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Sun Ra: piano, John Gilmore: tenor sax, Marshall Allen: alto sax, Pat Patrick: baritone sax, Robert Cummings: baritone clarinet, Teddy Nance: trombone, Ali Hassan: trombone, Clifford Jarvis: drums, Ronnie Boykins: bass, tuba, James Jackson: log drum, flute, Carl Nimrod: sun horn, gong.

The 1965 sessions that produced the original two volumes of Heliocentric Worlds came during the most extremely free-form period of Ra's career, contemporaneous with The Magic City (Saturn Records). Volume 1, recorded in April with an 11-member band, consists of seven relatively short tracks (none over eight minutes), these tracks find Sun Ra breaking ground by using synthesizers and having the Arkestra musicians double on percussion. Recorded in November with an octet, Volume 2, in contrast, was much freer and featured the side-long "The Sun Myth" and the 15-minute "Cosmic Chaos." The horn players and legendary bassist Ronnie Boykins have plenty of room to stretch out and take full advantage. "A House of Beauty" offers five minutes of relatively lyrical respite between the other tracks. When ESP-Disk' resumed issuing new releases in 2005, Sun Ra archivist Michael D. Anderson resurrected another five tracks from the November session to create Volume 3, featuring the powerful "Intercosmosis."

"...the two Heliocentric Worlds albums, both recorded in 1965, appeared on the iconoclastic ESP-Disk label, and propagated his music to a wider audience of listeners who were open to freakiness. Both volumes are improvisations by subgroups of the Arkestra (directed by Ra), and even at their most dissonant, they're playful and spacious — 'Dancing in the Sun' is off-the-cuff big-band swing. 'The Sun Myth' is a panoramic 18-minute fantasia in which two or three instruments at a time toss long, buzzing tones and high honks back

In 1966 ESP-Disk' founder Bernard Stollman put together a multi-artist tour of five New York colleges and sent audio engineer David B. Jones on the road with it. When they returned, just 39 minutes of music was chosen to be released as the original Sun Ra LP Nothing Is... (ESP1045). Forty-four years later, Sun Ra archivist Michael D. Anderson pieced together some missing parts of the New York College Tour. Recorded on May 18th 1966 at St. Lawrence University in Potsdam, NY, this illuminating document represents the full 70-minute first set, from which Nothing Is... was taken. In addition, Anderson uncovered a partial second set from the same evening and some rare rehearsal footage recorded during a sound check before the concert. The over 90 minutes of additional material includes the rarely performed "State Street" and alternate versions of "Theme of the Stargazers" and "The Second Stop Is Jupiter." Remastered from the original tapes and presented in superb quality, College Tour Volume One is a vivid snapshot of the mid-Sixties Ra and his intergalactic band.

Songs ancient and divine - the seventh volume of our acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation.

Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam - that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef, all these legendary jazz pioneers - and countless more - were early converts to the spiritually charged Ahmadiyya school of Islam.

Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognised ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on

Middle Eastern or Islamic music, dream of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. Spiritual Jazz 7 presents a selection of visionary music - inspired by faith, powered by jazz.

2LP gatefold
Extensive liner notes
CD with 24 page colour booklet
Many tracks never before reissued
Only on Jazzman - all because WE DIG DEEPER!

Songs ancient and divine - the seventh volume of our acclaimed Spiritual Jazz series examines the influence and impact of Islam on four decades of jazz innovation.

Through Malcolm X and Muhammad Ali, the civil rights era in America saw African American liberation politics famously associated with Islamic belief. This was not the first time that radical developments in African American cultural life had been widely and famously associated with Islam - that distinction belongs not to political or sporting giants, but to the progressive jazz musicians of the bebop generation. Kenny Clarke, Art Blakey, Sahib Shihab, Gigi Gryce, Idrees Sulieman, Ahmad Jamal, Yusef Lateef, all these legendary jazz pioneers - and countless more - were early converts to the spiritually charged Ahmadiyya school of Islam.

