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High Plains is the duo of Scott Morgan and Mark Bridges.

Morgan, based in the Canadian Pacific Northwest, is predominantly known for his drifting, textured soundscapes released under the pseudonym LOSCIL.

Bridges is an accomplished, classically-trained cellist residing in Madison, Wisconsin.

The two met in Banff, Alberta while they were simultaneously there on residencies at the Banff Centre for the Arts in 2014. They first collaborated when Bridges contributed cello parts to Morgan's generative music app ADRIFT, recorded in Seattle in 2015.

In early 2016, the duo embarked on a collaborative set of compositions in the oxygen thin air of Wyoming, spending two weeks holed up in a refurbished school house in the town of Saratoga, where this album was recorded.

Inspired by Schubert's Die Winterreiseand the rolling landscapes of
their surroundings, the collaboration culminated in a collection of recordings that evoke a shadowy, introspective and dizzying winter journey.

Cinderland takes cues from classical, electronic and cinematic
musical traditions but is mostly a product of the rugged, mythic landscape; vast and sprawling with a wild, uncertain edge.

The recording was made with a portable studio and all sounds were sourced on site, most notably from Bridges' cello, the resident Steinway D piano, and field recordings collected from the local soundscape.

The results are a site specific, wide scope view of thehigh valley terrain the duo worked in, a mix of analog and digital, neoclassical and modern electronic sounds, a complemental series of tracks to become absorbed in, a truly deep listening experience.

The cover art forCinderland was created by London-based artist, Peter Liversidge.

The Italian funk god Luis Enriquez Bacalov is celebrated here with this unmissable 7-inch record, featuring two of his grooviest tracks ever: on the A-side, the legendary CARREFOUR is maybe his funkiest soundtrack piece, here released for the first time in its entirety, with an unexpected introduction via a powerful horn section, which was cut from the original 1976 RCA 7''. Behold an eternal jazz-funk masterpiece with solid drum breaks and hip hop heavy beats, funky congas, wah wah guitar, psychedelic organ. This track was used for the 1976 movie Colpita da improvviso benessere', directed by Franco Giraldi, but was originally conceived for the 1974 movie Sistemo l'America e torno' by Nanni Loy. For the B-side, we have chosen from this same score another killer groovy track which was already compiled on our ESTERNO NOTTE Vol. 1 compilation.

SISTEMO L'AMERICA E TORNO - SEQ. 7 has a tremendous rhythm section, a wonderful guitar riff, psychedelic flute, and

stunning Hammond organ solos. This is another future classic from the golden age of Italian soundtracks, and an absolute must-have for any and all jazz-funk DJs worldwide!

One of the rarest and most sought-after Italian holy grail soundtracks ever is finally back from the grave! Originally released in

1966 on Beat Records (45-BT 024), the KRIMINAL main theme was written by Romano Mussolini (Raymond Full in the

opening credits) and Roberto Pregadio for this sleazy crime-pop movie directed by Umberto Lenzi, and based on the cult Italian

comic hero. Actually, this could be considered one of the best swinging jazz-beat themes from the 60s, with its wonderful horn, acid vox continental organ, and terrific rhythmic guitar. On the B-side, we have another jewel from 1960s Italian spy-pop cinema: the main theme of Il cobra' (from the Mario Sequi's movie). This swinging and uptempo jazz-beat piece, written and conducted by the Spanish composer Antón García Abril, is a poisonous shake with a supergroovy mood - a doublesided

floor-filler, not to be missed by any serious soul-jazz DJ.

Ideologic Organ is proud to present the brand-new recordings from The Necks, the legendary Australian trio who excel in bypassing musical cliche whilst exploring and extending the practices embedded within improvisation, jazz, post rock, ambient, minimal, and textural, 'sound based' music.

The latest document from this long-running ensemble, Unfold, presents itself as a double LP, with four side-length tracks. A deliberate absence of numbered sides hands a substantial swatch of participation over to the listener, allowing her to navigate his own path through the soundscape at hand. The shorter length of the vinyl format, far from being a constraint upon the members of the ensemble, instead offers them a more compact horizon to contemplate, wherein the distance travelled is recalibrated to more immediate and dynamic textural concerns.

The immediacy of Rise confirms this new path, as the mournful tones of Lloyd Swanton's bass swirl around Chris Abrahams' crystalline piano motif, with Tony Buck's percussion steering proceedings into enlightening free-jazz territories. Blue Mountain cuts a swathe through the sonic undergrowth, with soul organ, rattling percussion, whistles, and loping sound-waves all vying for the foreground. Overheard retains a sublime melancholic aura as the percussion and keyboards simultaneously embrace and fall apart, whilst Timepiece skips along as a gentle gesture of further possibilities.

Exactly how The Necks conjure their particular magic - as deceptively simple as it seems - whilst always moving forward, is anyone's guess, but Unfold proves yet again that rules and schools are to be broken and re-formed into patterns and frameworks unlike those we know.

A sensational mix of West African afrobeat tradition and contemporary European urban culture, reminding us of Ebo Taylor, for the traditional element, and Hugh Masekela for its mix with jazz. Daniel Dzidzonu takes it further down the jazz road and introduces even rock and fusion. As a result this record is one of the key albums of the new afrobeat generation, or in the case of Daniel, the Afro-European generation of today.

More than 10 years already, Hijaz, an instrumental Arabic jazz combo, is searching for the perfect symbiosis between Mediterranean warmth, polyrhythmic structures and musical virtuosity. In a tight formation of four core musicians, Hijaz captured the magic of the moment during two live sessions in Brussels and Antwerp. The result of those recordings is an album celebrating the 10 years of existence of the band. The album consists of new and old material and will be released on the 31st of March 2017, exclusively on vinyl.


After Dunes (2008), Chemsi (2011) and Nahadin (2014), Hijaz developed a very personal musical language where Arabic scales refer to the Tunisian roots of oud player Moufadhel Adhoum, and where the assymetric grooves find their roots in the Greek origin of piano player Niko Deman. It is the dialogue between piano and oud that lays the foundations of the music, supported by percussion and double bass, occasionally enriched with flute.

