Nuevos Lanzamientos Pop y Rock - Novedades

Sun Ra and his Solar Arkestra I ROAM THE COSMOS,

Art Yard LP-2021, 180 gram Vinyl Only Limited Edition Release.

SIDE A: I Roam the Cosmos Astro Black / Discipline 27-¬'II - Running Time: 25.31 SIDE B: I Roam the Cosmos/Discipline 27-¬'II - Running Time: 25.51

PERSONNEL Sun Ra: keyboards, vocal June Tyson: vocal Marshall Allen: alto sax, flute, piccolo Danny Davis: alto sax or clarinet John Gilmore: tenor sax Akh Tal Ebah: trumpet Kwame Hadi: trumpet Eloe Omoe: bass clarinet Danny Ray: Thompson: baritone sax James Jacson: oboe Ronnie Boykins: bass Tommy Hunter, Harry Richards, Robert Underwood, and /or Lex Humphries: drums Atakatune, Alzo Wright, Odun: percussion

All titles composed by Sun Ra © Enterplanetary Koncepts (BMI) Recorded at Slug's Saloon, New York, July 1972.

I Roam the Cosmos. I visit a Planet now and then My visits are so seldom that sometimes The people on the Planet forget who I am Whenever that happens, I have no choice But to make them remember.

And since so many men have roamed this Planet Saying so many things that never proved of worth To the Planet I will have to do what I don't want to do I will have to impress upon Every man, woman, and child upon this Planet Who I am So that they will NEVER forget who I am.

All the people are asleep There is no one to give me the glory I deserve See the splendours of my Universe I made it with my very own hands.

You think because my Universe is so big that you are of no importance to me You thought I had forsaken you If I did, why am I here now

The Sun is your very best friend Greets you every morning, "Hello, my friends" Bids you goodbye every night "Goodbye, my friends, see you in the morning."

The Sun is your very best servant Serving you day and night The Sun never sleeps The Sun never sleeps.

The Universe sent me to converse with you But how can I talk to every man, woman, and child At the same time

I, because of the majesty upon Planet Earth, Must ask the volcanoes of Earth to speak of my glory I must ask the winds of Earth to speak of my glory I must ask the Earth itself to quake and tremble.

At my presence upon the Earth must ask the Earth to change its orbits And its journey among the Stars So that it can change the destiny of every person Upon this Planet.

I must nullify astrology I must nullify all prophecies I must create a different kind of World That is more suitable for me That I might visit this Planet, and feel at home.

Produced for Art Yard by Peter Dennett. Mastered and Transferred by Michael D. Anderson. Digital audio restoration by Michael D Anderson and Irwin Chusid. Mastered for vinyl by Peter Beckmann at Technology Works. Liner notes by Knoel Scott and Irwin Chusid. Front cover illustrations by Veronika Pražanova design by Art Yard. Special Thanks to Sun Ra, John Gilmore, June Tyson, Marshall Allen, Danny Ray Thompson, Pat Patrick, Charles Davis, Michael Ray, Knoel Scott and the Sun Ra Arkestra band members, Thomas Jenkins Jr., Managing Director, Sun Ra LLC, Michael D. Anderson, Sun Ra Music Archives, Irwin Chusid, administrator, Sun Ra LLC, Quinton Scott, John Corbett, Chris Trent, Hartmut Geerken, Val Wilmer, Jill Tipping, Peter Beckmann and Francis Gooding. All Rights reserved Art Yard Ltd © 2016 / Sun Ra LLC © 2016.

Bala Miller was famous for pushing boundaries. His first job was selling beer in the Muslim north. And as a musician he'd always try to sneak in 'local' flourishes while playing trumpet with Bobby Benson and Victor Olaiya. It was with his band, the Pirameeds, however, that he was able to realise his dream of incorporating northern tunes into mainstream highlife. Honed razor sharp from a residency at the Costain Club in Kuduna, the band recorded Pyramids, a breathtaking fusion of Hausa rhythms, jazz and funk. With its haunting trumpet line, tribal drums and imploring Hausa chants, 'Ikon Allah', the power of God, is Bala Miller vision writ large. 'Yo Gboko' is a New York-style street drama, played out on the dusty streets of Northern Nigeria. 'Opportunity Knocks' is a playful burst of ska and 'Stretch Your Nose' is a raucous James Brown fable about the dangers of lying. Bala Miller went on to become one of Nigeria's best-loved personalities. The Costain Club became a renowned meeting place for northern musicians. But his greatest legacy remain Pyramids, an opus that introduced Hausa rhythms and stories to the rest of Nigeria

CD Version

Diwan Of Beauty & Odd is the latest album by Tunisian singer and oud-player Dhafer Youssef. He once said quite spontaneously There is no prototype for beauty'. This delightful statement is in fact adequate to sum up the motivation and sound of his new album Diwan Of Beauty & Odd.

