Nouveautés et Sorties Vinyles Pop & Rock - News

Simply one of the greatest guitarists in jazz history, George Benson is an amazingly versatile musician, whose adept skills find him crossing easily between straight-ahead jazz, smooth jazz, and contemporary R&B. Blessed with supreme taste, a beautiful, rounded guitar tone, terrific speed, a marvelous sense of logic in building solos, and, always, an unquenchable urge to swing, Benson's inspirations may have been Charlie Christian and Wes Montgomery, but his style is completely his own. Not only can he play lead brilliantly, he is also one of the best rhythm guitarists around, supportive to soloists and a dangerous swinger, particularly in a soul-jazz format. Yet Benson can also sing in a lush, soulful tenor with mannerisms similar to those of Stevie Wonder and Donny Hathaway, and it is his voice that has proven more marketable to the public than his guitar. Benson is the guitar-playing equivalent of Nat King Cole -- a fantastic pianist whose smooth way with a pop vocal eventually eclipsed his instrumental prowess in the marketplace -- but unlike Cole, Benson has been granted enough time after his fling with the pop charts to reaffirm his jazz guitar credentials, which he still does at his concerts.

In the wake of "This Masquerade," the balance of power shifted for the first time toward George Benson's suddenly marketable voice, four of the six tracks on In Flight are vocals. By this time, Benson was tailoring his tenor toward soulful pitch-bending à la Stevie Wonder on tunes as diverse as "Nature Boy" and "The World Is a Ghetto," and the unison scatting with the guitar that caught fire with the public on Masquerade is now pulled out whenever possible. Benson's backing band from Breezin', still set in its funk mode, is intact, and Claus Ogerman again contributes gentle orchestral cushions. The two instrumentals, particularly Donny Hathaway's "Valdez in the Country," prove that Benson remained a brilliantly inventive melodist on guitar, in full possession of his powers. Yet there is every indication here that Benson was set upon becoming primarily a pop star. By Richard S. Ginell/AMG

Michelle Legrand, the so-called Mozart of the new wave cinema, was made fully aware that he was actually the director's second choice for EVA's soundtrack. He originally wanted Miles Davis for the project. But his beautifully constructed jazz score serves as a perfect compliment to director Joseph Losey's charismatic images of the films Venetian setting. It is the main character of the movie, Eva's love of jazz music that is reflected within Legrand's score. The film also contains two Billie Holiday tracks 'Willow Weep for Me' and 'Loveless Love. A fascinating and musically rich score, one of those European 60's soundtracks that simply shouldn't be missed!

Thanks to 'Your Servant Records' Label this appears for the first time in Europe and the United States in an LP format album by Miles Davis 'Miles 1958'. Originally published and in limited copies in Japan in 1974, this LP contains the first recordings made in the New York studio's of Columbia Records on May 26, 1958 by the star himself and newly formed sextet directed by trumpeter Miles Davis, including 'John Coltrane', 'Julian "Cannonball" Adderley', 'Bill Evans', 'Paul Chambers' and 'Jimmy Cobb' !!! The four tracks recorded and published originally being 'On Green Dolphin Street', 'Fran Dance', 'Stella By Starlight' and 'Love For Sale' - In this special LP version a signature song is added by top saxophonist Jackie McLean 'Little Melonae', coming from a previous sitting in October 26, 1955, which produced the album 'Round About Midnight' formed by the first great quintet with 'Miles', 'John Coltrane', 'Red Garland' on piano, again 'Paul Chambers' and the drums of 'Philly "Joe" Jones.

The sounds of Brazil in the late 60's were thriving with creative growth in thought and world minded values. The age of fusion was alive and well and a lost hidden gem from this era comes in the sole Pedro Santos 1968 LP Krishnanda. Tracks include "Ritual Negro", "Água Viva", "Um Só", "Sem Sombra", "Savana", "Advertência", "Quem Sou Eu", "Flor de Lótus", "Dentro da Selva", "Desengano da Vista", "Dual", "Aranbindu".

A Tribute To Sun Ra" & "Latino In Cairo". This record represents The Cairo Jazz Band responding to the American Jazz scene of the 60s & 70s with influences from Mongo Santamaria to Randy Weston and Sun Ra. These tracks were first presented by The Ministry Of Culture in Cairo as a Prism Music Production and released with an additional disk by the composer Soliman Gamil Musical Images. This release marks the first time Salah Ragab and The Cairo Jazz Bands definitive works are presented to the west. Salah Rageb R.I.P

The vitality you hear on Antique Blacks is a testament to the unique energy of the community around The Foxhole Cafe in Philadelphia, as Ra honed his unique brand of Afro-Futurism through the late 60's and 70's. Cosmic theatre, spiritual chants, and experimental electronics make this record an essential document that was ahead of its time. Ancient to future! BIG TIP !

For the first time on a Double LP', the complete concert by pianist 'Thelonious Monk', the front man of his all-star orchestra, played at the 'Town Hall' in New York on February 29, 1959. Original songs by the pianist, have become truly classics of Modern Jazz among which 'Friday The 13th', 'Monk's Mood', 'Off Minor', etc. They are embellished along with 'Phil Woods', 'Donald Byrd' & 'Pepper Adams', some of the great soloists in this amazing orchestra put together by 'Monk'. In this special edition a further 3 songs are included being 'In Walked Bud', 'Blue Monk' and 'Little Rootie Tootie (Encore)' - coming from the same concert - for the very first time on Vinyl thanks to the label Your Servant Records'.

The all new and incredible follow-up to the successful Britxotica! and Britxotica Goes East! LPs. But this time Jonny Trunk and legendary DJ Martin Green take you to a magical musical place full of tropical delights - with songs of heatwaves, coral reefs, Haitian rituals and treasure islands, not forgetting the stormy seas and the odd hurricane. 16 tracks in all from a post war era of musical adventure - this is Britxotica at it's very hottest, most exotic and very best - just incredible, rare, lost and exotic music from the wild British isles!

