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At Shelly's Manne-Hole is a live album by American jazz pianist Bill Evans, released in 1963 as his last recording for the Riverside label. The trio featured Chuck Israels, who followed Scott LaFaro on bass in autumn 1961 and Larry Bunker on drums, who just joined the reformed trio, after Paul Motian had left. (...)The leadoff track, Isn't It Romantic,' is one of Evans' finest moments, with the gently swinging theme leading into a strong, if restrained, solo from Israels. Over Bunker's sensitive brush work, Evans comments briefly and beautifully on the theme before returning to the head. The band's readings of such classics as 'Round Midnight,' Stella By Starlight' and All the Things You Are' are wonderful, but it is the lesser-known tracks, such as Swedish Pastry' and the aforementioned Isn't It Romantic' that makes this recording so valuable. Jazz is rarely as sensitive or as melodic as this. Another classic from Bill Evans and company'(AllMusic)

Limited first press of 500 numbered copies.

Reincarnation of a Lovebird is an album by jazz bassist and composer Charles Mingus, recorded in November 1960, but not released owing to the closure of Candid Records soon after the recordings were made. Four of the five long tracks presented from this session have never been issued on Candid before. The extended head-arrangement R & R, spotlights urgent Eldridge and a relatively mellow Dolphy in a combination that still sounds strange and wonderful even today. WRAP YOUR TROUBLES is the previously unknown alternate while the beautiful BODY & SOUL is the highspot of this unique and timeless collaboration between Roy Eldridge and the Mingus men.
Limited first press of 500 numbered copies.

Antigravity is a new trio album from legendary trumpeter Jac Berrocal and two fellow travellers in the French avant-garde, David Fenech and Vincent Epplay. A lugubrious mise-en-scène in which ice-cold outlaw jazz meets musique concrète, DIY whimsy and dubwise studio science, all watched over by the lost souls and hungry ghosts of rock 'n roll The Berrocal/Fenech/Epplay trio's first album together, Antigravity is a richly imagined universe combining original compositions and détourned standards. Berrocal revisits his own signature piece 'Rock 'n Roll Station', which first appeared on his '77 LP Paralleles with chain-wielding, leather-clad wildman of British rock 'n roll, Vince Taylor, singing the lead, and Berrocal on mic'd up bicycle; here, the Frenchman takes the vocal reins. A barely recognisable interpretation of Talking Heads' 'The Overload' pushes beyond the bush of ghosts into a fourth world dread-zone of stalking drum machine rhythms, humid electronics and jagged guitar phrasing, while 'Where Flamingos Fly' reroutes the Gil Evans Orchestra's classic rendition through the seamiest back-streets of the 13th arrondissement; there, as on the trio's reading of 'Kinder Lieder', the mood is romantic, but stark, isolationist: imagine Chet Baker falling through the glacial sound-world of early PiL or Scott Walker's Climate of Hunter. Originals include the agitated Iberian psychedelia of 'Spain', and 'Panic In Bali', which begins in seemingly trad-jazz fashion only to swell into a cacophony of a gurgling electronics and fevered 'Lonely Woman' quotations. 'Solaris' is a swirling, suspenseful arabesque of whiplash guitars and Black Ark FX, Berrocal's trumpet hitting deep blue notes while his vocals are sliced and diced and tossed into a yawning void of tape-delay - like Antigravity at large, the result is oblique, dissolving, forever out of reach. Despite the chilly, sometimes austere mood of the album, it is, ultimately, a deeply human and welcoming work, with a playfulness and sly humour pervading: see the anarchic cross-hatch of 'Ife Layo', or 'L'essai des Suintes ou le bal des Futaies', Berrocal's poetic disquisition on the infinite variety of female genitalia. Mischief and misdirection are rife here, and fans of Officer!, Henry Cow and the ReR axis will find much to chew on. Play, as we know, is a serious business. Put another way, and to quote Berrocal entirely out of context, Antigravity is completely crazy, completely timeless, completely out. As its title suggests, the objective is nothing less than lift-off, weightlessness, a total unshackling from earth. Sunglasses on, collar up, let's go.

- 180 gram audiophile vinyl
- 4 page insert
- Produced by Marcus Miller
- Featuring guest vocalists Randy Crawford and Larry Braggs (ex Tower Of Power)
- Brand new album!

Time and The River is a brand new album from Jazz saxophonist David Sanborn. It is his first collaboration in the studio with producer and bass player Marcus Miller in over fifteen years. Through the years, the two have worked together on a number of records, winning five Grammy Awards and their albums went Gold multiple times.

