"You're Under Arrest is a 1985 album recorded by Miles Davis, presenting a mixture of pop covers (including Cyndi Lauper's ""Time After Time"" and Michael Jackson's ""Human Nature""), and original material dealing with politics, racism, pollution and war. It is the first Davis album since On the Corner in 1972 to include electric guitarist John McLaughlin. This version comes as a limited edition of 1500 individually numbered copies on red & clear marbled vinyl."
Recorded at the same Feb. 12, 1964 New York concert that yielded the more balladic album My Funny Valentine, Four & More
showcases the Miles Davis quintet at their blistering best. The great trumpeter and bandleader (1926-1991), and his stellar group, which was less than a year old at the time of this recording, mostly essayed tempos that ranged from Indianapolis 500 to Bonneville Salt Flats.
Offering a well-balanced, albeit reconfigured, repertoire featuring the familiar hard-bop strains of “Four” and “Walkin’,” newer, original free bop compositions like “Joshua” and “Seven Steps To Heaven,” and the standard “There Is No Greater Love,” which the ensemble
performed relatively infrequently and is the only tune herein not taken at a supersonic pace, the quintet electrified a sold out Philharmonic Hall.
Spurred on consistently by the mercurial rhythm section of pianist Herbie Hancock (23 years old at the time), bassist Ron Carter (then 26), and especially by the cross rhythms of 18-year old genius drummer Tony Williams, Davis’ work, particularly in the upper register, was seldom more commanding. As for his front line partner, tenor saxophonist George Coleman, Davis would write in his autobiography that he “played better that night than I ever heard him play.”
Four & More is available on black vinyl and comes in a sleeve finished with linen laminate.
At the end of 1956, Miles Davis decided to break up his quintet with John Coltrane and accepted an offer to tour Europe with a formation called ‘Birdland All Stars’, which also included Lester Young and the
Modern Jazz Quartet.
This release presents music recorded during that tour. Miles and Lester would never be recorded again playing together apart from the tapes made during this tour. This was the music that helped Davis enjoy a resurgence in his career after a period in which his name had been obscured by his drug problems.
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Released in 1957 on Prestige Records, Walkin’ features a collection of songs that were originally released in 1954. With Davis on trumpet and as band leader, the recordings also feature Horace Silver, Lucky Thompson, J.J. Johnson, Percy Heath and Kenny Clarke. This new edition of the album is released as part of the Original Jazz Classics Series on 180-gram vinyl pressed at RTI with all-analogue mastering from the original tapes at Cohearent Audio and a Stoughton Tip-On Jacket.
”Walkin’”, 1957 veröffentlicht, vereint Davis’ Aufnahmen, die drei Jahre zuvor als Miles Davis All-Star
Sextet und Miles Davis Quintet eingespielt wurden. Wenig überraschend präsentiert es eine erstklassige
Besetzung, darunter Saxophonist Lucky Thompson, Schlagzeuger Kenny Clarke und Pianist Horace Silver.
Der Titelsong war aus gutem Grund bei Davis’ Live-Auftritten in ständiger Rotation: Es ist ein geschmeidiges, schimmerndes Beispiel für Hard Bop-Blues, der Davis’ Führung folgt. Der nächste Track des Albums,
”Blue ’N’ Boogie”, ist dagegen eine showmäßige, lebhafte Antwort auf die entspannte Leichtigkeit von
”Walkin’”. Und der herausragende letzte Track, ”Love Me or Leave Me”, ist in seiner Frenetik noch entrückter.
”Walkin’” ist besonders interessant, da es Davis’ allmähliche Abkehr von Bebop-Konventionen illustriert.
”Miles Davis’ Album ’Walkin” ist eines jener Alben, die in jeder Jazz-Sammlung zu finden sein sollten”,
bemerkte Jazzwise. ”Hier sind Davis’ Soli der Inbegriff von ’weniger ist mehr’.”
Auf allen Plattformen ab dem 18. April erhältlich!
Limited edition 180g audiophile vinyl pressing
The album presented here, originally issued as Walkin' (Prestige PRLP-7076), is a
key work in Miles Davis' discography. It contains the product of two rather
different sessions. The first date yielded just two tracks, although they were long
enough to fill up one side of an LP. The other session included Miles' classic
composition "Solar". Curiously, although it would become a jazz standard, Miles
never recorded it again.