A collection of atmospheric tracks between classical compositions, Detroit techno and oldschool deep house.

Third volume for "Beautiful Cover Version" .A collection of classic pop, and rock revisited in genenre jazz, lounge, chill. and d acustic

Ash Walker is back people!Here we have his latest single - 'Promotion' and 'Truffles', taken from his critically acclaimed album, recently released on Deep Heads entitled 'Echo Chamber'.Support on the singles leading up to the album has been nothing short of fantastic, hearing the likes of Don Letts, Gilles Peterson, Gideon Coe, Tom Ravenscroft (all BBC 6Music), Dom Servini (Wah Wah 45's), Lefto & Zeb Samuels all spinning tunes on regular rotation.The A-side 'Promotion' manages to seamlessly combine a wide variety of styles and musical influences into one effortlessly understated track. It opens with the type of squelchy bassline that you might expect to hear on a Flying Lotus or Spacek track, before introducing a messy breakbeat that Ash delivers with finesse. These two elements are reinforced by off-beat guitar chords and a high-pitched synth line that provide that all important hook.Maintaining the 'live' sound that Ash has been honing during the development of his second album (live trio coming soon), B-side 'Truffles' is a laid-back, hazy and introspective three minute jam that is a masterpiece of a recording.As a DJ, Ash has long performed in support of prestigious acts including The Specials, Lee Scratch Perry, and David Rodigan, but now signed to Deep Heads, his productions are receiving the increased attention they deserve. 'Augmented 7th', received staunch radio support from BBC 6 Music, with air time play from the likes of Gideon Coe, Gilles Peterson Don Letts and Tom Robinson whilst also receiving glowing praises from publications such as Clash Magazine, Okayplayer, XLR8R & Konbini

Massimo Minardi, founder of the quartet, composed almost the entire repertoire of the group. The central element of the M4et music, so the whole project "Heading North", is the melodic research. The melody is imposed over the styles and labels, while maintaining the inspiration jazz and letting the narrative becomes the main focal point for the listener. The group are :
Massimo Minardi: guitar
Michelangelo Decorated: piano
Stefano Solani: bass
Nicola Foreign players: drums

New Sarah Jane and Antonio Forcione Album "Compared To What" reaches peaks of great musical beauty thanks to the particular Antonio virtuosity on the guitar and the legendary voice of Sarah Jane, now more finely persuasive than ever. Overall, this is a winning collaboration between two of the most unique musicians and the world stage talented. Each of the components of this duo has been likened to a remarkable series of musical geniuses, including Janis Joplin and Tom Waits (voice), but also Jimi Hendrix (Music). Truly, Sarah Jane and Anthony are great in themselves artists. By combining their energies, they have a common audience and broaden the scope in which each of them is appreciated, giving their longtime fans a chance to know them in a new dimension and at the same time attracting new audiences with the intensity and artistic talent of their particular union. In addition to the social awareness songs for the tragedy of the refugees, 'Compared to What' includes comedy, love songs and memorable covers : Stevie Wonder and Bob Dylan.

The debut album from Spanish outfit Forastero delivers a riotous but groove driven jazz-punk setlist featuring a theremin and a wonky Hammond organ re-work of the Orbital classic, 'The Box'. El Submarinista en el tejado ('Diver on the Roof'), is Sonic Youth intense in its climactic peaks and drips in filmic Morricone quirk when taking breath. Bolstered with baritones and a fistful of brass, it is the band's debut and fittingly comes out on the long-respected Madrid label, Lovemonk. Made up by a group of players from Madrid's jazz, Afrobeat and black music scene, Forastero are little known out of Spain, yet they have been experimenting with fuzzed up and leftfield beats and pieces in many of the capital's renowned live music 'salas' over the years. A six-piece, the group plays baritone sax, keys, synths, double bass, guitar, theremin and drums, and have no interest in playing fiddle to Madrid's conservative jazz audiences. In fact, it's the environment of a somewhat static new jazz scene in Madrid that has given the impetus for Forastero's creation and 'outsider' attitude. Literally their name, 'Forastero', means 'stranger' or 'foreigner'. Recorded between September 2015 and July 2016 in Madrid, there is obvious anxiety and angst in this production but delivered with a poetry akin to a Tortoise or Brandt Brauer Frick production. 'The Box' is a cover of the Orbital classic, a syncopated and supple track jumping between loose expressions of ska and dub. 'Baile Watusi' charms with its collision of frantic jazz and chopped up sinuous funk, and 'Morfina', the lead single, evokes sixties soul and is a posthumous nod to renowned bass player, Mark Sandman. Throughout El Submarinista en el tejado the band don't hide their fondness for the big screen, with the spaghetti western-like quality of 'Por la Calle de la amargura' an obvious example without being overwhelmingly pastiche. With the additional influences name checked by the group, such as Cinematic Orchestra, Jaga Jazzist, Red Snapper, Esbjörn Svenson Trio and Acoustic Ladyland, you get an idea of why their self-proclaimed tag as 'outsiders' has stuck. The loose attitude to formula or structure in Forastero's work stands out a mile. Certainly their jazz and improvisational backgrounds has heavily influenced the writing process. There's a tight and intuitive rhythm section, which is frequently held together by a narrative quality in Dani Niño's saxophone lead. "We play jazz as rockers, twisting things and always experimenting", says Javier Gallego, the drummer. And onwards the band marches, irritating and entertaining all who hears them. The album cover is a photo by renowned Spanish photographer Alberto García-Alix called "San Carlos, un horizonte falso" ("San Carlos, a false horizon"). The story behind it fits the album like a glove: San Carlos doesn't exist. The artist ordered a bespoke model of a city, and in his studio, using lights and shadows, he photographed a city where everybody is a stranger. Forastero are Javier Colis, Javier Diez-Ena, Javier Gallego "Crudo", Dani Niño, Juan Carlos "Chavi" Ontoria, and Sergio Salvo.