Their faith profoundly influenced the music that they made, and the presence of prominent and innovative Muslim musicians at the heart of jazz culture in America has been recognised ever since. The tracks on this collection follow the story of Islam and jazz from the 1950s to the 1980s. Recorded by Muslim jazz musicians, they often draw specifically on

Middle Eastern or Islamic music, dream of an esoteric or spiritual Afro-East, or invoke the landscape and sound worlds of Islamic Africa. Spiritual Jazz 7 presents a selection of visionary music - inspired by faith, powered by jazz.

2LP gatefold
Extensive liner notes
CD with 24 page colour booklet
Many tracks never before reissued
Only on Jazzman - all because WE DIG DEEPER!

Mel Tormé, nicknamed The Velvet Fog, was an American musician best known as a singer of jazz standards. He was also a jazz composer and arranger, drummer, an actor in radio, film, and television, and the author of five books. He composed the music for The Christmas Song' ( Chestnuts Roasting on an Open Fire') and co-wrote the lyrics with Bob Wells.

Tormé made his movie debut in Frank Sinatra's first film, the musical Higher and Higher. His appearance in the 1947 film musical Good News made him a teen idol.

Paced by his only hit of the rock era, Comin' Home Baby! is a real crossover record, balancing a few groovy dance numbers (like the title track) with early-60s cool jazz versions of the standards Walkin',' Moanin',' and On Green Dolphin Street.'

CD

Palto Flats & WRWTFWW Records are ecstatic to announce the highly-anticipated reissue of Japanese percussionist Midori Takada's sought after and timeless ambient / minimal album "Through The Looking Glass", originally released in 1983 by RCA Japan.



Considered a Holy Grail of Japanese music by many, "Through The Looking Glass" is Midori Takada's first solo endeavor, a captivating four-song suite capturing her deep quests into traditional African and Asian percussive language and exploring contemplative ambient sounds with an admirably precise use of marimba. The result is alternatively ethereal and vibrant, always precise and mesmerizing, and makes for an atmospheric masterpiece and an unparalleled sonic and spiritual experience.

The fully licensed reissue is available as a single 33rpm LP and a limited 45rpm DLP, both cut directly from the original studio reels (AAA), at Emil Berliner (formerly the in-house recording department of renowned classical record label Deutsche Grammophon) for the 45rpm DLP, and at the equally famous Frankfurter SST Studio for the LP. It is also available in CD format for the first time. All versions come with extensive liner notes.

Double 180 gram, half-speed vinyl re-release of the orchestral epic. Norwegian Grammy-nominated and critically acclaimed masterpiece «The Mechanical Fair» finally gets it's long awaited vinyl release

Jampacked with a wellspring of harmonic slingshots, pumping beats and melodic rollercoasters, critics called The Mechanical Fair «the best movie you'll never see» and drew comparisons to Igor Stravinsky's «The Rite of Spring» upon it's original release in 2014. It's apparent appeal to an surprisingly wide range of musical communities finally brought it right into DJ dance-wiz Todd Terje's hands. And make no mistake: the physicist hands doesn't settle for an iPad. It craves vinyl. His wholehearted endorsement led the captain of the Olsen Family to clear the rights, assemble his own killer remix and requisition Grammy-winning cutting engineer Matt Colton for a gorgeous double 180 gram, half-speed vinyl re-release of the orchestral epic.

Originally written for a quintet including heavily merited jazz cats Erik Nylander, Ole Morten Vågan, Petter Vågan and Even Helte Hermansen in 2013, The Mechanical Fair expanded at the initiative of the Trondheim Chamber Music Festival, growing bolder and more powerful with the addition of the adventurous and Grammy-winning chamber orchestra The Trondheim Soloists in 2014.