In his three-and-a-half-decade career, Sanborn has released 24 albums, won six Grammy Awards and has had eight gold albums and one platinum album. He continues to be one of the most highly active musicians of his genre. Though Sanborn has worked in many genres, his solo recordings typically blend jazz with instrumental pop and R&B. He released his first solo album Taking Off in 1975 and has worked extensively as a session musician, notably on David Bowie's Young Americans (1975).

Time and The River is a groove oriented jazz album, with funky beats and beautiful ballads where Sanborn can show the emotional side of his legendary saxophone skills. Additional credits go to Roy Assaf, Justin Mullens, Tim Vaughn, Ricky Peterson, Javier Diaz, Marcus Baylor, Larry Braggs, Randy Crawford.

A. Noro Morales & His Quintet - Saona
Norosvaldo 'Noro' Morales was a Puerto Rican band leader and pianist who
emigrated to New York in 1935. His brothers were also successful recording
musicians.
Whilst in the US Noro released 'Serenata Ritmica' on Decca Records and enjoyed
a very successful period playing alongside Machito, Puente, Rosario and many of
the Latin greats.
'Saona' is taken from the 1964 Tico LP 'No Blues, Noro'.
Previously unreleased on 7'.

AA. Cachao Y Su Orquestra - Siboney
Cachao - a true pillar in latin music. Considered by many to be the inventor of
the Mambo sound, a true master of 'Decarga' or Cuban jam sessions and a highly
influential 'Charanga' bass player... Not surprising given that his extended
family consisted of over 40 of them! In 1994 Cachao was inducted into
Billboard's Latin Music Hall of Fame, he has won multiple grammy awards and
even has a star on the Hollywood 'Walk of Fame'.
Taken from the album 'Jam Session With Feeling (Descargas Cubanas)' originally released on New York based 'Fiesta' in 1962.

Prime Time

Jamaica's national motto, 'Out Of Many One People', could well be applied to the music that shaped the island's national sound, with modern reggae the result of many different musical forms being brought together to form a wonderfully unique 'one'. Fantastic Voyage's highly popular Sound System Classics series has already celebrated the American jump blues favoured at Jamaican dances in the pre-ska era, but contrary to widespread belief, US rhythm & blues and the indigenous style of mento were not the only types of music enjoyed across the island prior to the development of Shuffle Blues and Ska. In fact, the diversity of sounds that exerted a direct influence on popular Jamaican music throughout the 20th Century is astonishing, taking in gospel, blues, jazz, vocal groups, country, pop, film music and exotica, hailing from Cuba, Puerto Rico, Southern Africa and the British Isles, as well as America. Now the full extent of these influences is demonstrated by Out Of Many, One Music! which features original or key versions of songs that have played a significant role in shaping the development of Jamaican music.

But of course the small West Indian island has not just taken from others musically - as through its pioneering use of talk-over DJs and stripped down 'version' rhythm tracks it has been key to the development of the now globally dominant music form, hip hop. Over the years, the Jamaican music-loving public has demonstrated that it has a keen ear for sweet and sentimental music and that factor is far more important than the musical genus to which any given recording belongs. What becomes apparent from the music featured on this set is the Jamaican talent for reinvention. Rather than simply attempt to copy 'foreign' recordings, as 'do over man songs', performers and musicians have taken elements of the original and changed them into something entirely different.

And to prove this point, as you experience this extremely diverse and satisfying musical journey, consider the Jamaican versions that resulted from these recordings. There is no doubting of course that they provided the original source of inspiration, but the Ska, Rock Steady and Reggae that followed were far from simple, straight-forward covers, as we are sure you will agree. This 2LP vinyl edition features 28 cuts selected from the 81-track 3CD set.

John Milk is your next favorite cocktail: smooth and groovy! Put a large dose of US 60's soul music, mix it up with the best 70's funk music... shake this bomb firmly, then add a dash of afrobeat and a touch of jazz. Here you are! You just enter the recipe of John Milk's first album, Treat Me Right. An album taking you to the milky-way...
After collaborating with Big Single and Favorite Recordings, John Milk is now working closely with Bruno "Patchworks" Hovart, one of the essential French producers. John Milk is the perfect fusion of the "Stone Throw" sound and the "Chin-Chin" or "Plantlife" music. Inspiring and powerful, his sound takes the best with no
distinction, of what we love to call Groove' music. It's no surprise then, that a prestigious label like P-Vine Records is now keeping an eye at him.