Belgian composer, arranger, pianist and keyboardist Koen De Bruyne (1946-1977), brother of celebrated singer and songwriter Kris De Bruyne, had his own — unfortunately short — stint in the field of pop, jazz, fusion and funk in the 1970ies. He rose to the scene as a wanted session and live musician for local heroes such as Johan Verminnen, Will Tura, Ferre Grignard, Mad Unity, Black Blood and his brother Kris. In 1974, after some years in the trade, Koen De Bruyne debuted as a solo artist. The inspired epic 'Here Comes The Crazy Man!' undeniably proves he was much more than a gifted 'hired gun'. He gathered a fabulous line-up for the recording sessions, featuring three members of the legendary Placebo (Marc Moulin's jazz/funk outfit). Recorded in the renowned Brussels Madeleine studios with some of the most prolific and inventive of his contemporaries, HCTCM! is a truly exceptional and imaginative record and has gained the status of sought after cult classic decades after its release. Koen De Bruyne's only real album to have seen the daylight is a rare Belgian gem, one that stands the test of time and is waiting to be rediscovered by new generations of listeners.

During our research for the reissue of HCTCM! in 2015, we were lucky enough to get in touch with Koen's brother Kris De Bruyne, one of Belgium's most influential singer songwriters. Kris dug up quite a bit of unreleased treasures from the family vaults. One of the tapes included these 4 majestic solo piano improvisations. One of the tracks has posthumously been included on Kris' album Ballerina's (the album Koen was producing when he passed away), the other three had vanished ever since. We are proud and grateful to be able to release these outstanding compositions for the first time on vinyl, remastered from the original tape. These almost impressionist improvisations shed yet another light on the brilliant and versatile composer and musician Koen De Bruyne.

Hidden treasure coming to light: restored and newly mastered album full of unreleased music from Copenhagen by the godfathers of Danish modern jazz, "Jazz Quintet 60", fluidly playing hard-bop to American standards - fresh, highly creative and cleverly arranged. Final chapter in the history of a simply remarkable and legendary band recorded 1962-1963, featuring Allan Botschinsky, Niels Husum, Bent Axen, Niels-Henning Ørsted Pedersen and Bjarne Rostvold. Transferred from reel-to-reel tapes found in the collection of Niels Husum, with original photos provided by Allan Botschinsky. Comes as limited vinyl LP and 6-page digipack-CD/ digital album with four additional tracks.

The release of this album represents nothing less than a hidden treasure coming to light. In early 2016, and much to our surprise, some old reel-to-reel tapes were handed to us by Peder Hansen of Little Beat Records, Denmark. He knew how much we were into this music and hearing and transferring the tapes for the first time in June 2016 in Berlin was deeply impressing. Equally, having the opportunity to see some original photographs from that period, kindly provided by Allan Botschinsky and Inge-Lise Husum, proved an additional thrill. Now, after decades in the vaults, we are pleased to present a restored and newly mastered album full of unreleased music by the godfathers of Danish modern jazz - "Jazz Quintet 60" (or "Jazzkvintet 60", as it was known in Danish) - the final chapter in the history of a simply remarkable, legendary band.

Jazz Quintet 60 was founded in 1957 as a small section of the Danish "Ib Glindemann Orchestra". Led by trumpeter Allan Botschinsky and initially performing under the name "Jazz Quintet 58", they made their first recordings for an EP released in January 1958. The group was later renamed "Jazz Quintet 60" for later releases and concert performances. In a short timespan, they managed to develop into a perfect band, fluidly playing hard-bop to American standards. Their music as well as their own compositions were fresh and highly creative, cleverly arranged and, most of all, well played.

They usually performed in the heart of Copenhagen, at the clubs "Montmartre" and "Vingaarden", that would eventually become meeting points for the development of modern jazz in Denmark. During the pre-Beatles era, new styles like cool jazz and hard-bop were flourishing. While more and more American musicians settled in Copenhagen, nearly all of the quintet members also played in the "Danish Radio Jazz Group", established in 1961 by the Danish Broadcasting Corporation (DR) and led by the first bassist of "Jazz Quintet 60", Erik Moseholm. The radio group was regularly joined by well known international soloists like Dexter Gordon in a series of concerts. Stan Getz, Oscar Pettiford, Gordon and also Sahib Shihab had all moved to Copenhagen because of this new climate for jazz that was thriving at the time.

On the other hand, only a small number of Danish jazz records were released during the early 1960s. At the time of the unknown recordings presented here, the late "Jazz Quintet 60" featured Bent Axen on piano, Allan Botschinsky on trumpet, Niels Husum on tenor saxophone, Niels-Henning Ørsted Pedersen on bass and Bjarne Rostvold on drums. As Erik Wiedemann points out in his sleeve notes for the first modern jazz release from his home country on the Danish "Debut" label, "Bent Axen has achieved the seemingly impossible by keeping a jazz group with two horns - the 'Jazz Quintet 60' - working on a permanent basis without making even the slightest commercial concessions".

Allan Botschinsky was leading soloist in the band. He had studied music in the US and had played together with big American names in Copenhagen, e.g. Stan Getz, Dexter Gordon and Brew Moore. Pianist Bent Axen intended to become a veterinary surgeon, but ended up finding a career in jazz instead. As early as 1951, he had occupied the piano chair in the leading Danish jazz orchestra of Jonny Campbell. Later he recorded with Eric Dolphy. According to Down Beat magazine, jazz master Ray Brown described the young Niels-Henning Ørsted Pedersen as one of the most important bass talents he had ever heard.

"NHØP", as he was later called, would in fact develop into one of the world's best jazz bassists with an impressive concert and recording career, starting as a mere 16 year old schoolboy with "Jazz Quintet 60". In the late 1950s, outstanding drummer Bjarne Rostvold was performing jazz on a daily basis as a key member of the Jørgen Grauengaard-Ensemble. He also played and recorded with his own trio, usually featuring Botschinsky and NHØP. Tenorist Niels Husum was featured on all regular releases of the quintet and later appeared on fantastic Danish recordings with Sahib Shihab and Palle Mikkelborg.