First Word are proud to present 'OnePointOne' from Myele Manzanza, recorded live at the legendary Blue Whale in Los Angeles. The son of a Congolese master percussionist, New Zealand born Myele first gained international attention as one third of NZ soul act, Electric Wire Hustle. After six years of performing, recording and touring with the band that he formed, he left in 2013 in order to release his solo debut One (BBE).

By this time Myele had become an in-demand musician, culminating in 2014 when he joined dance music pioneer Theo Parrish as the drummer of his live outfit The Unit. As a drummer and a sideman he continues to tour internationally and collaborate with a broad range of artists including Mark de Clive-Lowe, FW label-mate Ross McHenry, Sorceress, Amp Fiddler, Miguel Atwood-Ferguson, Marcus Strickland, Recloose, Jordan Rakei and most recently joining Australian contemporary dance company, KAGE, in their forthcoming dance and drum based performance Out Of Earshot.

His roots in jazz and African rhythm, (as well as his childhood love of hip hop and dance music) bring a uniquely diverse take to his music. This is evident on OnePointOne, where he fuses a traditional jazz trio with a string quartet, underpinned with an undeniable hip-hop swagger. The album features the stellar talents of pianistprogrammer Mark de Clive-Lowe, and the Quartetto Fantastico string quartet led by Miguel Atwood-Ferguson (Suite For Ma Dukes), virtuoso bassist Ben Shepherd and guest vocalists Nia Andrews and Charlie K. The dynamic rendition of City Of Atlantis was deftly arranged by Miguel Atwood-Ferguson and captured in a stunning live video by Eric Coleman of Mochilla (Timeless, Suite for Ma Dukes).

As well as live takes on some of the material from his debut album, there are covers of Theo Parrish, Jill Scott and the late, great Bobby Hutcherson, capturing an intimate performance from a fearless artist at the hub of the resurgent West Coast Jazz scene.

The Delegation is a project of young phenom Gabriel Zucker that mixes jazz, classical, electronica, rock, and more into a new sound that lives up to ESP-Disk's old catchphrase, "You never heard such sounds in your life!" This improvising group came together at the 2013 Banff Jazz and Creative Music Workshop and was soon commissioned by the American Composers Forum, the result is the twelve-movement work on this twodisc set, which was premiered at the Jazz Gallery in New York City in 2014 and earned ASCAP's Morton Gould Young Composers Award.

The release of a triple vinyl set with a selection of twenty-three emblematic tracks celebrates eight years of musical research and experimentation featuring Cuba's musical avant-garde under the curation of Gilles Peterson with the backing of the Havana Cultura project.

In 2008, DJ and globetrotter Gilles Peterson was approached by the melomaniac at the helm of Havana Cultura - an initiative to showcase and support Cuban creativity by Cuban rum maker Havana Club -, inviting him to Cuba to check out Havana's underground music scene with a view to making an album. While some might associate Cuba simply with salsa or Buena Vista Social Club, there was a new generation of artists teeming with new sounds, waiting for an opportunity to reveal their talent to the world.

That first trip was the beginning of what has now been an eight-year-long collaboration between Peterson, his Brownswood Recordings label and Havana Club's cultural platform. It first resulted in the release of Havana Cultura: New Cuba Sound, an acclaimed double album that included original productions and a compilation of existing tracks across a range of genres reflecting contemporary Cuba's musical diversity: jazz, hip hop, reggaeton and plenty in between.

From there, the first edition of Havana Cultura Sessions, a solo release from Danay Suarez - a standout talent in the sessions for New Cuba Sound - came next, followed by Havana Cultura Remixed, joining the dots - with remixes from Louis Vega and 4 Hero - between Cuba and global club culture. After that, 2011's Havana Cultura: The Search Continues was the next attempt to dig deep into the different corners of the island's contemporary music scene. Joining Peterson on that trip was dubstep pioneer Mala, who took recordings and sessions with Cuban artists as the basis for Mala in Cuba, an album marrying together UK soundsystem culture with the deep rhythmic possibilities of Cuba.

On Havana Cultura Mix - The Soundclash!, the project was opened up to fledgling electronic producers through a remix competition for unsigned beatmakers. Top entries were chosen from mixes submitted online, with winners being flown to Cuba to collaborate with some of the island's finest artists. The Havana Cultura Sessions EP by Daymé Arocena, which followed, was the first solo release by a vocalist and choir leader who had been too young to record when Peterson and the Havana Cultura team had first encountered her stunning voice.

Finally, 2016 saw the release of Havana Club Rumba Sessions - Peterson returned to Cuba with old friend Crispin Robinson, who guided him through the rumba traditions running deep through all of the music which has followed it. The album saw the three central rhythms to rumba - guaguancó, yambú and columbia - remixed and reimagined by a diverse range of producers from around the world.

With a new album by Arocena on the way, the Havana Cultura album series continues to be a vital route into the best that the contemporary Cuban music scene has to offer.

At Havana Club, we're proud of our Cuban origins. Havana is one of the world's most buoyant cultural scenes - particularly when it comes to music - and we were eager to give a bigger voice to a generation of young artists whose work is decidedly modern, yet firmly anchored in the richness of Cuba's musical tradition,' explains François Renié, who runs the initiative at Havana Club.

The Havana Cultura project gave me the chance to go deep in a country that had intrigued me ever since I was digging for Latin records as a young DJ,' recalls Gilles. From the first release up to now, it's been about taking that spirit of the Buena Vista Social Club to show a new generation of artists and opening it up to as big an audience as possible. Picking the tracks for this anthology, I wanted to show modern Cuba alongside the remixes, putting it in the context of a global club culture.'