Dhafer Youssef is a composer, singer and oud player from Tunisia. The oud is an Arabic lute, a pear-shaped string instrument that can achieve a beautiful sound from those who know how to master it. Youssef developed an interest for jazz music at an early age and started singing when he was still five years old.

Today he is considered to be the most inventive oud player and a leader of the movement referred to as contemporary music, which fuses Eastern and Western music. His voice is incredibly instrumental and hits you right in the heart, with its spellbinding Eastern melodies mingled with the finest Jazz.' Christian Grimauld, Couleurs Jazz.

The new album truly is a unique combination of Arabic and Western culture, it is for the first time he has recorded with an all-American band in All star formation.

The best lo-fi garage album from South America

Ahead of its time raw & homemade Sixties garage, jangly pop and basement psych sounds from Paraguay!

Originally released in 1971 as a private pressing, Pops de Vanguardia' by JODI contains tracks mostly written and recorded in 1969 (with some dating back to 1966) by brothers Joern and Dirk Wenger at their homemade Jodi Experimental Studio' in Paraguay.

Joern and Dirk, born in Paraguay but of German origin, started playing in beat / psychedelic band The Rabbits, who released a very rare EP in 1969. After the group split, Joern and Dirk travelled to Germany, were they studied arts and received musical lessons from none other than Stockhausen. The two brothers had built their own homemade studio and they spent hours and hours recording songs and experimenting to create their own sound effects (echo, reverb, etc). They called their music Spontaneous Pop'.

Pops De Vanguardia' was recorded at their own rudimentary studio with two tape recorders. Joern plays guitar, organ and he was the lead vocalist, while Dirk plays drums and percussions. From ultra-catchy garage-pop to killer instrumental Farfisa numbers and proto-psychedelic sounds. JODI could be seen as precursors of the indie-pop and lo-fi garage which would appear some decades later.

*Ultra rare and obscure album from Paraguay reissued for the first time

*Insert with detailed liner notes in English / Spanish and rare photos

*CD includes 5 bonus tracks (1969-1970), including 3 fantastic previously unreleased ones plus one track from a super rare private EP and another from The Rabbits EP (the killer beat-fuzz-psych Buscándote')

*LP version includes digital download coupon featuring the album plus the bonus tracks

"Echoes can be distinguished from The Monks, the Velvet Underground of the two first records, The Kinks, T-Rex, the mid-60s American garage and some psychedelic and Kraut rock that might have influenced the Wenger brothers in their land". - Juan Esteban Jorge

Welcome to 'Pops De Vanguardia': prepare your mind to be blown by a work without precedents.' - Eduardo Bubbling Minds'

Born in South-Korea and at the age of two adopted into a Dutch family, Lavinia started to play the harp at the age of nine. Within two years she was admissioned to study at the young talent class of the conservatory of Utrecht (Bachelor) and later at the conservatory of Amsterdam (Master). At both conservatories she graduated with Honours. Her success at the conservatory of Amsterdam has a prelude on Lavinia's career to come. She performed only contemporary compositions at her graduation concert, making a firm statement already: Lavinia is here to add new chapters to the history of music.

Shlohmo fans have been aching for new material from the 'Bad Vibes' era since the seminal album's release and while he has since diversified his approach there's no denying the transcendent magic of the Los Angeles-based artist's early work. 'Bad Vibes - 5th Anniversary Edition' is a celebration of one of our generation's most adored producers, extrapolating on the twisted warmth of his seminal works in remarkable fashion. The 3xLP anniversary package include the original gatefold 'Bad Vibes' 2xLP, plus a bran new 12' comprised of b-sides, demos and outtakes from the album's progenitive sessions, bound together by a custom 'Bad Vibes' O-card.Having collaborated with the likes of Jeremih, Tory Lanez, Lil Yachty, How To Dress Well and Banks in the years since 'Bad Vibes', these unreleased tracks recall a simpler, more intimate time in Shlohmo's career and whether it's the live mix of Seriously' or the temporally defined 11_9_10 Asleep On The 22' that bridges the gap for you, these tracks will surely make waves for fans past, present and future.
Highest-selling record for both Friends of Friends and Shlohmo, Places' being the highest streamed single in the FOF catalog (over 7.5 million plays).Bad Vibes' reviewed positively by Pitchfork, Resident Advisor, Spin, Filter, Beats Per Minute, CMJ, XLR8R and more.Since the release of 'Bad Vibes', Shlohmo has produced for Jeremih, Post Malone, Banks, The Weeknd, How To Dress Well, Torey Lanez, and more.Regular international tour schedule including multiple world tours and festivals such as Coachella, Decibel, Osheaga, and Pukkelpop.
Shlohmo was handpicked for Rick Rubin's 'Star Wars Headspace' Compilation.Shlohmo performed live on Last Call with Carson Daly.