Having just spearheaded seven genre-blending shows in just six days as the «Artist in Residence» of this years prestigious Molde International Jazz Festival, the multi award-winning Norwegian violinist/multiinstrumentalist, composer and producer Ola Kvernberg (35) can look back at an already impressive recording- and performing career. The once 17 year old jazz manouche violin sensation quickly and impatiently moved beyond the jazz realm for inspiration - resulting in seven albums as a solo artist, eight feature films as a movie score composer and countless additional recordings as a sideman. His list of collaborators range from jazz legends Pat Metheny and Joshua Redman, via post/prog-rock act Motorpsycho, to collaborations with world renowned novelists Lars Saabye Christensen and Jo Nesbø. His fearless attitude and relentless drive towards the boundaries of genres has given him a well-earned high standing on the Scandinavian scene today.

Don't miss out on this rollercoasting, genre-twisting magnum opus as it finally hits is true potential on the Olsen label on November 11 this fall.

Released back in 1983, this modal to slightly free jazz outfit from California takes us on a journey back to the late 60s and very early 70s, into the spiritual realms of greats like John Coltrane, Pharoah Sanders, John McLaughlin and Miles Davis, among others. Only few contemporary sounds from the bass and keyboards tell you that this album is newer than expected. Listening to it with far over 30 years distance, it easily stands the test of time and even more turns out to be one of these mind bending gems with an ever pulsating flow of magic being transferred into music. With a lead guitar added this could do justice to everything the MAHAVISHNU ORCHESTRA had ever released, but there is no need for guitars when you have a piano player going crazy and a rhythm section that seems to dance the Saint Vitus dance with each other. Please get me right, this is utterly tight and well performed with each note and each beat sitting where they belong. There are shapes of melodies rather than lines as common with modal jazz. What Miles Davis started 24 years earlier culminates in a sheer musical eruption on this album, which hardly anybody will remember these days. The atmosphere of Hassan's Walk' is deep and enthralling. When the band reaches its starting point, again melody wise after a fantastic roller coaster ride in the sense of an explosive musical performance and relentless improvisations you will fall on your knees. Exhausted but happy. And there is more to experience here. Souljazz of the light-footed yet highly energetic kind, and bits and pieces you can relate to Latin music meet each other on this battlefield of sounds and melodies. I cannot help but I feel totally hypnotized. For all aficionados of at least a bit far out jazz music this is exactly what you need.

A bona-fide Nigerian prince and probably the only musician to have ever played with Fela Kuti, Miles Davis and Bob Marley, Eji Oyewole combined African Highlife with western jazz to create a hybrid so that was as smooth as it was funky. His first album, Charity Begins At Home was an angry tirade against corruption in Nigeria. Me & You is his 'relationship' album, a brighter and happier set of songs that sees Eji all loved up, presumably with the mysterious 'Cameleon' featured on the cover. Eji's flute is no longer a strident voice raised in anger. Instead, on 'Me & You' and 'I'm a Dancer' it is a playful line of seduction. On the wonky and woozy 'Eniafelamo' his sax is a post-coital salutation. Even the one political track, 'Long Live Nigeria', is a loved up call for peace, progress and trust. Chilled, assured and dexterious, Me & You is a sophisticated showcase of Eji Oyewole's chops. 'This is the beginning of an atomic musical evolution,' he declares on the cover. 'Brothers and sisters, stay cool.' - Peter Moore.

A bona-fide Nigerian prince and probably the only musician to have ever played with Fela Kuti, Miles Davis and Bob Marley, Eji Oyewole combined African Highlife with western jazz to create a hybrid so that was as smooth as it was funky. His first album, Charity Begins At Home was an angry tirade against corruption in Nigeria. Me & You is his 'relationship' album, a brighter and happier set of songs that sees Eji all loved up, presumably with the mysterious 'Cameleon' featured on the cover. Eji's flute is no longer a strident voice raised in anger. Instead, on 'Me & You' and 'I'm a Dancer' it is a playful line of seduction. On the wonky and woozy 'Eniafelamo' his sax is a post-coital salutation. Even the one political track, 'Long Live Nigeria', is a loved up call for peace, progress and trust. Chilled, assured and dexterious, Me & You is a sophisticated showcase of Eji Oyewole's chops. 'This is the beginning of an atomic musical evolution,' he declares on the cover. 'Brothers and sisters, stay cool.' - Peter Moore.