Notes to the editor:

- The Havana Cultura initiative was founded in 2007 under the auspices of Cuban rum maker Havana Club. Proud of its Cuban roots and with a firm commitment to the development of a diverse and vibrant arts scene in its home country, the brand has taken a leading role in the promotion of contemporary Cuban creativity through a multimedia digital platform, Havana-Cultura.com, an album series produced with Gilles Peterson and Brownswood Recordings, and sponsored or owned events, both in Cuba and abroad.

- Havana Club is Cuba's iconic rum brand sold in over 120 countries, excluding the US, where Cuban products are banned due to the trade embargo.

The release of a triple vinyl set with a selection of twenty-three emblematic tracks celebrates eight years of musical research and experimentation featuring Cuba's musical avant-garde under the curation of Gilles Peterson with the backing of the Havana Cultura project. In 2008, DJ and globetrotter Gilles Peterson was approached by the melomaniac at the helm of Havana Cultura - an initiative to showcase and support Cuban creativity by Cuban rum maker Havana Club -, inviting him to Cuba to check out Havana's underground music scene with a view to making an album. While some might associate Cuba simply with salsa or Buena Vista Social Club, there was a new generation of artists teeming with new sounds, waiting for an opportunity to reveal their talent to the world. That first trip was the beginning of what has now been an eight-year-long collaboration between Peterson, his Brownswood Recordings label and Havana Club's cultural platform. It first resulted in the release of Havana Cultura: New Cuba Sound, an acclaimed double album that included original productions and a compilation of existing tracks across a range of genres reflecting contemporary Cuba's musical diversity: jazz, hip hop, reggaeton and plenty in between. From there, the first edition of Havana Cultura Sessions, a solo release from Danay Suarez - a standout talent in the sessions for New Cuba Sound - came next, followed by Havana Cultura Remixed, joining the dots - with remixes from Louis Vega and 4 Hero - between Cuba and global club culture. After that, 2011's Havana Cultura: The Search Continues was the next attempt to dig deep into the different corners of the island's contemporary music scene. Joining Peterson on that trip was dubstep pioneer Mala, who took recordings and sessions with Cuban artists as the basis for Mala in Cuba, an album marrying together UK soundsystem culture with the deep rhythmic possibilities of Cuba.On Havana Cultura Mix - The Soundclash!, the project was opened up to fledgling electronic producers through a remix competition for unsigned beatmakers. Top entries were chosen from mixes submitted online, with winners being flown to Cuba to collaborate with some of the island's finest artists. The Havana Cultura Sessions EP by Daymé Arocena, which followed, was the first solo release by a vocalist and choir leader who had been too young to record when Peterson and the Havana Cultura team had first encountered her stunning voice.Finally, 2016 saw the release of Havana Club Rumba Sessions - Peterson returned to Cuba with old friend Crispin Robinson, who guided him through the rumba traditions running deep through all of the music which has followed it. The album saw the three central rhythms to rumba - guaguancó, yambú and columbia - remixed and reimagined by a diverse range of producers from around the world. With a new album by Arocena on the way, the Havana Cultura album series continues to be a vital route into the best that the contemporary Cuban music scene has to offer. At Havana Club, we're proud of our Cuban origins. Havana is one of the world's most buoyant cultural scenes - particularly when it comes to music - and we were eager to give a bigger voice to a generation of young artists whose work is decidedly modern, yet firmly anchored in the richness of Cuba's musical tradition,' explains François Renié, who runs the initiative at Havana Club.The Havana Cultura project gave me the chance to go deep in a country that had intrigued me ever since I was digging for Latin records as a young DJ,' recalls Gilles. From the first release up to now, it's been about taking that spirit of the Buena Vista Social Club to show a new generation of artists and opening it up to as big an audience as possible. Picking the tracks for this anthology, I wanted to show modern Cuba alongside the remixes, putting it in the context of a global club culture.Notes to the editor:The Havana Cultura initiative was founded in 2007 under the auspices of Cuban rum maker Havana Club. Proud of its Cuban roots and with a firm commitment to the development of a diverse and vibrant arts scene in its home country, the brand has taken a leading role in the promotion of contemporary Cuban creativity through a multimedia digital platform, Havana-Cultura.com, an album series produced with Gilles Peterson and Brownswood Recordings, and sponsored or owned events, both in Cuba and abroad. Havana Club is Cuba's iconic rum brand sold in over 120 countries,excluding the US, where Cuban products are banned due to the trade embargo.

'Joy' is BBF's fourth album and the first one to be truly vocalist-focused and song-centric.

With the help of Canadian poet-singer Beaver Sheppard who played an prominent role the composition, BBF explore what the band-members describe as 'post-religious' themes, such as struggling to find joy in times of uncertainty and instability. This makes it without any doubt BBF's 'Nietzsche album'.

Following on from their latest album 'Miami' (2013) BBF keeps moving away from the dark mood of their early releases and the image of a 'classical new music ensemble' to resemble more closely an 'experimental rock band'. With much more grit and growl than before, they draw upon genres and styles that are not conventionally associated with joy: krautrock, punk, drum'n'bass, indie rock, new wave, and pretty much every other '-wave' from the 80s.

With each track offering a contrasting combination of styles and genres, BFF succeed in devoting a whole album to a single feeling without making it either monotone or cliché. Instead, they build on euphoria to expand and enrich electronic music's emotional range with new textures. More than an album, it is an emotional journey.