For more than a decade now Ryan Teague has walked an unpredictable musical path, treading and blurring the lines between classical, electronic, acoustic and soundtrack influences. His latest album Site Specific is yet another twist and turn on this intriguing journey. Still present are the minimalist polyrhythms, electro-acoustic instrumentation and cinematic ambience that have come to define his style, but this time - incorporating a full band - the themes are framed through a lens which also takes in improvisation and minimal jazz.

Key collaborators include Gareth Davis (Bass Clarinet) and Dan Nicholls (Rhodes Piano), who weave subtle melodies and textures throughout. The resulting soundscapes echo the timeless feel of In a Silent Way era Miles channelled through a contemporary palette. The music is at once expressive, dynamic and exciting whilst demonstrating sensitive restraint appropriate to its minimalist objectives.

Glitchy ambient opener Wide Angle sets the tone perfectly and makes way for the likes of Second Scene with it's brooding bass, dark drums and minimal melodies. Elsewhere Surface Tension takes a fragmented string loop on an epic cinematic journey, whilst title track Site Specific sets agitated drum rhythms and cutting bass against freeform Rhodes and echoing horns in an intense showdown.

Ryan has demonstrated time and again that he is unafraid to try something new and Site Specific is no exception. But there's a newfound sense of focus and energy here and something genuinely fresh and exciting seems to have emerged.

Hot Casa Records present Togo Soul 70 (Selected Rare Togolese Recordings from 1971 to 1981). A treasure-trove of rare and unusual recordings mostly recorded in Lomé during the 70's, a fusion of traditional voodoo chants, raw soul and Afro jazz. Finding these tracks and their rights holders hasn't become any easier even after few trips all over this west African country bordered by Ghana, Benin & Burkina Faso.

We, at Hot Casa Records, decided to select 13 tracks, a snapshot of some hundreds of rare and often forgotten tapes from the most prolific, professional and exciting phase of the country's recording history, including international stars like Bella Bellow (who even performed to Maracana stadium in Brazil), or Roger Damawuzan, compared as the James Brown from Lomé, and forgotten tapes and brilliant songs in Mina, Kabyié and Fon languages. Many of the tracks featured here are peppered with innovation and experimentation highlighting how diverse the music scene in Togo was at the time, even if the political context influenced their creation.

A must have for all music lovers, also used as the soundtrack of the documentary Togo Soul 70, directed by Liz Gomis & DJ Julien Lebrun!

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

Translated from Spanish as 'The Shade', Chip Wickham's debut album La Sombra drops after a 25-year career touring, recording and experimenting across three decades of jazz, funk, soul, hip-hop, Latin and electronica. La Sombra is a monumental record for Chip as it symbolises the moment he stepped out into the light as a director of his creations with freedom to explore his roots, express and tell his version of jazz and pay testament to his heroes Roland Kirk, Yuseef Lateef & Harold McNair.

Now living in Dubai after an intense and productive six years in Madrid, it was Manchester where Chip studied in the late '80s and became enmeshed in the chaotic and thrilling music scenes emanating from one of the world's most culturally prominent cities of the time. Recording and generally 'keeping things real' with Manchester's hip-hop collective Grand Central Records, Rae & Christian, The Pharcyde, Fingathing, Nightmares on Wax, Graham Massey (808 State), Chip was in a city that was undergoing a music revolution with the Haçienda as its temple. Yet it was the headlights of the M62 motorway and not the strobe lights that were lighting Chip's path during his student years ('88-'92). The lure of the jazz and funk clubs of Leeds, where The New Mastersounds were breaking out and building the blocks that would lead them to UK funk royalty status, proved too strong.

In the 1990s Chip continued to refine his craft in the rainy city and the gigs booked were growing in stature. It wasn't long before he was on the road with Roy Ayers and Badly Drawn Boy. Around that time Chip met up with trumpeter Matthew Halsall that was the beginning of a friendship that lasts to this day. Chip was a recording artist on Matthew Halsall's breakout album Sending My Love and continues to work with him, with live dates confirmed in spring 2017. This close connection with Halsall gave rise to other collaborations, such as with Nat Birchall and Go Go Penguin's Rob Turner.