Four impossible to find vinyl EPs by the quintet had been released on several small labels in Denmark only. Their first LP, solely entitled "Jazz Quintet 60", was recorded in July 1962 in Copenhagen and was released on the Danish Metronome label in the same year - a true holy grail of hard-bop in Europe. The group collaboration was short-lived, however, by 1963 and after a mere four years of playing together, "Jazz Quintet 60" disbanded. Shortly before going their separate ways, they recorded a couple of radio farewell programs.

In August 1963 and after a Swedish tour with female singer Gitte Hænning, the quintet came together for its last studio recordings, released on a second and final album, entitled "Presenting Jazz Quintet 60" (Fontana). Needless to say, original copies of both LPs exchange hands for a small fortune today, while even Japanese reissue albums have become scarce. Against this background, we now hope you will enjoy this band's additional "lost album" as much as we enjoyed putting it together. Lastly, thanks to everybody who supported this unexpected release, and most of all to Little Beat Records for providing the impetus behind it all.

Ekkehart Fleischhammer, December 2016

Hidden treasure coming to light: restored and newly mastered album full of unreleased music from Copenhagen by the godfathers of Danish modern jazz, "Jazz Quintet 60", fluidly playing hard-bop to American standards - fresh, highly creative and cleverly arranged. Final chapter in the history of a simply remarkable and legendary band recorded 1962-1963, featuring Allan Botschinsky, Niels Husum, Bent Axen, Niels-Henning Ørsted Pedersen and Bjarne Rostvold. Transferred from reel-to-reel tapes found in the collection of Niels Husum, with original photos provided by Allan Botschinsky. Comes as limited vinyl LP and 6-page digipack-CD/ digital album with four additional tracks.

The release of this album represents nothing less than a hidden treasure coming to light. In early 2016, and much to our surprise, some old reel-to-reel tapes were handed to us by Peder Hansen of Little Beat Records, Denmark. He knew how much we were into this music and hearing and transferring the tapes for the first time in June 2016 in Berlin was deeply impressing. Equally, having the opportunity to see some original photographs from that period, kindly provided by Allan Botschinsky and Inge-Lise Husum, proved an additional thrill. Now, after decades in the vaults, we are pleased to present a restored and newly mastered album full of unreleased music by the godfathers of Danish modern jazz - "Jazz Quintet 60" (or "Jazzkvintet 60", as it was known in Danish) - the final chapter in the history of a simply remarkable, legendary band.

Jazz Quintet 60 was founded in 1957 as a small section of the Danish "Ib Glindemann Orchestra". Led by trumpeter Allan Botschinsky and initially performing under the name "Jazz Quintet 58", they made their first recordings for an EP released in January 1958. The group was later renamed "Jazz Quintet 60" for later releases and concert performances. In a short timespan, they managed to develop into a perfect band, fluidly playing hard-bop to American standards. Their music as well as their own compositions were fresh and highly creative, cleverly arranged and, most of all, well played.

They usually performed in the heart of Copenhagen, at the clubs "Montmartre" and "Vingaarden", that would eventually become meeting points for the development of modern jazz in Denmark. During the pre-Beatles era, new styles like cool jazz and hard-bop were flourishing. While more and more American musicians settled in Copenhagen, nearly all of the quintet members also played in the "Danish Radio Jazz Group", established in 1961 by the Danish Broadcasting Corporation (DR) and led by the first bassist of "Jazz Quintet 60", Erik Moseholm. The radio group was regularly joined by well known international soloists like Dexter Gordon in a series of concerts. Stan Getz, Oscar Pettiford, Gordon and also Sahib Shihab had all moved to Copenhagen because of this new climate for jazz that was thriving at the time.

On the other hand, only a small number of Danish jazz records were released during the early 1960s. At the time of the unknown recordings presented here, the late "Jazz Quintet 60" featured Bent Axen on piano, Allan Botschinsky on trumpet, Niels Husum on tenor saxophone, Niels-Henning Ørsted Pedersen on bass and Bjarne Rostvold on drums. As Erik Wiedemann points out in his sleeve notes for the first modern jazz release from his home country on the Danish "Debut" label, "Bent Axen has achieved the seemingly impossible by keeping a jazz group with two horns - the 'Jazz Quintet 60' - working on a permanent basis without making even the slightest commercial concessions".

Allan Botschinsky was leading soloist in the band. He had studied music in the US and had played together with big American names in Copenhagen, e.g. Stan Getz, Dexter Gordon and Brew Moore. Pianist Bent Axen intended to become a veterinary surgeon, but ended up finding a career in jazz instead. As early as 1951, he had occupied the piano chair in the leading Danish jazz orchestra of Jonny Campbell. Later he recorded with Eric Dolphy. According to Down Beat magazine, jazz master Ray Brown described the young Niels-Henning Ørsted Pedersen as one of the most important bass talents he had ever heard.

"NHØP", as he was later called, would in fact develop into one of the world's best jazz bassists with an impressive concert and recording career, starting as a mere 16 year old schoolboy with "Jazz Quintet 60". In the late 1950s, outstanding drummer Bjarne Rostvold was performing jazz on a daily basis as a key member of the Jørgen Grauengaard-Ensemble. He also played and recorded with his own trio, usually featuring Botschinsky and NHØP. Tenorist Niels Husum was featured on all regular releases of the quintet and later appeared on fantastic Danish recordings with Sahib Shihab and Palle Mikkelborg.

Four impossible to find vinyl EPs by the quintet had been released on several small labels in Denmark only. Their first LP, solely entitled "Jazz Quintet 60", was recorded in July 1962 in Copenhagen and was released on the Danish Metronome label in the same year - a true holy grail of hard-bop in Europe. The group collaboration was short-lived, however, by 1963 and after a mere four years of playing together, "Jazz Quintet 60" disbanded. Shortly before going their separate ways, they recorded a couple of radio farewell programs.