Treat Me Right single review at lesinrocks:
As we were in a gloomy mood this week, we neglected the power and energy of
booty music to get us out of this mess. Thankfully the French records label
Underdog Records came to save us from sluggishness. It is solid funk, massive,
joyful, John Milk proposes. This new recruit from Lyon France could have boast with
no effort having Californian or Philadelphian origins. The Milk is fresh, well charged
in protein and his Treat Me Right' hit could have easily be a "Stone Throw" or "Fat
Possum" release. Church organ and hips shaking: the winning combination.' - (JD
Beauvallet)

The Jamaican piano wizard Leslie Butler presents a miraculous Jazz Funk album. Because of his superior talent and intense personality, one of the most ingenious pianists Leslie Butler had a lack of releases, however he was given an exceptional chance by the Federal Records to record this one of the most peculiar albums in the history of Jamaican music.

This beautifully finished Jamaican Jazz Funk / Rare Groove album is mostly constructed with the traditional covers that all Jamaicans will know, with wonderful arrangements by a very Jamaican ensemble stripping aesthetics which give the album a whole new character that can't be heard elsewhere. This masterpiece should make it to the shelves of not only reggae fans but soul and jazz fans as well.

"This album wrote itself. It was time for a change in life, and music followed. Like it should be, drums came first to set the tempo and style. Then friends just laid keys, samples and most importantly (and for the first time for me) - lyrics. So true and honest. Still it's hard for me to believe how easy it was to just let it happen. Thank you, loved ones, for just showing up at the right moment." -- Eyal Talmudi // "There was magic around the recoding of this album. From laying down Roy's first massive drum takes, the studio filled up with energy, vibrating straight to Talmudi's abstract and beautiful saxophone melodies. We created a very dynamic and high end set up in Kicha Studios, Tel Aviv, it was a pleasure for the guest musicians on the album, who jumped right in the sessions and gave an amazing input. I feel that the album is intensive and comforting, made by good friends together yet still full of real and happy loneliness." -- Rejoicer //

The Greg Foat Group are currently the resident band at the Playboy Club, located in Mayfair, London. Earlier this year a couple of nights were recorded for Jazzman, and the results are here for all to enjoy. Recorded live and direct onto 1" analogue tape the album captures the energy and atmosphere of the group at their regular gig. Awash with library-esque soundtrack-themed jazz grooves with a modal edge, jazz has never been so much fun! This is the 3rd album by the Greg Foat Group on Jazzman, and is the first album to be recorded live at the Playboy Club for over 40 years.

Available on LP and CD formats. CD comes as a Japanese mini-LP format with obi-strip.

A masterpiece of Jamaican Jazz recorded in 1960 by the Eric Grant Orchestra, resident band of the Casa Montego Hotel in Montego Bay, Jamaica. Rhythm & Blues, Jazz standards, Cha Cha Cha, Merengue and Calypso all combine in this wonderful amalgamation of sounds. Produced by the first Jamaican studio, Federal Records, and its founder Ken Khouri, it is now re-issued for the first time ever by Dub Store Records.

Cassandra Wilson veröffentlicht ihre meisterhafte Hommage an Billie Holiday, 'Coming Forth By Day' kurz vor deren 100. Geburtstag. Billie Holiday war für Wilson schon ihr ganzes Leben eine Inspirationsquelle.
"'Coming Forth by Day' ist eine Hommage an die Schönheit, die Kraft und das Genie von Billie Holiday. Eine Sammlung von musikalischen Zaubersprüchen, ein Wegweiser um sich in den zweifelhaften Mythen, die ihr Leben und ihre Zeit umgeben, zurechtzufinden. Dieses Album ist der Motor, der Billies Musik im 21. Jahrhundert wieder aufleben lässt", sagt Cassandra.
Am Album mitgewirkt hat eine überraschende Schar von Menschen. Produziert wurde es von Nick Launay, der in den letzten zehn Jahren eng mit Nick Cave zusammengearbeitet hat und außerdem für Arcade Fire und die Yeah Yeah Yeahs tätig war. Mit dabei sind außerdem die Gitarristen T Bone Burnett und Nick Zinner von den Yeah, Yeah, Yeahs, Streicher-Arrangeur Van Dyke Parks, Musiker von The Bad Seeds (Schlagzeuger Thomas Wydler und Bassist Martyn P. Casey), sowie Jon Cowherd am Klavier und Kevin Breit an der Gitarre, die schon langjährige Weggefährten von Cassandra Wilson sind.

