency towards anger and sorrow, and combine to make her such a commanding presence and magnetic, truly
amazing, performer.

180g blue vinyl

3x white vinyl

180g green vinyl
The Newport Jazz Festival at Rhode Island was first established in 1954 and quickly became one of the main summer happenings in America's jazz calendar. It became the place to be - a showcase for jazz performers, established stars and innovators alike... Nina Simone was booked to play the opening night at the seventh edition of the festival on 30 June 1960. However, it wasn't the best of times to appear there - it was the year when the hooligans made their way to Rhode Island to gatecrash the festival. These tussles caused the cancellation of several performances. But whatever the circumstances, Nina Simone was confident that she could make an impact. At the conclusion of Simone's set, the crowd rose to its feet and offered the kind of ovation that would only be surpassed when she returned to the festival again in 1966, causing an audience of 15,000 to stand and cheer.

For a quarter of a century, the James Taylor Quartet have set the standard for the coolest sounds in funky acid jazz. On dozens of mighty albums and at their legendary gigs at home and around the world, they've quietly becomea byword for distinguished British creativity.

Live show at Ronnie Scott's week after release