Three decades after his late night excursions to Leeds, Chip found himself recording with Eddie Roberts from The New Mastersounds in Madrid, as part of their new band, The Fire Eaters, which he'd formed soon after he moved to sunny Spain in 2007 - the same year he released the Fried Samba album under his moniker Malena, his electronic Latin band that became a hit at the turn of the century for Freestyle Records. During his time in Spain he connected with the local scene and brought together many of his musicians colleagues from the UK to Spain and it was for a local and well established label, Lovemonk, that he released two 45s blending raw funk and Latin. These new roads and musical leanings led to an invitation to play for the prestigious Craig Charles Fantasy Funk Band. Based on a poll from Craig Charles' top rated BBC6 radio show, Chip was chosen to play alongside the cream of the UK funk & soul scene: James Taylor (JTQ), Snowboy, The Haggis Horns (Mark Ronson), John Turrell (Smooth & Turrell), and Mick Talbot (The Style Council).

La Sombra takes an altogether more rooted direction than Chip's recent collaborative work, with the jazz of the late '60s and early '70s a dominating influence to the recordings. Comprising of seven tracks recorded in Madrid with musicians assembled by Chip from Madrid's jazz scene, it combines contemplative explorations akin to Yusef Lateef's early work on tracks like 'La Sombra' and 'Pushed Too Far'. There's a fiery cover of Camarón de la Isla's classic 'La Leyenda Del Tiempo' and tracks like 'Sling Shot' and 'Red Planet' are locked in a groove harking back to Freddie Hubbard's Blue Note era and Luv N Haight's Nathan Davis.

After releasing the first single Voodoo Jazz end of 2016 the journey of Dem Juju Poets keeps on with Barabara, the first single taken off their forthcoming album Liberated Thoughts out due early 2017 on Matasuna Records.David Hanke aka Renegades Of Jazz, brainchild behind Dem Juju Poets, keeps on with his distinctive Afro sound and delivers a great 45 in various styles. As the Renegades Of Jazz journey will take a step away from Afrofunk music, Dem Juju Poets will be now the main outfit for Hanke to release more Afro driven music in the future.Barabara is a heavy piece of dancefloor Afrojazz goodness, decent horn sections, tough drums and rich percussions combined with vintage vocals. People's Republic is a organ and flute driven Afrosoul tune with a heavy brass riff, thriving percussions and flute solos galore.

Luv N'Haight is proud to re-issue Sweet Maya's self-titled album. A midwest jazz-funk classic with elements of folk, jazz, soul, funk and rock combining to create a heady blend reminiscent of '70s work by French band Cortex and songwriting maestro Terry Callier.

The music of Sweet Maya is an extension of each member. As individuals they bring together diverse backgrounds, as a group they blend it all into a sound that is exciting and full of warmth. The six-piece group of multi-talented instrumentalists has five lead singers, four songwriters and four arrangers. The music that grows from the contact of such persons is evidenced in this album. It is Sweet Maya (the Illusion) that flows through and shapes the many idioms of their music. It is Rob Hayes, Tom Davis, Janice Lakers, John Chamberlin, and Mark Bowen who convey the experience. (excerpt taken from original LP liner notes)

Luv N'Haight is proud to re-issue Sweet Maya's self-titled album. A midwest jazz-funk classic with elements of folk, jazz, soul, funk and rock combining to create a heady blend reminiscent of '70s work by French band Cortex and songwriting maestro Terry Callier.

The music of Sweet Maya is an extension of each member. As individuals they bring together diverse backgrounds, as a group they blend it all into a sound that is exciting and full of warmth. The six-piece group of multi-talented instrumentalists has five lead singers, four songwriters and four arrangers. The music that grows from the contact of such persons is evidenced in this album. It is Sweet Maya (the Illusion) that flows through and shapes the many idioms of their music. It is Rob Hayes, Tom Davis, Janice Lakers, John Chamberlin, and Mark Bowen who convey the experience. (excerpt taken from original LP liner notes)

Günter Christmann - Trombone
Peter Kowald - Tuba, Bass, Alphorn
Peter van der Locht - Alto Saxophone
Paul Lovens - Drums
Paul Rutherford - Trombone


Composed & Produced by Peter Kowald, recorded by Eberhard Sengpiel
Recorded at Akademie der Künste, Berlin, on January 19th in 1972.