Black Beauty, Miles Davis At Fillmore West, was recorded on April 10, 1970 at Fillmore West, San Francisco, when Davis performed as the opening act for the Grateful Dead. The recording took place shortly after the release of Miles' classic album Bitches Brew. The album was released in 1973, originally in Japan only.
Black Beauty, a true jazz-rock album, captured one of Davis' first performances at a rock venue during the early stages of his electric period. At the concert, he led his band (saxophonist Steve Grossman, bassist Dave Holland, keyboardist Chick Corea, drummer Jack DeJohnette, and percussionist Airto Moreira) through one continuously performed set list. The songs in the band's set list were as followed: Directions', Miles Runs the Voodoo Down', Willie Nelson', I Fall In Love Too Easily', Sanctuary', It's About That Time', Bitches Brew', Masqualero', Spanish Key', and The Theme'. They were performed as one continuous and uninterrupted piece of music, a practice Davis had begun in 1967. He later explained in his autobiography that performing these kinds of long musical suites without breaks allowed more space for improvisations in concert.

New album of previously unreleased music recorded 1962 at Auditorium Maximum/ Freie Universität in Berlin. Austrian genius Friedrich Gulda on piano and baritone saxophone, leading a 13-piece, top-shelf lineup of players featuring Benny Bailey, Erich Kleinschuster, Georg Riedel, Fatty George, Arne Domnérus and Ack van Rooyen. Sparkling modern jazz in front of an excited audience, including Parker`s Anthropology', Monk`s Round About Midnight' plus original material by Gulda and Riedel, with world premiere of Music For Three Soloists And Band'. It is the rhythmic drive, the risk, the absolute contrast to the pale, academic approach I had been taught'. (F.Gulda in New York Times).

Joe McPhee - Soprano saxophone, electronics and voice
Raymond Boni - Electric guitar and electronics

French guitar player Boni teamed up with legendary US jazz-musician McPhee in the early 80s for some intense cooperations and albums (as a duo and as a trio with Andre Jaume).
This recording is unreleased.

The complete concert inspired by the words of Eric Dolphy. Recorded at Hulsey Recital Hall on the University of Alabama at Birmingham (UAB) campus. April 20,1985

"When you hear music,
After it's over,
It's gone,
In the air,
You can never
Capture it
Again."
-Eric Dolphy

Joe McPhee - Tenor Soprano
Ingebrigt Haker Flaten - double bass

Recorded live by Dave Zuchowski at the Sugar Maple/Okka Fest on Saturday, June 6th, 2015. Mastered by Martin Siewert in July/August 2016.

Great free jazz duo performance by multi-instrumentalist McPhee - here on tenor - and Haker Flaten - the bassist from viking-jazzer THE THING, with knowledge about roots and history and always open and uncompromising about new ideas and improvisational music.

"She's not just good, she's phenomenal..Carleen Anderson is one of a kind" - James Brown.

"Carleen Anderson - She's someone who I would sit around the venue all day, just to hear her soundcheck" - Amy Winehouse

"Without doubt one of the all-time great female vocalists... Carleen must be seen to be believed' - The Huffington Post

Cage Street Memorial The Pilgrimage, Carleen Anderson's 7th solo album, is something special, different and absolutely unique. The winner of Jazz FM's 2013 Best UK Vocalist Award blends styles ranging from jazz, soul, gospel, opera, to classical chamber music. The mixture of musical genres makes this an exciting, genuine and highly personal offering that sits far outside the boundaries of contemporary soul and urban music. This project is not just an album of original music, it is one part of a creative trilogy, also taking the form of a multi-media theatre production and Carleen's generational book, Cage Street Memorial The Chapel of Mirrors.

Carleen has lovingly crafted this album using the whole of her talents, lifelong influences and experiences and forged all this into a stand out evolution allowance imbued throughout with her delicate personal approach. Utilising basic instrumentation - her incredibly versatile voice and simplistic piano manner, Orphy Robinson's synergistic vibraphone & percussion, Samy Bishai's consummate violin playing, and the subtle and diligent bass skills of Renell Shaw - the collective musicianship delivers an authentic concept.

While each of Anderson's compositions and arrangements for this soundscape of a tribal narrative symbolises a specific significance, here are a few to signify her chronicle notations:

Upwards from the Ground, lyrically describes an abandoned little girl tracing her roots for salvation as a middle-aged woman. The links of the African Diaspora expressed in the multi-dimensional percussive performance by Orphy Robinson sets the tone for a sort of it takes a village to raise a child theme. The build of the rhythmic groove transports the vocal melodies supported by the harmonies provided by the vibraphone, violin and bass to symbolise the rise from the ashes in spite of dire circumstances.

A chance YouTube viewing of singer/pianist Blossom Dearie alongside vibraphonist Peter Appleyard inspired Anderson to reference the Rachmaninoff motif swung by Charlie Parker for the bass line in her tune, All That Glitters. The subject matter of the song relates to the parallels of fools rushing in pursuit of golden love as it links to the perils of Anderson's music industry heritage, being the Goddaughter of the Godfather of Soul, James Brown, the stepdaughter of the JB All Stars' Bobby Byrd, and the daughter of soul singer, Vicki Anderson, aka, Myra Barnes, who was often cited as the most favoured of James Brown's featured vocalists. The jazz tinged swing of this composition is a cautionary tale to mind that things may not be what they seem.

With the platform provided by her singer/songwriter contributions for the band, The Young Disciples, whose album Road to Freedom and music chart hit, Apparently Nothing, introduced Anderson to an audience beyond the shadows of her inherited legacy, Pond Crossing contextualises the grateful awareness she has of the podium the UK supplied her with. England's embrace of Anderson led to her Brit Award nominated first solo album, True Spirit, followed by her second album, Blessed Burden, co-produced with Paul Weller. In between her independent album releases, Alberta's Granddaughter, Grace & Favours, Up to Now and Soul Providence, Anderson was honoured to be featured and/or collaborate with Nigel Kennedy, Dr. John, Omar, Meshell Ndgeocello, Sir Paul McCartney, Incognito, the London Community Gospel Choir, Johnny Cash, Pops Staples, Ramsay Lewis, the Ronnie Scott's All Stars, Lalah Hathaway, and Chrissie Hynde, a short list of the wide range of artists she's worked with. The music and lyrics are a snapshot of an ocean put into a cup.