In August 1963 and after a Swedish tour with female singer Gitte Hænning, the quintet came together for its last studio recordings, released on a second and final album, entitled "Presenting Jazz Quintet 60" (Fontana). Needless to say, original copies of both LPs exchange hands for a small fortune today, while even Japanese reissue albums have become scarce. Against this background, we now hope you will enjoy this band's additional "lost album" as much as we enjoyed putting it together. Lastly, thanks to everybody who supported this unexpected release, and most of all to Little Beat Records for providing the impetus behind it all.

Ekkehart Fleischhammer, December 2016

The arrival of Marvin Parks on today's musical scene is a perfect addition to the renaissance of the Afro-American Jazz Crooner panorama, deeply rooted in the Black Music tradition. Having his roots in Gospel and in the '50s and '60s jazz singers by the likes of Nat King Cole, Johnny Hartman and Joe Williams, Marvin Parks yet remains by all means an artist of today. In his debut Marvin shapes his light baritone colors within the sound of a well-established group of musicians under the direction and production of Nicola Conte, giving a different light to well-known standards and some originals.

"I could listen to the album everyday for the rest of my life" - Madlib.

For a very long time, we have been trying to re-issue this record, a true and complete album masterpiece in every sense of the word, considered by many people to be one of the greatest ever made, regardless of genre.

Recorded at Studio Somil, Rio De Janeiro in 1972, the album was produced, arranged, directed by the self-taught, Arthur Verocai. Previously he had worked on many records in various capacities, with artists including Jorge Ben, Ivan Lins and Celia, this album gave him the chance to do his thing in it's
most pure form.

The 29 minute masterpiece, perfect in it's arrangement and fusion of sonics, epitomises the sound of Brazil at the time, strings, guitars, pianos, break beats, basslines, synthesizers, vocals from the wonderful Célia and percussion from Pedro Santos. Bossa nova, samba, jazz, MPB, psychedelics and funk sit side by side effortlessly.

The album transcends the genre of Brazilian music, and infact all genres. Highlighted in part by the number of artists that have sampled from it, MF Doom, Ludacris & Common, Little Brother, Jneiro Jarel aka Dr Who Dat, Dibiase and Action Bronson amongst others.

The original Continental versions of the album now fetch around $2000. Our definitive re-issue is an exact replica of the gatefold original LP and the source master is taken from the Continental tapes, re-mastered in 2012 under Arthur's supervision.

Hu Vibrational's new album mixes deep percussive African rhythms and Afro - Jazz with elements of hip-hop and electronica. Recorded and mixed at Bill Laswell's state of the art studio, this is the fourth album by Hu: Vibrational and for those who bought the previous 3 releases this will not disappoint! Produced and mixed by Adam Rudolph together with longtime Laswell engineer James Dellatacoma, the album features 7 world percussionists along several special guests including Bill Laswell hitting the deep pockets on bass plus Norwegian guitar whiz Eivind Aarset creating ethereal electronic palettes.



Joining Rudolph in the groove department are the percussionists from his Go: Organic Orchestra project: Brahim Fribgane, James Hurt, Matt Kilmer, Tim Kieper, Keita Ogawa and Tripp Dudley. Each of these great drummers has performed extensively worldwide, here they perform Rudolph's rhythm compositions on a wide variety of world percussion. The tracks were then electronically processed and transformed in the mixes into a true ancient to future expression, a dance music style Hu calls Boonghee Music'. With 2 acclaimed releases on Soul Jazz Records (Beautiful and Universal Mother) and Scott Heren's (Prefuse 73) Eastern developments label, Hu Vibrational's deep spiritual music draws on the links between Africa, Jazz music and avant-garde Hip-Hop.



Adam Rudolph is known for work with Don Cherry, Pharaoh Sanders and other great jazz artists, as well as his 25 year partnership with the legendary Yusef Lateef. He currently also leads his Moving Pictures Octet and the 36 piece Go: Organic Orchestra.



Almost 10 years since the last Hu Vibrational release of Boonghee Music', Rudolph turns his creative energies back to HU by creating a deep groove masterpiece - indeed, a vision of future dance music. As Tommy Chong so aptly puts it, When you hit a groove, it's not you, it's the spirit world.'

Personnel: Adam Rudolph: bata, slit drum, rebolo, gangkogoui, udu, percussion, Brahim Frigbane: cajon, tarija, udu, percussion, James Hurt: sogo, kidi, igbo bell, udu, percussion, Matt Kilmer: frame drum, djembe, kanjira, udu, percussion, Tim Kieper: dusun'goni, pandeiro, caxixi, udu, percussion, Keita Ogawa: earthtone drum, frame drum, hadjira, pandeiro, udu, percussion, Tripp Dudley: kanjira, cajon, bayan, frame drum, udu, percussion, Eivind Aarset: electric guitars, Steve Gorn: bansuri flutes, Bill Laswell: electric bass, Alex Marcelo: Fender Rhodes.

Julian Edwin Cannonball' Adderley, live from the Half Note, New York City, on 5th February 1965.

Having earned renown with Miles Davis (including contributions to the landmark Kind Of Blue in 1959), by 1965 Julian 'Cannonball' Adderley was well established as one of America's leading jazz saxophonists and composers. Originally broadcast on WABC-FM's Portraits In Jazz', this superb set also features his brother (and long-term collaborator) Nat on cornet, future fusion supremo Joe Zawinul on piano, and the brilliant Charles Lloyd on tenor sax.
It's presented here together with background notes and images.

Conceived, as its predecessors, as the ideal musical accompaniment to a packed dance hall, "Blue Latin" reinterprets a musical genre - jazz, of course! - which even decades ago was considered the dance music 'par excellence', and delivers it, extremely modernized, to the present day, contaminated by Afro-Cuban, Brazilian and Latin-jazz elements, all made fluid, compelling and above all..., danceable! The almost-meditative "Incanto" combines spiritual jazz influences and African atmospheres.



[C} A3 | Mulata

A good concert is like a journey. When it starts you might not know what episodes await you, but in your heart you can feel which direction it will take you in. The Miramode Orchestra offers just this type of enriching, exhilarating experience. Although they meander between coordinates including jazz, electronica and groove, the seven musicians can never be tied down to a single musical location. The sound created by a four-man rhythm section and three horn players is always flavoured by a certain ambition, but never fails to let souls fly and get bodies sweating!