Soul Jazz Records' are releasing Tee Mac's 'Night Illusion', a lost classic Nigerian Afro soul meets disco boogie funk album originally released in Nigeria in 1980 as a private-press release of 1000 copies on the enigmatic artists' own label. Impossibly hard to find, the record remains practically unknown outside of Nigeria. Tee Mac Omatshola Iseli is a multi-instrumentalist, composer and arranger and features on Soul Jazz Records' recent collection Nigeria Soul Fever - Afro Funk Disco and Boogie alongside Joni Haastrup, Christy Essien and others, as well as on a recent compilation 'Nepa Oh Nepa' (released on Hot Casa earlier this year). The timelessness of this soulful, ground-breaking funk jazz lost masterpiece 'Night Illusion' leads to comparisons with James Mason's legendary lost classic album Rhythm of Life, with his unique individualism and intensity hinting at the boogie funk of groups such as Mass Production and Slave so loved by artists such as Moodyman and Theo Parrish. While Fela Kuti is now a cultural icon of Nigerian music throughout the world, the recent crossover success of William Onyeabor shows just how much undiscovered Nigerian music remains waiting to be explored outside of the country.
Tee Mac was born in Lagos, the son of a Nigerian princess and a Swiss diplomat. He picked up the flute at age 7 and ten years later was studying classical musical in Switzerland under his uncle the composer J.J. Direndirger. Returning to Lagos, Nigeria in 1970 he formed the heavyweight afro rock group Tee Mac and Afro Collection (which included Johnny Haastrup on keyboards and The Lijadu Sisters on vocals). This band was famously joined by the legendary Cream drummer Ginger Baker who came to Nigeria to play with them in 1971 (captured in the film Ginger Baker in Africa).
At age 24, Tee Mac moved to Germany where he co-wrote and recorded the European disco group Silver Convention (whose 'Fly Robin Fly' became number one in the USA charts). This enabled him to return to Nigeria where he formed his own label SKJ Records to release his self-financed album Night Illusion, as well as buying two nightclubs and also investing in a number of mineral mining companies!
Tee Mac continues to live in Lagos today and travels the world as a composer - one of whose pieces is The City of Mer Kailash (2009), a two-hour ballet featuring over 60 dancers and a 100+ piece orchestra.
Soul Jazz Records are releasing this lost classic Nigerian album as a strictly limited-edition 1000 copies worldwide exact-replica artwork reproduction LP (+ sleevenotes + free download), CD and digital album.

Of Sudanese heritage, the bassist Ahmed Abdul-Malik (1927-1993) was born Jonathan Timms in Brooklyn. After working with Art Blakey and Thelonious Monk, among others, Abdul-Malik studied music of other cultures. He was among the first to incorporate Middle Eastern and Indian influences into Jazz.

A mindblowing mix of jazz and Middle Eastern influences— and a rare '60s treasure from Thelonious Monk's former bassist! Ahmed Abdul-Malik blends together percussion, bass, and oud with some soulful solo work from Seldon Powell on tenor and flute, and Ray Nance on cornet— stretching out over long tracks with an exotic vibe.

The great Bassist and band leader Charles Mingus cut some of his most exciting and rewarding recordings in 1960. Taped during the apex of Mingus' creativity, this incredible session showcase such stars as Eric Dolphy, Roy Eldridge, and Tommy Flanagan.

Shlohmo fans have been aching for new material from the 'Bad Vibes' era since the seminal album's release and while he has since diversified his approach there's no denying the transcendent magic of the Los Angeles-based artist's early work. Comprised of b-sides, demos and outtakes from the album's progenitive sessions, 'Bad Vibes: Rarities + Extras' is a nine track journey into the mind of one of our generation's most adored producers, extrapolating on the twisted warmth of his seminal works in remarkable fashion. Having collaborated with the likes of Jeremih, Tory Lanez, Lil Yachty, How To Dress Well and Banks in the years since 'Bad Vibes', these tracks recall a simpler, more intimate time in Shlohmo's career and whether it's the live mix of Seriously' or the temporally defined 11_9_10 Asleep On The 22' that bridges the gap for you, these tracks will surely make waves for fans past, present and future.

For Fly By Night Music's next excursion we have entered the realm of 291out, an ensemble dedicated to the unbound exploration of genre, who in partnership with Riccio have produced no less than four new and uniquely cinematic interpretations of their track Ritorno Ad Urania. Thematically inspired by Italian film compositions and 1970s progressive music, 291out are backboned by their experiences with audio visual production, and are fused with Jazz and Funk leanings. Urania, originally an electronic composition scored for the end credits of a short film and named after a legendary Italian Sci-Fi publication, was first heard by Riccio at Terraforma festival in 2015 in an altogether different guise under its radically changed live arrangement. Riccio, exhilarated by this performance, immediately requested to produce the track in this alternative second form.
The "Main" version is developed directly from the live arrangement of the track, highlighting a mysterious progression of soft horns and live drums before surprisingly turning to fusion territories with an upbeat jazz-funk flavoured bridge!The "Reprise" simplifies things somewhat by breaking down Urania's theme into a single element - the Fender Rhodes hauntingly recapitulating Urania's key motifs solo, creating a stark and beautiful contrast from the original arrangement!The "Alternate" cut provides Urania with a clear funk matrix, combining a more melodically upbeat instrumentation with sleazy wah - wah and frantic drums whilst making sure to leave plenty of room for guitar, horns and further Rhodes soloing ! Finally to end the e.p, the "Western" revision draws from the masters of spaghetti-western soundtracking, featuring an arrangement adapted for an echo and tremolo rich guitar lead, taking us on a hypnotic journey deep through the treacherous desert heat...