Berlin-based quintet Onom Agemo & the Disco Jumpers follow up their 7" single - 2 Feet / Kibili - with an album of poly-rhythmic afro grooves, sax and psyched-out synths. The group has developed a unique groove and style of playing, constructing a collection of eight songs, that throws together tight and funky influences from
Morocco and Ethiopia with crunchy analogue synths, spacey organs and effects, and fluid sax and flute lines for a sound that's all their own. The LP is a collection of compositions by traveling sax man JohannesSchleiermacher, inspired by his journeys through the world. The band even travelled to Morocco for playing and recording with a quartet of percussionists/ singers in the Issawa tradition, a Sufi Trance Brotherhood in central Morocco. Onom Agemo and the Disco Jumpers have been playing together for years, and it shows. Taking Schleiermacher's compositions, the group ehearse the songs andplay them live to finalize the arrangement before recording the tracks to different 4-track tape machines, mostly at drummer Bernd Oezsevim's rehearsal space. Take the track - Cool Runnings' for example: locked in the groove, the intertwined saxand synth melody moves up and down the Anichihoye scale. Not to be confusedwith the comedy of the same title, the track is named after a bar in Berlin Friedrichshain, where friends of the band put on their night Tropical Timewarp. This interlocking of groove and melody is a signature element, and also inspired the title of the album. Cranes and Carpets alludes to changing patterns, and howthe parts of a wider whole can work together in synchronicity. Combine an almost telepathic group intuition with the fact that Schleiermacher also engineered and produced the record, and the pieces start to add up to why the Disco Jumpers sound like they do.It's an authentic mix of North African rhythms and modes, live jazz musicianship and analogue synths that's reminiscent of electronic African pioneers like William Onyeabor and Manu Dibango as much as modern ensembles like The Heliocentrics. While the album sounds like it could have been discovered on a dusty old tape down a Marrakesh marketplace, it has a modern twist in the neat craftsmanship and tight arrangements that ensures a blend of styles that couldn't be anyone else.

Ten stone-cold classic, killer tracks from Studio One, brought together here on this one-off pressing limited-
edition box set containing five mighty seven-inch
singles. These are some of the heaviest, most in-
demand legendary tunes ever to be recorded from the likes of Willie Williams, The Skatalites, Dawn Penn, Jackie Mittoo, Bob Marley & The Wailers and more, all fully-remastered and presented here in this deluxe package.

A bit expensive but well... finally we took some. Malian music bridge over the atlnatic... directly connected wioth the Boomarm familly... Bloody african bass music ! Rare and fantastic sound ! B side stands a strangte dub mix, deeply space... A fantastic realese.

Holy Grail territory here from Andy Votel and Demdike's mighty Dead Cert imprint - here finally bringing you this incredible album of previously unreleased Industrial-themed recordings made in 1976 by experimental pioneer and Ennio Morricone cohort Alessandro
Alessandroni. The concept itself is riveting enough: the guy who provided that infamous guitar riff for 'The Good, The Bad and The Ugly' providing utterly bent and synth-heavy recordings
previously unheard by the wider world - but the material and execution is just nothing short of a revelation, unlocking an uncannily prescient suite of rhythmik pieces that sound unlike much library music you will have heard from the era. 'Industrial' perfectly encapsulates the heightened state of creativity in the mid '70s surrounding Alessandroni and his close peers Giuliano Sorgini - together known as Braen Raskovich - and Ennio Morricone, for whom Alessandro also famously whistled the theme to 'A Fistful of Dollars'. Recorded at Piero Umiliani's Sound Workshop in Rome, and made with an arsenal of EMS Synthi VCS3 modular systems, tape loops and a treated Petrof
grand piano plus a bundle of string instruments, the 'Industrial' results (coincidentally issued the same year as Throbbing Gristle's debut album) present a pulsating take on this kind of music breaching tightly-coiled motorik systems and mood percolators with atonal strings and viral oscillations. Most importantly, the sense of minimalist efficiency and the clarity of the recordings
are shocking, pushing the envelope of electro-acoustic music and pre-empting the early notions of an entire genre movement

Originally released in 1960, this album is widely considered to be Evans' masterpiece, on par with Duke Ellington in terms of orchestration, and essential listening for any jazz fan. Evans had spent the previous few years recording with Miles Davis on such acclaimed works as Miles Ahead, Porgy and Bess and Sketches Of Spain, a collaboration which proved to be extremely enriching for both men. This LP was Evans' first post-Miles recording, and the album's title, Out Of The Cool, is an obvious nod to that fact (a play on Davis' own Birth Of The Cool). The album showcases two significant Evans compositions, the groundbreaking 'La Nevada' and 'Sunken Treasure'.