In this seventh autonomous overture, Anderson redefines herself as a Singing Poet from the New Guard, setting music to the scenes of the human experience. CAGE STREET MEMORIAL is The Pilgrimage universally lived by all of us, to some degree or another.

The debut album from Spanish outfit Forastero delivers a riotous but groove driven jazz-punk setlist featuring a theremin and a wonky Hammond organ re-work of the Orbital classic, 'The Box'. El Submarinista en el tejado ('Diver on the Roof'), is Sonic Youth intense in its climactic peaks and drips in filmic Morricone quirk when taking breath. Bolstered with baritones and a fistful of brass, it is the band's debut and fittingly comes out on the long-respected Madrid label, Lovemonk. Made up by a group of players from Madrid's jazz, Afrobeat and black music scene, Forastero are little known out of Spain, yet they have been experimenting with fuzzed up and leftfield beats and pieces in many of the capital's renowned live music 'salas' over the years. A six-piece, the group plays baritone sax, keys, synths, double bass, guitar, theremin and drums, and have no interest in playing fiddle to Madrid's conservative jazz audiences. In fact, it's the environment of a somewhat static new jazz scene in Madrid that has given the impetus for Forastero's creation and 'outsider' attitude. Literally their name, 'Forastero', means 'stranger' or 'foreigner'. Recorded between September 2015 and July 2016 in Madrid, there is obvious anxiety and angst in this production but delivered with a poetry akin to a Tortoise or Brandt Brauer Frick production. 'The Box' is a cover of the Orbital classic, a syncopated and supple track jumping between loose expressions of ska and dub. 'Baile Watusi' charms with its collision of frantic jazz and chopped up sinuous funk, and 'Morfina', the lead single, evokes sixties soul and is a posthumous nod to renowned bass player, Mark Sandman. Throughout El Submarinista en el tejado the band don't hide their fondness for the big screen, with the spaghetti western-like quality of 'Por la Calle de la amargura' an obvious example without being overwhelmingly pastiche. With the additional influences name checked by the group, such as Cinematic Orchestra, Jaga Jazzist, Red Snapper, Esbjörn Svenson Trio and Acoustic Ladyland, you get an idea of why their self-proclaimed tag as 'outsiders' has stuck. The loose attitude to formula or structure in Forastero's work stands out a mile. Certainly their jazz and improvisational backgrounds has heavily influenced the writing process. There's a tight and intuitive rhythm section, which is frequently held together by a narrative quality in Dani Niño's saxophone lead. "We play jazz as rockers, twisting things and always experimenting", says Javier Gallego, the drummer. And onwards the band marches, irritating and entertaining all who hears them. The album cover is a photo by renowned Spanish photographer Alberto García-Alix called "San Carlos, un horizonte falso" ("San Carlos, a false horizon"). The story behind it fits the album like a glove: San Carlos doesn't exist. The artist ordered a bespoke model of a city, and in his studio, using lights and shadows, he photographed a city where everybody is a stranger. Forastero are Javier Colis, Javier Diez-Ena, Javier Gallego "Crudo", Dani Niño, Juan Carlos "Chavi" Ontoria, and Sergio Salvo.

Released on CD for the first time - limited edition - 300 copies

"A gritty rhythm section of old school drums and Fender or upright bass, alongside funky Hammond and Rhodes, with some sweet George Benson-ish jazz guitar licks on top." From the quiet tropical suburban back streets of Australia's 3rd largest city (Brisbane) comes a young all instrumental ensemble called Kerbside Collection, creating a mixture of some forgotten rare groove sounds - good times instrumental jazz funk with a touch of soul.

The sound of Ravi Welsh (Guitar), Jason "Paprika" Bell (Drum & percussion), Chris Poulsen (Hammond & Fender Rhodes) and Jeremy O'Connor (Fender "P" & double bass) harks back to the 60s and 70s Californian West Coast music of artists such as Wes Montgomery, George Benson, Chico Hamilton, Joe Sample and The Crusaders, whilst tipping its' hat to today's contemporaries keeping the 'feel' alive (Soulive, Bobby Hughes, James Taylor Quartet, Eddie Roberts & The New Mastersounds, The Menahan Street Band, The Stance Brothers, Frootful etc).

In May 2011, directly after devastating floods freakishly ripped through their hometown of Brisbane, the ensemble went to record their debut album "Mind The Curb" in Melbourne with Jake Mason (Cookin' On 3 Burners). 8 songs were recorded/mixed/pre-mastered in 4 days, on vintage, analogue gear and onto warm tape. The songs were tracked the old classic way - all members in one room playing together, with instruments bleeding into other instrument mics and amps (and no 'click'!) to capture a full and lively sound from the players. In November (later that same year) they released a self funded, limited edition 7" featuring their gritty 'b-boy' funk version of Dizzy Gillespie's " A Night in Tunisia", and "Jelly Belly", a snappy jazz funk kicker generating worldwide support

After searching around for a home, "Mind the Curb" is now being released on Legère Recordings. As well as the "A Night in Tunisia" rework, tracks include a grittier jazz funk interpretation of a George Benson rarity ("P Park"), a little skankin' jazz/reggae number called "Red Stripe" (think Jackie Mittoo x Earnest Ranglin, also out as a limited edition 7inch single), a frenetic uptempo JBs style shaker ("Cat Whip"), a cool jazz dance cover of a Coltrane classic ("Impressions"), and even a low slung soul jazz number ("41 Bernhard") featuring the sweet sounds of Anton Delecca from The Bamboos on flute.

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

Tidal Waves Music proudly presents the re-issue for Nina Simone's 'A Very Rare Evening'. Originally released on PM records in 1979, featuring Weldon Irvine on organ, Don Allias on drums and Jazz legend Gene Perla on bass. Included on these European sessions from 1969 you'll find Nina classics & rare versions of recordings written by Aretha Franklin, Barry Gibb, Randy Newman & Pete Seeger.