Paul Bley, synthesizer, electric piano, Annette Peacock electric bass and vocals, Han Bennink, drums, Mario Pavone, bass, and Laurence Cook, also on drums.

Originally released in the same year as her recently reissued solo debut, I'm The One. Peacock's liberated vocal style sits well alongside her husband Paul Bley's early jazz Moog synthesizer experimentation. Dual Unity was recorded in 1971 in Rotterdam and Paris. Professionally re-mastered original sound recording with expansive liners, interviews and rare archival photos.

Bossa Nova = Nouvelle Vague = New Wave.
This transliteration was the starting point for Marc Collin and Olivier Libaux's unique project, which, by appropriating the punk and post-punk cannon and running it through the Bossa Nova filter, reinvented the cover band genre, revealing new and brilliant talents along the way: Camille, Phoebe Killdeer (whose Fade Out Lines was remixed by The Avener,) Nadeah, Mélanie Pain, and, soon, Liset Alea. The gambit paid off, with sales of over one million records over four albums released between 2004 and 2010, and world tours that included stops at venues such as London's Royal Albert Hall, L.A.'s Hollywood Bowl and Paris' Olympia. Since 2011, Nouvelle Vague had stopped recording, focusing on an innovative live show created in collaboration with the mythical Jean-Charles de Castelbajac (Ceremony and Dawn of innocence,) and branching out into different projects: Olivier's Uncovered Queen of the Stone Age, and Marc's Bristol, along with his Kwaidan label.
The time seems right to write a new chapter in the Nouvelle Vague saga: with a new album I Could Be Happy' and live show, the band and its coterie of female vocalists continue their time travels with a renewed alegria. Nouvelle vague by Nouvelle Vague and Some Friends is thus more of a nexus of forthcoming projects: a new album comprised of punk and post punk standards imbued with the inimitable Nouvelle Vague touch, and, for the first time, a bevy of surprising Collin/Libaux which prove that the two producers are more than prodigious arrangers.
This album is also the opportunity to gather again the pioneer singers of Nouvelle Vague: Élodie Frégé, Mélanie Pain, Liset Alea, Nadeah and to find other guests as Camille or Clara Luciani.
A worldwide tour is already confirmed and announced. It will begin in Europe and Asia, in the fall, and will continue through South America and the U.S.A. in the new year, and feature the entire crew on stage, around Marc and Olivier: Mélanie Pain, Élodie Frégé, and Liset Alea.

John Cage and Christian Wolff's self-titled 1962 LP was an early showcase of both 20th century composer's experimental chops, and is highly regarded as some of their finest work. Cage's piece, which spans the whole of side 1, was originally composed in 1960, and like many of his pieces, would never be performed the same way twice. It involves the overlaying of transparencies to create the "score", while performers manipulate phonographic cartridges in a variety of ways to create amplified sound. To add to the effect, this particular performance is actually the superimposition of four performances. In all, it is a truly groundbreaking piece of 20th century classical. Wolff's side, while less extreme, is equally innovative, and a window into his particular pointillist vision of music.

Credit for this album is partially due to Miles Davis, who had somewhat recently purchased Coltrane his first soprano saxophone, previously it had been little used in jazz. This 1961 album also seems to fully mark Coltrane's transformation into modal jazz, another Davis influence, and his modal take on the the classic standard, "My Favorite Things", from The Sound Of Music soundtrack, remains one of the more iconic jazz songs in history. Rounded out by 3 more standards, performed in modal interpretations that completely redefined the meaning of a "standards" album, My Favorite Things, is one of the many transcendent jazz albums the legendary John Coltrane is responsible for.

The Quincy Jones & His Orchestra recorded at the
1961 Newport Jazz Festival. With trumpeter Joe Newman, altoist Phil Woods, trombonist Curtis Fuller and tenor man Eric Dixon as key soloists, this ensemble could hold its own with most of its contemporaries. Jones' arrangements were colorful and distinctive, and the musicianship of the orchestra was quite impressive.