45 RPM audiophile version in a numbered first pressing limited to 500 copies.

Peter Brötzmann - clarinet/alt-tenor-bariton-bass-saxophone
Fred van Hove - celesta/piano
Han Bennink - drums/khene/rhythm-box/selfmade clarinet/gachi/oe-oe /voice/tins/home-made junk/ elong/dhung/kaffir piano/dhung-dkar

recorded 25th of february 1973, Bremen by Dietram Köster
photographs: Dagmar Gebers/Krista Brötzmann, design: P. Brötzmann
originally released on FMP 1973

Evan Parker - soprano and tenor saxophone
Alexander von Schlippenbach - piano
Paul Lovens - drums
artwork by Benjamin von Schlippenbach, layout by Peter Brötzmann
recorded by Dietram Köster in November 1972, Bremen.
Originally released on FMP 1972.

01. Hylife
02. B's River
03. Preacher's Kid (Song For William H)
04. We Were There
05. Papa Was A Rolling Stone
06. I Still Believe I Hear (feat. Ben Hong)
07. Son Of Macbeth
08. Prism (Interlude)
09. Xtraordinary
10. Water Dancer
11. I Can't Breathe (feat. Mocean Worker)

01. Watching You Sleep
02. Looking For The Moose
03. Je Voulais Te Dire
04. Mischievous
05. The Last Night Of February
06. Letting You Go
07. Sand Creek Song
08. I'm Fine, Thank You

Brassroots has enjoyed steady airplay among an array of top DJs around the world including BBC Radio's Giles Peterson, Rob Da Bank, Sean Rowley on Magic and Choice FM with Calvin Francis. They're staples in sets by Mr. Scruff in the U.K. and Lefto all over Europe. In California, KCRW's Jeremey Sole, and all along the East Coast in the United States by Rich Medina.

The band released a 7 track EP of cover versions in 2009. 3 tracks from that EP were re-released by Canadian label boss John Kong at Do Right! Music in 2010. Those 3 tracks Good Life, Karma Police and 7 Nation Army have since appeared in the iTunes top 100 charts well over 1,000 times in the last 3 years including number 1's in Belgium, Portugal and New Zealand.

Brassroots gained notoriety by playing instrumental brass band covers of popular party bangers and continued to grow through their own brand of brass band pop. Their most popular cover by far to this date is of Inner City's Good Life.

This album is the band's second self release, this time through their own record label Brassroots Records.

This album represents the first of their own original music, each tune written by one, or all of the band members.

Finest melodic sounds from the beginning of the golden era of Swing, from the 1930s to the 50s and today, make this compilation the ideal soundtrack to spend romantic moments together, or to the priming coat of festive occasions. With this new release on Lolas World Records a long-term dream of the Berlin based DJ Louie Prima aka Johannes Heretsch comes true. He managed to compile an elegant and timeless selection of songs, which will not only make music lovers with Swing experience happy. Louie Prima, who has gained a reputation for being one of the first Electro Swing DJs in Germany and for his participation on the successful CD series: The Electro Swing Revolution and the same named event series in Berlin, shows his passion for authentic and classic Swing. Swing is currently having an unprecedented renaissance, which is manifested in
the booming Swing dance scene, movies, commercials and the ever growing Electro Swing party scene around the globe. The double CD 'Swing For Private' presents 34 first-class swing pearls from more than six centuries and eleven countries. Here are some noteworthy examples: Louie Prima- together with Harry Chestwig created an inventive version of Swingrowers electric remake of 'Via Con me' which is originally from Paolo Conte. Besides the famous Jazz icons like Nina Simone, Louis Armstrong and Ella Fitzgerald, you will also find with - It's So Heartbreakin'', one of the early Swing shaped songs from the Soul queen Aretha Franklin. Many famous artists of today like Caro Emerald, Waldeck, Dimie Cat and Club des Belugas are on the compilation with their brandnew songs (including four yet unreleased works) and make Swing for Private an outstanding musical treat.