Their debut album Restless City' announced the band as fans of both exploration and experimentation. Why break down barriers when you can simply soar over them - after all, they only exist in the mind. It is therefore no surprise that collaborations have already included not only a range of artists more at home in genres such as hip hop, soul and modern club culture, but also a string ensemble. The latter returned to the studio for the band's forthcoming album Tumbler', which is set for release in early 2017 on Agogo Records. There is a noticeable shift towards more song-like structures: The vocals of Inèz Schäfer, Dan Freeman, Mara von Ferne and the band's keyboard player Eren Solak are taking Tumbler to another level.

At times it is difficult not to hear a touch of Bon Iver, 4hero or Cinematic Orchestra. Yet just as listeners are ready to slot a song into a pigeonhole, the Miramode Orchestra whisks them away to a new, unexpected stop on their journey.

This release heralds the start of the 20th anniversary of Jazzanova as internationally renowned remixers. That is to say, it was in the summer of 1997 when the very first remix by Jazzanova was released, the one for United Future Organization's "Friends... We'll Be" on Gilles Peterson's founded label Talkin' Loud. Said remix can be found on the first edition of the by now accumulated to a trilogy compilation series. When the first part covers the early, yeasty years from 1997 to 2000, the second episode pays tribute to the years from 2002 to 2005 and the third sequel takes the last few years, the lapse of time from 2006 to 2016 to task. This decade as well was - as you can hear strongly by listening to this long player - a very prosperous, inspiring productive period for Jazzanova.

How fast time flies is displayed by these nine selected tracks from the last ten years. All of them still sound as if they have been released just yesterday. Starting with the remix of Listen To The Drums' by Outlines, which evolved into a worldwide club hit over the years, also thanks to the edit by Dixon. Most remarkably this work is already ten years old! The remixes of Furry Phreaks' "All Over The World" and Heritage Orchestra's "Skybreaks" also doesn't really sound like two tunes from 2007. Au contraire, this is the trademark sound of Jazzanova carving itself genre-spanning into eternity. Or who would dare to not declare the 2009 remix for Atjazz' - Parallels as an modern day dance floor classic And with the reworks of tracks by Hugh Masekela ("Stimela") and Joe Bataan ("Ordinary Guy") we have two actual funk/soul evergreens featured on this compilation's wonderful third edition. A must is obviously the inclusion of the remix for Believer' by Paul Randolph from 2007. It was this remix that was somehow the start of longterm relationship that culminated in Paul becoming the steady guest singer of Jazzanova and with whom they're touring worldwide since 2009. To top - Jazzanova - The Remixes 2006-2016 off there's the rework of the forgotten, but recently re-issued by Notes On A Journey Spinning Motion's Naze'.

And as a bonus track you are treated with a not yet released remix of Dimentica Domani by young, Italian singer-songwriter Malika Ayane. These are nine state-of-the-art remixes carrying Jazzanova's name deep into the next decade. Back to the future. Currently Jazzanova is focussing on finishing their third longplayer for 2017. Watch out.

The long-awaited follow-up to thier 2012 self-titled album is here!

Recorded in both Bogota and the Caribbean island of Old Providence, Ondatrópica are ready to announce their second record 'Baile Bucanero'.
Fuelled by bushy rum, the sessions, often including up to 35 musicians, captured the dialogues between Calypso and Gaita, Accordion and Lapsteel, Clave and Mandolin, even synthesizer and a horse's jaw bone.

Onom Agemo and The Disco Jumpers are finally back on track with their sophomore album - Liquid Love , a well psychedelic longplay effort jam-packed with captivating grooves of a bubbling, pumping, floating and defo frolicking and playful nature. - Liquid Love is also the name of the title track which can be described as a proper fancy ass, lime green glow-in-the dark cocktail served on dinghies throughout harbour boat trips to punters in full-on scuba gear. Coming from ancient days and weighing in some Malian heritage is - Kurifuna , a tune sporting quite tipsy bamboo flutes, long lost rhythm signatures and secret messages from Saturn. - Opus reflects the bands ardent enthusiasm and fascination for trance-inducing rituals performed by the Moroccan Gnawa people and is recommended to come to peace with one's innermost demons. Just pump up the jam and bop your head back and forth furiously. But hey kids, don't try this at home and without assistance as cataleptic conditions might occur.
With - The Disco Jumpers we're having a dance to the hymn of the most dedicated amongst all Onom Agemo-worshippers. And btw - if the bands name seems a little too off to get stuck in your head how about some backward reading If you're like #wtf now be assured that there's no deeper meaning intended. It just sounds fancy, outlandish and peregrine.
Also we see our time travelling guitar player contributing to this album with - Weird Panda King ,a song he might - or might not - have picked up throughout one of his trips to the 70s. And talking the 70s in general, the whole album incorporates bits and bops from the past, present and future, drawing influences from both very familiar and also faraway places. Just to name a few there's Krautrock, AfroFunk, traditional Moroccan Trance, Future Jazz and much more to be found. The Beatles excluded, though. Finally - Somebody is the icing on the cake - a quadripartite suite that was premiered at the occasion of the second Kosmos-Days event in Berlin. For this special musical piece the band was able to work with three local female pygmies which provided additional layers of most beauteous folkloristic rack- wheel chants to round off things nicely a.k.a. somebody is counting on universal help to get in touch with somebody. Well, things like that do actually happen. For sure.

West Africa's most iconic dance-band are back. A decade on from their last album and almost half a century since their formation, Senegal's Orchestra Baobab return with a timeless set of classic, swaying tunes fusing Afro-Cuban rhythms and African tradition in the group's trademark style.

Recorded locally in Moussa X's Dakar studio, the new recordings sound fresh and yet reassuringly familiar, retaining the ripeness of the sound that made Orchestra Baobab a legend but interpreted with a vigour and vibrancy, and with a few twists, that are vital and captivating.

As enduring as the mighty African Baobab tree from which the group derives its name, the veteran core of the band remains as strong and sturdy as ever. Vocalists Balla Sidibe and Rudy Gomis, saxophonists Issa Sissoko and Thierno Koite and the long-serving, rock steady rhythm section of Balla Sidibe, timbales, Charlie Ndiaye bass and Mountaga Koite on congas.