Compiling recordings from 1948-1952 that Milt Jackson made with the Modern Jazz Quartet (+ Lou Donaldson on sax), and The Thelonious Monk Quartet, this release highlights the bebop brilliance of vibraphonist master Jackson. Inspired by Lionel Hampton, Jackson took up the vibes at age 16 and was performing in Dizzy Gillespie's group by age 22. It was in Gillespie's group that the foundations of one of the most well known and best-selling jazz groups, The Modern Jazz Quartet, were laid in the ground. That group, who recorded countless albums, first recorded in 1952, and these are some of their earliest recordings. Essential music from a jazz master, accompanied by some of the brightest artists in jazz history.

The debut as a leader for both Archie Shepp and Bill Dixon, two formidable members of the free-jazz and avant-garde elite, Archie Shepp - Bill Dixon Quartet was originally released in 1962. Rounding out the quartet are bassists Reggie Workman and Don Moore, and drummers Paul Cohen and Howard McRae, each on various tracks. While the album undoubtedly swings, this piano-less quartet definitely prefigures the trailblazing free-jazz work the two leaders would be involved in for the remainder of the decade, and beyond. Another essential piece of early free-jazz back in print on Jeanne Dielman.

Ltd. edition of 300
Muscut: Why 'Ode' and why 'To The Sea'
Nikolaienko: Sea is something that always inspires me. This album is influenced by the music about the sea with a big variety of the songs from experimental to the popular ones, soundtracks for films and documentaries on marine theme, excerpts from memories of my own childhood and also phantom nostalgia. I have transformed my entire maritime experience into my part of the collage titled Ode to the sea'

Gennadiy Boychenko (Indirect): For me, as someone who was born and grew by the sea (the place is pronounced Ode - sa), working on this album was not about memories or distant fantasy. On the contrary - it was about right-here/right-now attitude. Take for instance the first track: it's that afternoon in June right there! And the first three notes, played on a synthesizer almost sing: 'wash a-way...'.

Double 180gm vinyl LP pressing. The original Buena Vista Social Club album became a surprise international best seller and the most successful album in the history of Cuban music.

It was recorded for World Circuit Records by Ry Cooder over seven days in Havana in 1996,

bringing together many of the great names of the golden age of Cuban music in the 1950s, several of whom were coaxed out of retirement for the sessions.

In the years that followed the original release, Buena Vista veterans toured the world and were the subject of a celebrated feature film directed by Wim Wenders.

2015 REMASTERED 180g VERSION

'Bennie Green' was one of the best and most versatile trombonists present on the Jazz scene of the 50's & 60's, at ease both on the 'Swing' and 'Be-Bop' repertoire but also engaged in sessions of a primordial 'Rhythm And Blues'. He has played in numerous historical and big band's including those run by 'Earl Hines' and 'Charlie Ventura', also collaborating sporadically with 'Dizzy Gillespie', 'Charlie Parker' and 'Art Blakey' !!! This excellent LP, very fortunately brought to light by 'Your Servant Records' Label, brings together a number of excellent swinging songs originally released on 45 rpm - hence the title of the album - recorded under his own leadership in 1958 together with such excellent musicians as the pianist 'Sonny Clark', bassist 'Paul Chambers' and 'Babs Gonzales' present on the title Encore'.