01. Club des Belugas feat. Lene Riebau - The Lady Was To Blame
02. Luke Haitch & Belleville Orchestra - Bad Bad Fever*
03. Caro Emerald - Completely
04. Dimie Cat - Bare Necessities (Original Mix)
05. Dmitri Dragilew & His Advocates of Swing - Alles Schnee (Original)*
06. Waldeck - Make My Day
07. Minor Swing Quintet - All Of Me
08. Mac Abbé et le Zombi Orchestra - Les Mots Dégueux
09. The Real Tuesday Weld - It's A Wonderful Li(f)e
10. Lu Colombo & Maurizio Geri Swingtet - Casanova (Original)
11. Dota- Das Wesen der Glut
12. Oquestrada - Parei Na Madrugada
13. Reseau - Caravan
14. Louise Gold & The Quartz Orchestra - The Berlin Shuffle
15. Christian Winninghoff - Jumpin' Jive
16. Fred Buccini feat. Ely Bruna - Love
17. Swingrowers-Via Con Me (Louie Prima & Harry Chestwig Acoustic Remake)*

01. Dotschy Reinhardt - Girls Like Me/Django´s Theme
02. Sugarpie and The Candymen - Lemon Tree
03. Trio Manouche - Tu Vuò Fà L'Americano
04. Chantal Chamberland - La Mer
05. Pasadena Roof Orchestra - You're The Top
06. Catherine Russell - I'm Shooting High
07. The Skylarks - Perfidia
08. Ella Fitzgerald - Bei Mir Bist Du Schoen
09. Nina Simone - Love Me Or Leave Me (Remastered)
10. Johnny Mercer - I'm Gonna See My Baby (Remastered)
11. Aretha Franklin - It's So Heartbreakin' (Remastered)
12. Renato Carasone - Guaglione (Remastered)
13. The Six Swingers - Your Mother Son Il Law (Original)
14. Lil Amstrong - Oriental Swing (Original)
15. Ella Fitzgerald & Louis Armstrong - Cheek To Cheek (Album Version)
16. The Four Clefs - I Like Pie, I Like Cake
17. Linnzi Zaorski - Better Off Dead

Four decades on and Azymuth has reached legendary status amongst fans worldwide and across the music industry thanks to the trio's pioneering blend of traditional Brazilian jazz and proto funk fusion from the early 70's right through to the present day.

In 1979 the band's first Milestone Records release, 'Light As A Feather' quickly became one of the best-selling LPs of the year. Featuring the worldwide disco/fusion hit single 'Jazz Carnival' and going on to sell more than half a million copies internationally, the album stayed in the UK Top 20 for eight straight weeks. An incredibly well thought out album both in pace, song selection and musicality, 'Light As A Feather' marked a maturing of the band as they began to rightfully utilise the studio as an instrument itself, embracing numerous mixing and recording techniques not yet common for the time as well as pioneering the use of the Big Muff and Dolby System to great effect. The end result is an album that endures to this day as a jazz funk masterpiece.

Now Far Out is pleased to present this seminal recording remixed and re-mastered from the original tapes, lovingly reproduced on heavy weight vinyl and CD. Featuring previously unreleased tracks and remixes from house stalwarts Theo Parrish, Ashley Beedle, Mark E and more, this definitive edition of Azymuth's breakthrough LP is a must-have for connoisseurs and an invaluable introduction to the Azymuth sound for the uninitiated.

Sadly with this re-release album well into production at the untimely recent passing of Jose Roberto Betrami, FARO170 stands as a solemn reminder of our dearly departed friend and the effortless musical genius of Azymuth in their ascendancy.

01. Partido Alto
02. Avenida Das Mangueiras
03. Light As A Feather
04. Fly Over The Horizon (Voo Sobre O Horizonte)
05. Amazonia
06. Jazz Carnival
07. Young Embrace (Um Abraco Da Mocidade)
08. Dona Olimpia
09. This Exists (Existe Isto)
10. O Pescador *
11. Jazz Carnival (Full original mix) *
12. Avenida Das Mangueiras (SS translation by Theo Parrish) *
13. Codsall Juniors - Endless Flight (Mark E)
14. Jazz Carnival - Yambee Rework (Ashley Beedle and Yam Who Remix)

Black Spirituals are Zachary James Watkins (electronics) and Marshall Trammell (percussion). They are currently touring Europe with Earth.

"High Vibration Resonance Vol.1" was recorded live at Disjecta Art Gallery on August 30th, 2014 by Daniel Menche. Mastered by Jacob Felix Huele. 1+1=3.

Black Spirituals' performance involves the manipulation of temporal experience using a framework of dynamic relationships and a "Multi-Aesthetic Approach to Improvisation." The title "Black Spirituals" is borrowed from a found cassette documenting a lecture given by Bernice Reagon on the roots music of American Black Slaves. These stories form a sonic resonance that speaks of rich relationships to ones surroundings, memories, profound feelings, dreams, and the experiences that inspire human expression. This duet features a new tradition in conversant, duo vernacular dynamics that sparked a revolution in our conceptions of space, stage, ritual, performance, geography, praxis, brotherhood, relationships, rockin' out, and more.