Alongside this impressive continuity there have been changes in the ten years since Baobab's last World Circuit album, 'Made in Dakar' - but they have been executed seamlessly. Guitarist Barthelemy Attisso, now a lawyer in Togo, is absent due to the demands of his day job but kora player Abdouleye Cissoko from the Cassamance region in southern Senegal is a welcome addition. It's the first time Baobab has numbered a kora player in its permanent ranks but Cissoko's rippling strings have blended seamlessly into the sound and lent a fresh dynamic. Elsewhere Baobab's distinctive two saxophone attack - which combines the vibrato laden declamatory style of Issa Cissoko with the softer more lyrical playing of Thierno Koite has been bolstered by trombonist Wilfried Zinzou and the young virtuosic guitarist Rene Sowatche, both from the fertile musical pastures of Benin.

Veteran vocalist Balla Sidibe is a commanding presence on the album with his triple threat of musical influences - Manding from Guinea/Mali, creole from Cassamance and Afro-Cuban. Two special guests memorably add their voices to the mix. Cheikh Lo dropped by the studio to add his soulful tones to 'Magno Kouto' and Thione Seck - who left Babobab in 1979 for a career as one of West Africa's biggest solo stars reunites with his old band mates for the first time in over 35 years to reprise his first hit 'Sey'.

'Tribute To Ndiouga Dieng' is dedicated to one of the bands original vocalists who sadly died in November 2016. His songs will continue to be sung with the band by his son Alpha. It represents the latest chapter in a long and storied career that started in 1970 when the newly-formed Orchestra Baobab helped forge Dakar into one of the world's most vital musical cities. Over the next decade the group dominated the local scene and produced countless hits before disbanding in the early eighties.

A huge groundswell of international interest in their original recordings - and in particular the acclaim that greeted World's Circuit's reissue of their legendary 1982 album 'Pirate's Choice' - led to the triumphant reformation of the band in 2001 and their award winning comeback album 'Specialist In All Styles'.

Since then they've toured the world to international acclaim and have now been back together as long as they were in the belle epoque of the group's first incarnation. This, their third album since their felicitous comeback produced by Nick Gold, Lamine Faye and Jerry Boys - is an irresistible mix of velvet harmonies, warm and heartfelt vocals, smoky sax and sweetly shimmering kora and guitar lines, expertly crafted and masterfully delivered with a poise and virtuosity built up over a lifetime.

We give you Orchestra Baobab: specialist in all styles, still going strong and still growing.

Wizards of Ooze was a Belgian band that released 3 albums between 1994 - 1999 and toured the whole of Europe. The bands sound is a mixture of different genres, combining elements from primarily soul, fusion and psychedelica. The Dipster was the bands debutalbum.

"Abbiamo tutti un blues da piangere" is Italian jazz-rock/fusion heroes Perigeo's second album: it goes on a slow but steady evolution over a solid rock basis, moving from the originary jazz component to a growing fusion side, with an increasingly dominant search of melody. A must for any Jazz and Progressive rock lovers!

* Kebko Music is Tokyo-based Akiko Kiyama's independent music label focusing on releasing avant-garde music which is not bounded by any specific genres but embraces the whole range of techno, experimental music, field- & live-recordings and classical music. The label owner established her name by Richie Hawtin featuring her track in his well-known DE9 Transitions mix in 2005. Since then, her music style has gradually changed to explore the edge of electronic music. The core of the label is based on small handcrafted editions of cassette tapes. It aims to give a chance for all of artists and listeners to explore their musical experience and creativity.

* Akiko Kiyama was born in Tokyo, Japan. Since her youth, she was surrounded by classic music education and had been playing piano for 20 years. Her music career has started since 2004 since her debut EP "Dimension" on Sud Electronic(London) which got great supports from renowned DJ & Musicians like Mad Mike, Richie Hawtin , Sven Vath, Ricardo Villalobos. And in November 2005, her track " Like Ancient" has been licensed by M-NUS records ,and is appeared on DE9 Transitions by Richie Hawtin. In 2007, She moved to Berlin to follow through with her commitment to dance music and to develop her style further. She also released several singles on reputable labels such as Contexterrior, Lick My Deck, etc and her first album "7years" came out on District of Corruption under Kompakt. Since then she has been playing in Europe, North & South America and Japan widely, including her main acts at Fabric London and Panorama bar Berlin.

* This is Akiko Kiyama's 4th full-length album, stemming from two years of exploration outside her established dance floor inclinations, boiling down her sound to its essential organic grooves, intricate harmonies and eery atmospheres. The nature of her organic grooves lies within inter-sound gaps, carefully crafted to lead the listener through time distortions and into an hypnotic solitary world where music is breathed, not played. A sound imprinted of a definitely human character and vigor, yet sometimes ambiguous, fleeting, and capricious. From her peculiar sense of harmony and rhythm, and a meticulous minimal approach to composition, emerges rich lyrical lines forming a unique musical universe that few has had the chance to hear yet.

Jimi Tenor has compiled a selection of afro jazz tracks that he has written and performed over the years with musicians Icelandic drummer, Helgi Svavar Helgason, Helsinki based guitarist/bassist and journalist Ilkka Mattila, legendary drummer Tony Allen, Cuban & Berlin based trumpeter Daniel Allen Oberto, Ethiopian/Finnish & Helsinki based percussionist Abdissa 'Mamba' Assefa (Itetune), Nigerian/German & Berlin based percussionist Akinola Famson, Helsinki based percussionist Mongo Aaltonen, American & Paris based spoken word artist/singer & painter Allonymous, Helsinki based flügelhornist Tero Lindberg, Finnish & Berlin based guitarist Kalle Kalima, Polish & Berlin based bassist Patrick Frankowski, British trombonist Hilary Jeffery and Ghanaian/German & Berlin based drummer Ekow Alabi Savage. Jimi Tenor, born Lassi Osmo Tapio Lehto in Lahti, Finland, who has been releasing recorded music for 30 years, plays several instruments as is his usual practice. He is credited for playing on the upcoming release Saxentric; acoustic guitar, acoustic piano, background vocals, bass kalimba, drums, drum programming, electric guitar, electric piano, flute, Hammond organ, Korg MS-20, Korg PolySix, Log-o-phone, Moog, organ, percussion, Photophone, plastic bongos, programming, shaker, synthesizers, tambourine, tenor saxophone, vocals and Walton organ.