One of the most sought after Nina Simone albums is now back available as a deluxe limited vinyl edition for the first time since 1979. Produced by Gene Perla, officially licensed from PM Records & featuring the original artwork created by A.M. Schnider.

"It's her first LP in years, but was taped back in 1969 in Europe with a confident, impressive organ and rhythm section backup band. Simone is an acquired taste. But, for those who appreciate her singing, these eight tracks will prove welcome." - BILLBOARD

Anything by this lady of song is welcome, especially when she's in front of an adoring audience, as she is in these decade-old, never-released sides. Simone covers all bases from Barry Gibb's "In The Morning," to Pete Seeger's adaptation from the Book of Ecclesiastes, "Turn! Turn! Turn!" She gives special meaning to such tunes as the poignant "The Other Woman," the gospel inflected "Save Me," and "I Think It's Going To Rain Today." But the highlight is her own tune, composed with keyboardist Weldon Irvine, Revolution."- CASH BOX MAGAZINE

Though the Simone catalog overflows with live recordings, this 1969 German concert outranks all others. Focusing almost exclusively on then-contemporary material--the Gibb brothers' "In the Morning" and "To Love Somebody," Randy Newman's "I Think It's Going to Rain Today," Aretha Franklin's "Save Me," the Byrds' "Turn! Turn! Turn!"--Simone is at her most assuredly earthy and intrepidly regal.' - THE JAZZ TIMES

With Music with a Message a new chapter has been opened in German music history. Actually, this is the first official compilation of it's kind which documents how rock, soul and funk have found their way into German churches in the course of Christian movements of the late 1960s and early '70s. Call it Xian (kraut-) rock or religious funk - these 12 tracks by almost totally unknown bands will convince rare groove lovers as well as the beat and rock collectors.

The set opens with Eingangslied (Die Rocker) by legendary Peter Janssens whose name was first introduced to the funk and soul collectors secne in 2010 when his song Grito Pidiendo was first re-released on the third volume in the classic Movements series. Siegfried Fietz is another well known figure in this genre, obviously no regular music buyer has ever heard of him. Our austrian neighbours are presented here with two songs, a sweet latin-ish soul tune by the Golems and an outstanding psych-rock cut by Kaplan Schwarz. Other contributions are the thrilling groovy rock track by the Light Of Light Group, the progressive and heavy beat instrumental by CT Four Plus, "Du bist die Stimme" from the sought after psychedelic mass by Oratorium, a charming lo-fi rock track by the Church Band, two perfect disco tunes by Salvation and Heike Tittman, and finally a monstreous and one of a kind funk track with some glorious vocals by a boys choir from Overbach. Pure Xian awesomeness!

The album was compiled by John Raincoatman aka DJ Scientist, who released two mixes in 2009 and 2010 together with his partner DJ Arok entitled Godly Grooves in which this sort of new genre in religious music was documented first. And the awesome cover artwork of Chrisse Kunst from Berlin is without question as creative as the music. Hallelujah!

Key selling points:

- deluxe vinyl LP including full album download code, housed in original 1960s old school tip-on cover

- the vinyl LP contains a booklet with lots of information about the artists

Professional Sunflow is the first-time collaboration between Laraaji & Sun Araw, two colossal forces in contemporary electronic music. Laraaji's musical radiance has continued to shine brightly over four decades since being discovered by Brian Eno in New York's Washington Square Park in 1979. Sun Araw emerged out of Los Angeles' experimental scene in 2008 with transformative releases on a variety of trend-setting labels (Not Not Fun, Drag City and more).

The live performances on this double LP - recorded in Germany and Switzerland - combine prewritten elements and improvisation. Laraaji's soulful vocals and signature instrument, zither, blend beautifully with the free-floating rhythms of Sun Araw's Cameron Stallones (guitar / keyboards) and Alex Gray (computer synthesis) to shape Professional Sunflow's unique sound: dreamy layers of percussion, ambient textures and vibrant melodies.

W.25TH is proud to present Professional Sunflow as our inaugural release. As a sub-label of Superior Viaduct, W.25TH will focus on inventive sounds from current artists. Forthcoming releases include Nazoranai (Keiji Haino, Stephen O'Malley and Oren Ambarchi) and the (as yet unnamed) collaboration between Richard Pinhas, William Winant, and Comets On Fire's Noel Von Harmonson and Utrillo Kushner.

The Dreams (1964) is Bermange's collection of interviews made with people describing their dreams. The program of sounds and voices attempts to represent, in five movements, some sensations of dreaming: running away, falling, landscape, underwater, and colour. Delia's editing and repetition, together with her dissonant, often terrifying musique concrete soundbeds, make this distinctly uneasy bedtime listening.

A rare and sought after Album from Caracas (Venezuela) by Ofrenda the band lead by keyboardist, guitarist and composer VYTAS BRENNER. This LP comes as a limited edition remastered reissue and represents one of the best choice of styles performed by Ofrenda 'from progressive rock to latin funky grooves' with a fine touch of elecronic keys effects and synthesizers all played by Vytas Brenner.

John Ellis is a pianist, composer and producer from the north of England. A founder member of The Cinematic Orchestra (contributing heavily to the albums Everydayand Man With The Movie Camera) he has also worked with the likes of Corinne Bailey Rae, Lily Allen and DJ Vadim and led his own trio and 12 piece big band The John Ellis Big Band. In 2015 John collaborated with visual artist Antony Barkworth Knight for the Irwin Mitchell commission at the Manchester Jazz Festivaland it is this collaboration that gave birth to Evolution: Seeds & Streams.