By October 1977, Frank Zappa was firmly established as an iconic and iconoclastic rock star. He had recently been preparing Läther, a proposed 4-LP set, due for release on Halloween. However, his label declined to proceed, leading to protracted legal hassles. This show, at The Palladium, New York was broadcast on the King Biscuit Flower Hour, on the album's release date, and finds the great man on superb form, as he tackles a range of material, much of it from Läther. It's presented here with background notes and images.

Spy vs Spy: The Music of Ornette Coleman is the 1989 album by American composer and saxophonist/multi- instrumentalist John Zorn, featuring the compositions of Ornette Coleman performed in the brief intense style of Zorn's hardcore miniatures.

The liner notes thank Ornette and Denardo Coleman, Mick Harris of Napalm Death, Ted Epstein of Blind Idiot God, Pil of Lip Cream (a Japanese thrash core group), The Accused, Craig Flanagan, DRI, CBGB, and the New York-London- Tokyo Hardcore Triangle'.

The outstanding cover artwork was created by indie comics personality Mark Beyer (of Amy and Jordan fame). The album itself approaches free jazz from the perspective of hardcore punk, particularly taking note of the contemporary innovations of thrash core and grind core. Zorn would later pursue these preoccupations in the thrash jazz group Naked City.

The album was included in the book 1001 Albums You Must
Hear Before You Die.

Richard Bona was born into a family of musicians, which enabled him to start learning music from a young age. His grandfather was a griot - a West African singer of praise and storyteller - and percussionist, and his mother was a singer.

Richard Bona remains true to his roots with African rhythms reflected in each of his albums, Reverence is the second studio album originally released in 2001 and displays his unique approach to storytelling through sounds. His unique style is situated at the crossroads of a horde of influences - jazz, bossa nova, pop music, afro-beat, traditional song, and funk.

The song Reverence (The Story of a Miracle)' features a guest appearance by prominent jazz guitarist Pat Metheny.

The inimitable Big Maybelle, born, Mabel Louise Smith, had worked for nearly 2 decades in the music business before even releasing her first single, Gabbin' Blues' in 1952, although, to be fair, she started at the age of 12. The 1958 LP Blues, Candy & Big Maybelle, collects singles from the mid-50s on, including one of her biggest hits, Candy'. Killer jump blues and R&B from one of the finest, Jackson, Tennessee's own Big Maybelle. Reissued on 180 gram LP with download code and 2 bonus tracks.

A Lounge compilation with 13 original tracks, relaxing atmospheres spacing from Easy-Jazz to Soft-House, a mixture of percussions and electronic and acoustic instruments played with taste."














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Tape / Cassette

* 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.

After spending the early '60s playing in groups with Cecil Taylor and Archie Shepp, trumpeter Bill Dixon recorded his singular and visionary masterpiece in 1967. Intents And Purposes remains not only Dixon's defining statement as a composer, but also one of the most luminous moments in the history of avant-garde jazz.

Combining orchestral timbres with free jazz intensity, Dixon leads a ten-piece ensemble including such heavyweights as Byard Lancaster, Robin Kenyatta, Jimmy Garrison and Reggie Workman. Closing each side of the album, "Nightfall Pieces I" and "Nightfall Pieces II" are evocative duets featuring Dixon's flugelhorn accompanied by flautist George Marge.

With Intents And Purposes, Dixon creates a work focused as much on sculpting and defining space - emphasizing moments of resonant stillness around which the compositions thrum and swell - as on purity of expression.

"One of the richest and most compelling LPs to taunt and tempt listeners into a life of freakdom." - John Corbett

This first-time vinyl reissue is recommended for fans of The Art Ensemble of Chicago, Anthony Braxton and Henry Cow.