Having already played on a film soundtrack with Miles Davis on Luis Malle's 'Ascenseur pour l'échafaud', Barney Wilen -- still barely in his 20s - got the opportunity to compose the score for another French film that used jazz as a background, 'Un Témoin Dans La Ville'. Judging by the present album the result is most convincing; one couldn't hope for a better marriage, so perfect is the way the music suits the image and vice versa.
The soundtrack is coupled on the B side with the more freely jazzy studio album 'Jazz Sur Seine', which teams Wilen with three-fourths of the original Modern Jazz Quartet (with Milt Jackson on piano only, of all things, Percy Heath on bass, and Clarke), plus the Latin percussion of Gana M'Bow.
Wilen gets more of a chance to stretch out and reveal his swinging, warm tenor tone; Jackson is quite competent as a comping accompanist and in fairly fluent, right-handed bop flurries.

This selection is drawn from Billie Holiday's recordings of the mid-1950s. Her voice possessed a unique presence, a sound that seems lit up by a resilient vitality. Producer Norman Granz set Holiday among the small jazz combos that suited her talents best, groups that included some of the finest soloists of her generation, such as trumpeter Harry Sweets' Edison and saxophonists Benny Carter and Ben Webster. Granz also supplied ideal rhythm sections, with pianist Jimmy Rowles and guitarists Kenny Burrell and Barney Kessel making appearances here. There's more room to stretch out than was available on the early Columbia and Commodore recordings, and the results are relaxed and profound treatments of some great songs.

The French-born Edgar Varèse (1883-1965), believed music to be both an art and a science. His pioneering use of electronic instruments like the theremin, along with his theory of 'organized sound' has earned him the impressive title of 'Father of Electronic Music'. Varèse spent the early twenties as a starving composer in NYC, writing works like the percussionless 'Octandre' and 'Intégrales', his first piece to use the term 'spatial music'. Upon returning to Paris in 1928, he composed the celebrated 'Ionisation', the first piece ever written for an entirely percussion ensemble (13 percussionist playing 40 instruments). His 1936 piece, 'Density 21.5', written for solo flute for the premiere of George Barrère's new platinum flute, is one of the great masterpieces for unaccompanied flute. It is also one of the only compositions written by Varèse during this decade. His next major work, 'Déserts', was in fact not written until 1950. It was the first piece ever written for magnetic tape and orchestra and was meant to be the soundtrack to a film which would juxtapose images of actual deserts with images from past wars (the great 'deserts' of civilization).

Masahiko Satoh's fourth album is a duet with German pianist and composer Wolfgang Dauner. Dauner is one of very early European avant-garde jazz pianists, and he recorded the first free jazz album in Germany back in 1964. Dauner played with Eberhard Weber and Jean-Luc Ponty, and in the late 60s, he experimented with choral music. Being a passionate innovator and experimenter, in 1970 he discovered electronic devices and started using them in his music. He experimented with ring-modulated Hohner clavinets and pianos and recorded several albums for ECM. During his Japanese tour in spring 1971, he met one of the most advanced Japanese pianists of that time, Masahiko Satoh.

The five compositions on this album were recorded in Tokyo in March 1971, but were not released until that autumn. It's interesting that a few months later, Masahiko Satoh will record and release his best known, and in some sense, legendary album ' Amalgamation' - an eclectic mix of musical genres and sounds, which was probably influenced by his earlier collaboration with Dauner.

'Pianology', released soon after 'Amalgamation', wasn't as strong in comparison, and stayed in its shade for decades. 'Pianology' is a collection of free form classical and jazz piano duo improvs, spiced with ring modulator sounds. Quite bland in its compositions, this album's main value is its revolutionary (for the time) use of electronic devices in jazz, which is only interesting in a technical way, rather than musical, at least on this release.

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The acoustic debut album Udopeia created by the band Pilots On Dope was issued by the Verve label in June 2014. The sound has its roots in Brazil's broad-ranging musical traditions, including bossa, samba and Afro Brazil, and evoking the golden age of the sixties. Consequently, the album went on to serve as the starting point for well-known mixers from the Pilots On Dope milieu.

Taking this development to a second stage, Udopeia - The Remixes is aimed at an audience accustomed to electronic beats but also with an interest in musical reflexes and retro influences. The new remix album cleverly covers this musical spectrum, from exotic Latin sounds through to contemporary electronic remix culture.

The Vienna Electronic movement, popular in the nineties, was a counterpart to the Nu Jazz movement which was emerging in Germany at the same time, and itself strongly influenced by offshoots of Acid Jazz. During the epoch-making close of the long-lasting Acid Jazz trend, a series of producers became established in Germany and England, drawing on elements of Latin, Brazil, easy listening, jazz and soul, and creating a veritable boom which went on to influence and inspire producers in Italy and France. Their Austrian equivalent was certainly the Vienna Electronic movement which triggered a literal downbeat cult, creating a distinctive genre with its striking funk riffs. Sampling, a by-product of Hip Hop, was certainly a key element in the resounding success of Kruder & Dorfmeister, the pioneers of Vienna Electronic.
Despite the reduced tempo, this trend would conquer the dancefloor, generating its own identity and a musical code - light and raunchy, underpinned with an atmospheric soundscape, and overlaid with a pulsing rhythm in the heartbeat of flickering sound densities. The remix project brings together a wide range of producers who made history with Vienna Electronic, in particular past master Richard Dorfmeister and artists from his G-Stone label including Stereotyp, Makossa & Megablast and Gümix. They are joined by fellow remixers such as Shanti Roots and the Pilots Gerald Tomez (Vienna Scientists) and Gerhard Gigler (DJ Bunani). The newcomers Shantisan, Ksawa and Corrado Bucci from Brescia bring with them promising credentials and refreshing contributions.