Cinematic in scope and sound, Evolution: Seeds & Streams takes flight from jazz, electronic music and Malian music influences to create something wholly unique and compelling but with a spiritual center that gives the music real heart. It is a recording that marks the emergence of Ellis as a major artist.

Expect airplay from 6 Music Gilles Peterson, Jamie Cullum, Mike Chadwick, Jazz FM, BBC Radio 3 Late Junction, BBC Radio 3 Jazz Line-up, BBC Radio 3 Jazz Now, FIP, TSF, NDR, Reform Radio, NTS, Reverb Radio etc plus DJs Ross Allen, Patrick Forge & DJ Lefto plus reviews in The Guardian, Sunday Times, London Evening Standard, Now Then Magazine,Record Collector, Jazzwise, Mojo, Echoes,AllAboutJazz, Jazz Man etc PLUS full servicing to the Gondwana worldwide network of bloggers, djs and reviewers.

The word innovative and groundbreaking is dished out a lot these days but in this project the facts speak for themselves. Mn'JAM experiment have turntables doing it all from atonal sounds to melodies, rhythms or even harmonies, visuals synchronized in real time with the music, electronics in conjunction with electric and acoustic instruments, live looping and even quirkiness, just to name a few. It's like being immersed in a live art experiment where conceptual laws give way to superb executions.

If you zoom in on the music, the multi-medium integration also occurs. You'll find a mix between empirical and rationally constructed elements, between acoustic, electric and electronic instruments, urban rhythms and traditional melodies, vocal loops and guitar solos, turntables and acoustic drums.

This experiment breaks away from just being another project that uses poetic and metaphorical delights to describe what they do and is literally a new platform in jazz.

Melissa Oliveira - voice JAM - visuals/turntables Virxilio da Silva - el. guitar Matt Adomeit - Bass Tuur Moens - Drums

Originally released in small numbers as a custom pressing in 1973, the compelling 'Dini Safarrar' by Senegalese drummer Mor Thiam has gained cult status around the world amongst enthusiasts of jazz, funk, hip hop & African music, and grail status among LP collectors. Here is the first official reproduction of this album, faithful to the original and made with the blessing and cooperation of Mor Thiam himself, as well as his son Aliaume Thiam, otherwise known as hip hop and R&B superstar Akon.

Mor Dogo Thiam (pronounced 'Chahm') is a cultural historian, dedicated philanthropist and genius on the djembe. He began his career as a drummer while a young boy in his native Senegal, before moving to St. Louis, Missouri in the early 1970s, where his unique musical skills earned him the respect of the local jazz community. A fusion of the traditions of his Senegalese upbringing and the funk & jazz sounds of his new environs, 'Dini Safarrar' was entirely self-funded and was also conceived as a benefit album, with all the proceeds donated to famine relief in Africa.

The subtitle and translation of Dini Safarrar is 'Drums of Fire', though it may be more aptly described as 'Drums of Krakatoa', such is the explosive intensity captured within the grooves. The multitude of pulsating percussive elements throughout each track creates an intense rhythmic dissonance, the musical equivalent of an erupting volcano. It can be no co-incidence that the energy & passion of Akon's music was duly ignited by his father's very same Drums of Fire. May the legacy continue.

Originally released in small numbers as a custom pressing in 1973, the compelling 'Dini Safarrar' by Senegalese drummer Mor Thiam has gained cult status around the world amongst enthusiasts of jazz, funk, hip hop & African music, and grail status among LP collectors. Here is the first official reproduction of this album, faithful to the original and made with the blessing and cooperation of Mor Thiam himself, as well as his son Aliaume Thiam, otherwise known as hip hop and R&B superstar Akon.Mor Dogo Thiam (pronounced 'Chahm') is a cultural historian, dedicated philanthropist and genius on the djembe. He began his career as a drummer while a young boy in his native Senegal, before moving to St. Louis, Missouri in the early 1970s, where his unique musical skills earned him the respect of the local jazz community. A fusion of the traditions of his Senegalese upbringing and the funk & jazz sounds of his new environs, 'Dini Safarrar' was entirely self-funded and was also conceived as a benefit album, with all the proceeds donated to famine relief in Africa.The subtitle and translation of Dini Safarrar is 'Drums of Fire', though it may be more aptly described as 'Drums of Krakatoa', such is the explosive intensity captured within the grooves. The multitude of pulsating percussive elements throughout each track creates an intense rhythmic dissonance, the musical equivalent of an erupting volcano. It can be no co-incidence that the energy & passion of Akon's music was duly ignited by his father's very same Drums of Fire. May the legacy continue.
180g LP with Tip-On sleeve numbered to 1500
Insert with liner notes & pics
Free download card; CD with 8 page booklet
Liner notes based on our exclusive interview with Mor Thiam
Only on Jazzman - all because WE DIG DEEPER!

With their new 7" named "Revolution!", backed by a smashing remix crafted by BBE Records' Mr.Bird, we see SAVAGES Y SUEFO cater quite a hefty teaser for their forthcoming album "Brotherhood".Instead of exclusively focusing on pure dancefloor power of which "Revolution!" provides plenty the Hungarian duo sets out to raise awareness for the challenging situations and ongoing changes happening in our world that seem to effect everyones life these days.And alongside this awareness comes a message strong, simple and powerful. The starting point of any revolution - no matter if musical, social or economic - is the mind. Our mind.To get this message across in the most effective and thrilling way SAVAGES Y SUEFO teamed up with vocalist Ashley Slater, famed for his essential work in Freakpower alongside Norman Cook before the last mentioned took on his Fatboy Slim persona and also making waves with his most recent band outfit known as Kitten And The Hip.Spitting well explicit lyrics both direct, truthful and thought-provoking it's Slater's performance on top of a thrilling musical backbone crafted by SAVAGES Y SUEFO that's surely meant to start a dancefloor "REVOLUTION!" that spreads like a virus way beyond the nightlife environment.