The only album by Brazilian Octopus is a wonderful mix of bossa nova, pop, Cuban rhythms, jazz and all kinds of cool sounds and vibes that transcends any possible category. Among several top musicians, the band features Hermeto Pascoal, Cido Bianchi (former Milton Banana Trio member) and Lanny Gordin. Presented in facsimile artwork and pressed on 180g vinyl. This is such a unique album. Each tune is a winner, no wonder originals have fetched exorbitant prices in the collectors market, and it has been hailed by connoisseurs such as Nicola Conte or Andy Votel over the years.
It features Hermeto Pascoal, Cido Bianchi (former Milton Banana Trio member), Lanny Gordin and shows an unusual mix of different styles and influences that transcends any possible category: from pop to Cuban rhythms. The bossa nova is obviously also present, as in many other Brazilian recordings from 1969, but the complex arrangements make this record lean towards the jazzier side of things while the organ/guitar/vibes sounds will also be appealing for garage music lovers.
Brazilian Octopus was formed in 1968 after Livio Rangan, a wealthy businessman from Sao Paulo, asked Cido Bianchi to put together a band that would play at the shows run by his fashion company, Rhodia. A proper work contract was issued, including three months of paid rehearsals. Despite their diverse background, most of the members of the band already knew each other as they would often perform at Stardust, a popular club managed by Lanny's father. Hermeto Pascoal and Nilson da Matta joined the band a few months later. Then Mr Rangan approached the band again with a new idea: the recording of a full album mixing tunes written by other artists and their own compositions. The record was released by Fermata in 1969 and the band was then tempted with the idea of recording a second album. However, the offer was declined since the musicians had not received any fee for their work. That was the end of Brazilian Octopus.
Nearly five decades after its first release, with original copies having almost vanished off the face of Earth, now is the time for making this beauty available again

After 25 years of silence, the Ethiopian legend Girma Bèyènè is back alongside one of the best ethio groups Akalé Wubé. Comes in a Double LP gatefold 180g vinyl!
Girma Bèyènè is a true legend when it comes to Ethiopian music. After an exile to the United States and a radio silence that lasted 25 years, he jubilantly accepted the invitation from the French group Akalé Wubé to return to the spotlight and perform once more. The comeback took place last September during a memorable concert alongside Akalé Wubé at the Studio de l'Ermitage (Paris 20). French medias like Tracks (Arte), Le Monde, Libération relayed this major event, which aroused many strong emotions amongst fans of Ethiopian Music. The adventure could not stop just yet.

A fresh project from the Nilamaye crew — crossing currulao, art-rock and jazz.
Silk-screened sleeves.

When Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life. Now, as if sent from some righteous deity, comes "I Go Back Home", an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.

This is Jimmy Scotts very last album!
Many of the most talented musicians of the worldwide jazz scene are paying tribute to him on this album: Dee Dee Bridewater, James Moody, Kenny Barron, Peter Erskine, Arturo Sandoval, Joey DeFrancesco, Monica Mancini, Till Brönner, Oscar Castro Neves, Bob Mintzer, John Pisano, Renee Olstead, Gregorie Maret, the legendary HBR Studio Symphony Orchestra are guests and even the actor Joe Pesci got two songs with Jimmy Scott.
Mixes produced by Phil Ramone
The double-LP-vinyl comes with 180g vinyl cut by Abbey Road, gatefold-sleeve, audiophile pressing, handnumbered LIMITED EDITION to 2000 units worldwide and a Jimmy Scott picture included.
The CD comes with in slipcase with a 24 pages booklet plus additional digipak.
Both formats will be stickered with names of the featured artists.

When Jimmy Scott died in 2014, dozens of musicians, hundreds of journalists and thousands of fans mourned the passing of a jazz legend. Not only had a link back to the era of Billie Holiday, Charlie Parker and Lionel Hampton been lost, but so had the chance to bring the fame and respect denied to him throughout his long and rich life. Now, as if sent from some righteous deity, comes "I Go Back Home", an album full of life recorded by Jimmy Scott years before his death. Created by German producer Ralf Kemper, Jimmy Scott and with mixes produced by Phil Ramone, no expense was spared in giving Scott the lushest musical backdrops possible, creating an album that, like Scott's inimitable vocal style, comes late but but right on time.