Formed in 1971 by future MAGMA keyboardist, Jean-Pol Asseline, with musicians from the jazz and jazz-rock fields, this unique LP from Rhesus O will probably find a place between SOFT MACHINE albums in your record collection!

Brian Auger, the London born keyboard genius & musical pioneer, lauded and loved by everybody from Herbie Hancock to Mose Allison, from the Brand New Heavies to The Beastie Boys, whose tracks have been sampled by Mos Def, Common, Air and Kid Loco, and his original compositions covered by Sarah Vaughan, Richard 'Groove' Holmes and he is the proud recipient of a US Congressional Award For Services to Jazz!

Since the 2015 release of volume one of Back To The Beginning - The Brian Auger Vinyl Anthology, it's fair to say that a whole new audience of fans and taste makers have joined the massed ranks of music lovers who were already aware of this great mans incredible, pioneering music and career that now spans over 50 years. After more sell out tours of the US, UK and Europe in the last 12 months, magazine features and an epic, 2 hour interview with Gilles Peterson on BBC 6 Music - more people than over now grasp what a genre busting, pioneering artist Brian is.

This second volume brings together not only remastered classics from Brian's' career, but also super rare, and previously unreleased tracks - specially selected for the vinyl version - the finger snapping, dance floor focused material for DJs & collectors who want their grooves pressed on wax!

Check out his blistering jazz piano tracks from the early 60's including Poinciana and Work Song, the barely known, late 60's Hammond organ & big band versions of jazz standards Moanin', Sister Sadie, and the incredibly gritty version byThe Trinity of Jimmy McGriffs' MG Blues, and the Big John Patton penned Funky Mama!

As well as Oblivion Express perennials such as Straight Ahead, Inner City Blues and Happiness Is Just Around The Bend (Brians original composition, made famous by Cuba Gooding Seniors The Main Ingredient) there is also the cosmic, soul-jazz instrumental Light On The Path, from Brians' 1973 genre busting Closer To It album - pressed onto vinyl for the first time in decades.

You will also be swept away by Ella, the rare track Brian wrote and dedicated to his wife of nearly 50 years - and you will no doubt be up on your feet when checking out brand new, previously unreleased live version of Freedom Jazz Dance, featuring original Oblivion Express vocalist Alex Ligertwood - recorded on 2015's epic and triumphant European tour and released here for the very first time.

Back To The Beginning..Again is a fantastic collection that demonstrates why Brian Auger is considered legendary.

Dorothy Ashby may not be the first jazz harpist (Caspar Reardon) or the first female jazz harpist (Adele Girard), but her good feeling for time and ability to construct melodic, guitar-like lines, mark her as the most accomplished modern jazz harpist (...)

Accompanying her was another Detroit girl, Terry Pollard. Terry's main instrument is the piano and she is one of the best in the country, bar none. She is also a pretty fair country vibraharpist and in this set, Miss Pollard plays vibes exclusively. With them is still another Detroiter, Herman Wright, who like Miss Pollard has worked with Terry Gibbs and Yusef Lateef, and who also served as Miss Ashby's regular bassist(...) Completing the quartet is Jimmy Cobb, drummer for the Miles Davis group. During the proceedings, Cobb travels between brushes and sticks without upsetting the equilibrium of this essentially quiet set.

There is a wide range of material presented here, from blues like Benny Goodman's title number, Soft Winds, and Miss Ashby's With Strings Attached, to movie themes such as Laura, Wild Is the Wind and The Guns of Navarone. Then there are works by such superior writers of standards as Kurt Weill (My Ship), Gershwin (The Man I Love and Love Is Here to Stay)

For his second album, Two Solo Pieces, Jon Gibson forgoes the dense, multi-layered timbres of Visitations in favor of simple textures and tone. While Two Solo Pieces serves up further evidence of Gibson's centrality to American minimalism - witness its inclusion in Alan Licht's famed Minimal Top Ten list - this profoundly intimate record also reveals the beauty of enclosed spaces and infinite harmonic vistas.

As its unadorned title suggests, Two Solo Pieces consists of a pair of side-long tracks featuring the composer alone. While "Cycles," an iridescent improvisation on organ, achieves a downright eerie sense of expansiveness, Gibson's captivating alto flute on "Untitled" draws the listener inside the instrument itself.

The photo on the album's back cover - a seated Gibson surrounded by cascading rows of organ pipes and the vaulted ceiling in Manhattan's Peace Church - offers a striking visual complement to these gorgeous recordings.

Originally released in 1977 on Philip Glass' Chatham Square imprint, this first-time vinyl reissue is recommended for fans of Anthony Moore, Roberto Cacciapaglia and Terry Riley.

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In 1962, Orson Welles brought to the big screen THE TRIAL what he called his greatest film. Filmed in a beautiful black and white, written by Welles and with the incredible performance of Anthony Perkins, Romy Schneider and Jeanne Moreau. The Trial' captures very well the Kafkaesque feeling of the novel. The film is a paranoic nightmare interrupted here and there by moments of typical Welles humor. One of the elements that contributes greatly to the atmosphere of the film is the soundtrack of Jean Ledrut that makes use of both original parts and adaptations by Tomaso Albinoni (Adagio in G minor). This soundtrack makes extensive use of adaptations of Albinoni music as well as some original tracks very atmospheric. There are also some jazzy tracks (played by the great jazz pianist as well as composer Martial Solal) that fit beautifully.

The Miles Davis Quintet, in 1956, were maybe the best and most accomplished young group in jazz. And the quartet of albums that they recorded on 2 days that year (Cookin', Steamin', Relaxin', and this title, Workin') are some of the most famous and timeless jazz recordings in history. They recorded this heavily over the course of 2 days to satisfy contractual obligations, but you wouldn't know it by hearing the recordings. Davis, Coltrane, Garland, Chambers, and Jones are a seamless and incredibly cohesive group, playing off each other perfectly, and it's somewhat shocking to know that they only existed in this particular incarnation for less than 3 years.