"Meat. The story needs meat. (And blood ... coagulated blood (Gore)). The substance we are seeking here lies beyond the bare bones of fact, thewhen and the where (founded in 1988, Mülheim an der Ruhr) or personnel and instruments (a trio since 2016, built around keyboards, saxophone, bass & drums). The story is more than the sum of its facts. Mysteries may very well lurk here or there along the way. What keeps the final two foundermembers going after all this time Do Morten Gass and Robin Rodenberg have skeletons locked in their closets How dearly we would we love to know the answer to that one, alas the most beautiful puzzles tend to remain unsolved.
Including their debut Gore Motel' (1994), BOHREN & DER CLUB OF GORE have amassed an impressive eight longplayers. Four album titles allude to the night - their debut was followed by Midnight Radio' (1995), Sunset Mission' (2000), and Black Earth' (2002), whilst the most recent instalment carried the name Piano Nights' (2014). The nocturnal quartet was punctuated by Geisterfaust' (2005), Dolores' (2008) and a mini-album entitled Beileid' (2011), adding rather eerie overtones to the after
hours ambience. The BOHREN & DER CLUB OF GORE legend has grown stronger both at home and abroad with every record they have released and every show they have played. Strange as it may seem, there is a uniform consistency to their reception. Whatever the band does, critiques are unfailingly positive,
yet repetitious. References, links and associations recur almost word for word.
Consider the arrival of Christoph Clöser in 1997, by way of illustration. When he joined the group, his saxophone replaced the departing Reiner Henseleit's guitar as one of the defining instruments in the band. This was arguably the sharpest break in their sound to this day and a significant marker in terms of the band's reverence for Dutch instrumentalists GORE
(the clue is in the name), whose repetitive riffs paved the way for how the guitar would be deployed in a post-everything future. Nevertheless, this fissure in the BOHREN continuum has barely merits a mention in the greater scheme of things. Similarly conspicious by their absence in the BOHREN chronicles are the numerous instruments which they added to the mix - vibraphone, organ, tuba, bass trombone to name just a few. The
introduction of choirs at least had a clear visual impact. Since Thorsten Benning left at the end of 2015, the band has continued as a trio, sharing shifts on the drums (although they have equipped themselves with mechanical brushes).
A decrease in personnel was conversely accompanied by quantum leaps forward in the group's musical development - or more precisely, minor adjustments triggered major effects. Such changes may not get any easier to spot in the future, such is the intensity of internal imagery sparked by the music, a maelstrom of distractions so powerful that its promises are too sweet and too dangerous in equal measure. The music of BOHREN & DER CLUB OF GORE opens up remarkable rooms of association, from a warm burrow to a pristine secret lodge, from a
dusky woodland tavern to a smoky quayside dive. Individual and collective floods of images rush forth irresistibly. Loneliness is not at all problematic: empty multi-storey car parks, nighttime drives, remote bridges to nowhere. All in your mind. This is the temptation, a sweet, guilt-free addiction. It's all in your mind - and only there. These sinister crackling songs are invitations to secrete oneself in darkness. With track titles such as 'Maximum Black', 'Zombies Never Die' or 'Dandys Lungern Durch Die Nacht', the mind wanders inexorably into filmic spaces.
Echoing the masters of midnight cinema, stories evolve all by themselves. As the American Film Noir Foundation observed so smartly: 'the vivid co-mingling of lost innocence, doomed romanticism, hard-edged cynicism, desperate desire, and shadowy sexuality.' Their definition of Film Noir serves just as well as an appraisal of the group, 'Bohren For Beginners'.
Which says it all really, doesn't it A final word of warning! Sources close to the band describe the double CD
released in October 2016 as a gateway drug to the Bohren universe. Enter at your own risk, some have never found their way out again."
(by Lars Brinkmann)

One of the most important 'live' album's of the entire discography of 'Charles Mingus' returns now available as a Double LP' presenting the exhilarating performance of the quintet bassist of Nogales recorded live at the French festival of Juan-Les-Pins, 13 July 1960, flanked by incredible musicians like 'Booker Ervin' on tenor sax, trumpeter 'Ted Curson', the exposed 'Dannie Richmond' behind the drums and not forgetting the champion 'Eric Dolphy' on alto and bass clarinet, 'Mingus' offers in the lineup his trademark songs, such as 'Better Git Hit in Your Soul', 'What Love' & 'Wednesday Night Prayer Meeting' as well as a stunning version of the standard 'I'll Remember April' to which added to the group the piano played by an old friend 'Bud Powell'.

They return at last available in vinyl format, along with its beautiful original sleeve, the sessions by the great trumpet player 'Chet Baker' played in Milan in the autumn of 1959 in the company of some of the best Italian Jazz musicians of that time such as 'Gianni Basso', 'Renato Sellani', 'Franco Cerri', 'Glauco Masetti', etc. In the first LP, 'Sextet & Quartet' we find a brilliant and inspired 'Chet Baker' busy re-reading a number of classic songs such as 'Look for the Silver Lining', 'Tune Up', 'Line for Lyons', 'Pent Up House', 'Tune Up' etc. accompanied beautifully by Italian musicians, absolutely on par with his fellow musicians far afield !!!.

Too Late Blues (1962) is certainly one of the greatest films ever made about the jazz world, It was a perfect match between subject matter and filmmaker. In 1959, Cassavetes had starred in a TV series called Johnny Staccato, playing a jazzman who moonlights as a detective. The film's brilliant music score is courtesy of David Raksin and performed by such jazz legends as Benny Carter, Red Mitchell and Shelly Manne. Raksin's theme tune, mimed by Ghost's group during the opening credits, immediately establishes the film's cool, sardonic tone, and neatly mimics the attitude with which the actors deliver their lines. The easy way out would have been to do standards, but Raksin wrote all original music for the film, even for the source cues. And what music it is - Raksin at his best, and Raksin at his best is as good as it gets.