Peter Brötzmann: alto/tenor-saxophone, tarogato, clarinet
Jim O'Rourke: guitar
Keiji Haino: guitar, voice, shamisen

Recorded by Yasuo Fujimura, 23/11/2010, Shinjuku Pit Inn, Tokyo
mastered by Martin Siewert
photos by Mark Rappaport
Drawing & Artwork by Brötzmann, Design: BRÖTZM/UNTIET

A giant two day meeting of three outstanding musicians!
German legend Peter Brötzmann is one of the outstanding saxophone players in the current international free jazz scene, continuing to go on tour and release with various musicians.
Keiji Haino - japanese avantgarde wizard, mesmerizing with voice and guitar.
Jim O'Rourke -outstanding composer, from ambient to freejazz to rock

01 Two City Blues 2
02 One Fine Day

Given its short gestation, it is striking how far removed the new album is from its predecessor . After the dark complexity of recent output, Same As You is startlingly fresh, as inclusive and accessible as the title suggests, while still maintaining the playful experimentation on which the band has made its name.

Originally conceived as a single longform piece, the tempo remains constant but does not prevent the band from producing swells of raw, joyous, life-affirming energy within these self-imposed limits

The vocal performances and the heartfelt, spiritual lyrics are an inspired addition to the rich instrumental mix: Pete Wareham and Mark Lockheart (tenor sax), Tom Herbert (double bass) and Leafcutter John (guitar, electronics), with Shabaka Hutchings (Sons Of Kemet, Melt Yourself Down) making a guest appearance.

The album's lead single 'Dont Let The Feeling Go' sees Rochford take on vocal duties alongside a choir of friends and collaborators: it's Polar Bear at their most direct.

The use of vocals may catch the ear but that should come as no surprise given that Rochford has enjoyed working with singers as diverse as Beck, Spoek Mathambo, Paolo Nutini and Rokia Traoré over a 15 year career that has seen the drummer, composer and producer emerge as a pivotal figure in contemporary British music

Recorded by Rochford in London, and mixed in the Mojave Desert with Ken Barrientos late last year

Polar Bear will tour Europe from February (see confirmed dates below)

What you have here is probably the rarest and coolest album ever done by Armando Trovajoli (original copies changes hands for 300 euro!). Originally released on RCA in 1960, the Beat Generation is a jazz album where Trovajoli and his great orchestra plays awesome versions of classic themes - plus one original composed by the Maestro - with the usual swing that is his trademark.

Featuring Jimmy Pratt and Sergio Conti on drums; Berto Pisano on bass guitar; Enzo Grillini and Franco Pisano on guitar; Trumpets: Oscar Valdambrini, Nini Rosso, Nino Culasso, Beppe Cuccaro, Baldo Panfili; Trombone: Dino Piana, Bill Gilmore, Mario Midana, Ennio Gabbi, Enzo Forte, Mario Pezzotta; Saxophones: Attilio Donadio, Sergio Valenti, Livio Cerveglieri, William Hawthorne, Gianni Basso, Marcello Cianfanelli, Gino Marinacci; Gino Marinacci on flute and Maestro ARMANDO TROVAIOLI on piano.

a1 The Beat Generation (B.Holman)
a2 Why Not (B. Smith)
a3 Blues (B. Russo)
a4 O.K. (B. Smith)
a5 O.B. Street Blues (A. Trovajoli)
b1 So Long (B. Smith)
b2 The Daffodil's Smile (B. Russo)
b3 Bonjour Tristano (Valdambrini-Niccoli)
b4 Love 15 (B. Smith)
b5 The Stretch (B. Holman)

Original artwork. Sound restoring and master done by Roberto Zamori at Film Music Art Studio.