This is Jimmy Scotts very last album!
Many of the most talented musicians of the worldwide jazz scene are paying tribute to him on this album: Dee Dee Bridewater, James Moody, Kenny Barron, Peter Erskine, Arturo Sandoval, Joey DeFrancesco, Monica Mancini, Till Brönner, Oscar Castro Neves, Bob Mintzer, John Pisano, Renee Olstead, Gregorie Maret, the legendary HBR Studio Symphony Orchestra are guests and even the actor Joe Pesci got two songs with Jimmy Scott.
Mixes produced by Phil Ramone
The double-LP-vinyl comes with 180g vinyl cut by Abbey Road, gatefold-sleeve, audiophile pressing, handnumbered LIMITED EDITION to 2000 units worldwide and a Jimmy Scott picture included.
The CD comes with in slipcase with a 24 pages booklet plus additional digipak.
Both formats will be stickered with names of the featured artists.

Limited LP (500 copies)

KABANJAK is one half of ANCIENT ASTRONAUTS, and The Dooza Tapes Vol. 1 is a Kabanjak album in the tradition of those beloved old beat cassettes, presenting tracks and tunes which have come together over the last eight years. Whenever the Dooza strikes, there is bound to be a dirty, funky and dope sonic result. Instead of bricks and mortar structures, Dooza builds heavy grooves with a strong foundation in Hip Hop.

A true studio nut, he combines playing real instruments like guitar, bass, flute, piano, drums and percussion with his very own approach to sampling from the most varied sources. With its 15 skits, tracks and proper songs, The Dooza Tapes Vol. 1 is a journey into the realms of the Dooza - funky, funny, deep, dope and different.

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.

Sous Influences is a brand new studio album from Isabelle Antena, the French jazz-pop-bossa polymath who first found fame with electro-samba trio Antena and influential debut album Camino del Sol.
Mostly produced by husband Denis Moulin in Brussels, Goa and Soumont (France), the 12 track album began life as an album by occasional band Pause Cafe. 'But then Denis lost his father Marc,' explains Isabelle, 'and the project had to be put on hold. The other members of Pause Cafe worked on other projects, while I released a lot of dance tracks via Beatport as Antena-Solar. That's how I met the DJ and House music producer J.T. Donaldson, from Dallas. He wanted to produce some jazzy music with me and that lead to My Lexicon and Aht Uh Mi Hed.'
In 2016, with Denis back on board, the couple decided to round up all these tracks as a new Isabelle solo album, Sous Influences, mixing jazz and bossa nova styles. The working template was an old skool vinyl album. 'With two distinct sides,' says Isabelle. 'Our own original material, and also covers of key songs that have influenced my current musical direction, arranged by Denis a la Bill Evans, thus fulfilling a musical dream.'
Sous Influences is Isabelle's first new album on Les Disques du Crepuscule since 2001. Welcome home!

- The legendary Annie Ross is arguably the finest jazz singer Britain has produced.
- Annie Ross first came to prominence in 1952 with her song Twisted, a satire on the world of psychoanalysis, sung in the style of vocalese. In the late 1950s Ross teamed up with Dave Lambert and Jon Hendricks to form a trio that would take vocalese to new heights of accomplishment. From 1957, they recorded seven successful albums informed by Lambert's gymnastic vocal arrangements, Hendricks' impish jazz lyrics, and, as writer Will Friedwald put it, Annie Ross' vocal muscle.'
- Exhausted by touring, Annie departed Lambert Hendricks & Ross in 1962 to resume the solo career that had begun a decade earlier, and over the ensuing years she collaborated on albums with such masters as The Modern Jazz Quartet, Gerry Mulligan, Chet Baker and Zoot Sims.
- A Handful of Songs was recorded in 1963, a highly accomplished album arranged and conducted by Johnny Spence under the guidance of producer John Barry. It is typical of the high standards established by Barry during his tenure as 'associate producer and creative A&R man' at Ember, when the cost of his use of the best London studios and recording technicians was consistently justified by superior artistry, if not always sales.

hand-numbered edition of 1000. Double-LP, gatefold.