Billie Holiday was in fine form on 5 October 1958 at the Monterey Jazz Festival; little did anyone know at the time it would be her last recorded live date and a mere 9 months later she would succumb to her vices, dead from heart failure brought on by cirrhosis of the liver. Regardless of what was to come, on that autumnal California night, Billie sang her heart out backed by a small, swinging combo, in stark contrast to the heavily orchestrated Lady In Satin released earlier in the year and, as wonderful as that album is, this is the way Billie was meant to be heard: sultry and swinging, invoking images of smokey nightclubs and back alley gin joints. A classic live recording from one of the most iconic voices of all-time, in a limited edition of 300 numbered copies on red vinyl with white splatter.

a1. Ain't Nobody's Business But My Own
a2. Willow Weep For Me
a3. When Your Lover Has Gone
a4. God Bless The Child
a5. I Only Have Eyes For You
a6. Good Morning Heartache
b1. Them There Eyes
b2. Billie's Blues
b3. Oh, What A Little Moonlight Can Do
b4. Travelin' Light
b5. Lover Come Back To Me

Idris Muhammad started out a drummer/percussionist, his first recording being Fats Domino's hit single 'Blueberry Hill' in 1956. He also played with the likes of Sam Cooke, Jerry Butler and Curtis Mayfield and the Impressions. Soon his reputation grew such that he earned a recording gig with the legendary Jazz alto saxophonist Lou Donaldson, with whom he contributed some of the funkiest drum patterns of the late 60's. His impeccable sense of timing made Idris a natural for the drum chair in the upbeat Soul Jazz of that period. Also he was frequently in Hammond organ combos to which his energetic style was especially suited. Muhammad played with nearly all the great Hammond players - Charles Earland, Lonnie Smith, Leon Spencer, Reuben Wilson and more besides, as well as Donaldson's sidemen like George Benson and Melvin Sparks.
Idris Muhammad recorded this classic Jazz-Funk album 'Turn This Mutha Out' in 1977 for the Kudu label. Some great session musicians accompanied him and the album has that David Matthews signature Disco-Jazz-Funk sound. It was well received in the UK most notably for the opening track 'Could Heaven Ever Be Like This', an undisputed classic. Idris and Wilbur Bascomb on bass create the perfect bedrock for Mike Brecker on Tenor Sax, Hiram Bullock on Guitar and Cliff Carter on Synthesizer to solo above, topped by Frank Floyd's vocals. It has been sampled at least seventeen times, most notably by Jamiroquai and Drake. 'Turn This Mutha Out' also has many other tracks of note. 'Camby Bolongo' is a delightful percussion heavy rhythmic instrumental featuring Randy Brecker on Trumpet and Jeremy Steig on flute. 'Crab Apple' is a wonderfully funky track with a great bass line and groove that has found favour with samplers having been used to create at least nineteen new Hip Hop and R&B tracks. 'Moon Hymn' is a beautiful ethereal track featuring David Tofani on Soprano Sax, that develops into a mid tempo funky groove as Ronnie Cuber's Baritone Sax appears, then shifts back to serenity. Jeremy Steig and Guitarist Eric Gale contribute heavily to the funky album closer 'Say What' that has also come to samplers attention. We are delighted to present this album on CD for the first time anywhere in the world.

Could Heaven Ever be Like This (8:37)
Camby Bolongo (4:33)
Turn this Mutha Out (6:50) 
Tasty Cakes (4:23) 
Crab Apple (5:11) 
Moon Hymn (4:18)
Say What (3:59)

"Don't let the title fool you; this is not a record of electronic music, but of twelve tunes performed by a small instrumental combo: three guitars, drums, piano and a double bass. There is a sixth instrument: the sound recording machine, which functions electronically. By amplifying, superimposing, drawing out and reducing the sounds created by the instrumental combo, the electronic recorder imbues each piece of music, be it already well-known or an "original", with a brand-new, highly unusual and extremely attractive flavor." (from the original Lp liner notes.

Don't let the band name fool you: this is Luis Enriquez BACALOV that plays an exciting mix of instrumental beat-surf-rock'n'roll with the help of Enrico Ciacci, Alessandroni and Tosoni on guitar, the Munaro brothers on drums and Simeone on double bass. Enriquez himself plays organ, harpsichord and electric piano. In some pieces he also uses the "Onde Martenot", an electronic instrument named after his inventor. The track list mixes originals composed by Bacalov and a few covers, including an awesome version of Morricone's Ninna Nanna.



Track list: Side A: Incontro a Roma (Enriquez); Spanish Drag (Enriquez); Walk Don't Run '64 (John Smith); Il Guardiano (Tosoni); Ninna Nanna '65 (Morricone); Lady Guitar (De Mutiis). Side B: Fender with Anger (Enriquez); Foglie Gialle (Enriquez); Tequila (Chuck Rio); Montemario by Night (Enriquez); Guitar Spyder (De Mutiis); Rigel 1 (Enriquez).

Originally released by RCA in 1965. Original artwork. Sound restoring and master done by Roberto Zamori at Film Music Art Studio.