"The undeniable strength and conviction present in Miles Davis' performances on
Walkin', underscore the urgency and passion with which he would rightfully
reclaim his status as a primary architect of bop. Walkin' is a thoroughly solid
effort." - ****1/2 Lindsay Planer, AllMusic
180-GRAM VIRGIN VINYL - THE COMPLETE CONCERT. TOTAL TIME: 59 MINUTES - LIMITED EDITION
The complete April 8, 1960 concert at the Kongresshaus in Zurich, Switzerland by the splendid Miles Davis Quintet with John Coltrane on tenor sax, Wynton Kelly on piano, Paul Chambers on bass, and Jimmy Cobb on drums. Along with the frequently heard “All Blues” and “So What”, the Zurich concert has versions of “Fran Dance” and “If I Were a Bell”. “If I Were a Bell” had been first recorded by Miles and Coltrane in a quintet format in the celebrated October 26, 1956 studio session for Prestige and the Zurich version heard here is the only surviving appearance of this song from the 1960 European tour
Miles Davis - trumpet, organ
Dave Liebman - soprano / tenor saxophone, flute
Pete Cosey - guitar, percussion
Reggie Lucas - guitar
Michael Henderson - electric bass
Al Foster - drums
James Mtume Forman - congas and
percussion
Miles Davis Septet, live from Shinjuku Kohseinenkin Hall, Tokyo Japan 19th June 1973
The entire NHK radio broadcast, digitally re-mastered, the first time on vinyl.
The early- to -mid 1970s marked perhaps the most unique and radical period in Miles Davis career. With bands such as Sly & The Family Stone and Parliament/Funkadelic becoming increasingly popular, Davis began to draw considerable influence from their up-tempo, electronic funk sound. By 1973, Miles was showing little sign of slowing the pace of his extraordinary workload that had continued unabated from In A Silent Way up to On The Corner and he continued to tour relentlessly worldwide. June 19th 1973 saw him take to the stage in Tokyo, playing a selection of previously recorded numbers and extended jams, in a show broadcast live by NHK radio. Dynamic and superior quality recording, professionally remastered with background liners and rare archival photos.
[d] B2 Funk [Prelude pt1]
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Im Mai 2026 würde Miles Davis seinen 100. Geburtstag feiern. Einen Monat vorher gratuliert ihm bereits
Decca Frankreich mit der LP-Wiederveröffentlichung eines besonderen Albums innerhalb seines Schaffens.
Auf “Michel Legrand meets Miles Davis” treffen ein amerikanisches und ein europäisches Musik-Genie
aufeinander. Zum Jubiläum erscheint das ursprünglich als ”Legrand Jazz“ veröffentlichte Album aufwändig
remastert als 140g-LP im neuen Artwork mit Foto beider Künstler.
1958 war Legrand erstmals in die USA gereist und hatte dort die größten Stars des Jazz zusammengetrommelt: neben Miles Davis waren das John Coltrane, Phil Woods, Bill Evans, Ben Webster, Art Farmer,
Donald Byrd u.v.a. “Legrand Jazz“ präsentierte einige der größten Jazzklassiker aller Zeiten in fantastischen Legrand-Arrangements, gespielt von der damaligen Crème de la Crème des Jazz.
Speziell die Zusammenarbeit von Michel Legrand und Miles Davis auf vier Tracks des Albums gilt als
historisch, da sie kurz vor den Aufnahmen zu Davis’ Meisterwerk ”Kind of Blue“ (1959) stattfand und
bereits die harmonische Tiefe und den orchestralen Ansatz vorwegnahm, den Davis später weiter verfolgte
Miles Kane returns with a blistering new album One Man Band, out August 4th on Modern Sky Records. Miles returns to his guitar hero best on One Man Band as he focuses on big hooks and even bigger anthems. Sharp, infectious, urgent and packed to the brim with singalong moments, it’s Miles on the top of his game. A deeply personal record, Miles returned to Liverpool to work on the album. The album’s first offering is the exuberant indie banger ‘Troubled Son’. A raw, pop-driven indie, made for festival stages. “It’s about the struggle we all have in life,” Miles said of the track. “Sometimes we have our shit together and sometimes we don’t. This is me acknowledging my faults and my fears and showing the journey I’m taking as I try to figure it all out.
Premier release of the Never before released iconic, cult & paramount original holy grail soundtrack recording for the action packed partisansploitation movies and TV series - Otpisani and Povratak otpisanih (The written offs & The return of the written offs). This music composed by Milivoje Markovic and recorded in 1972 & 1976 represents the epitome for original Jazz Funk music recorded in ex-Yugoslavia. The series had people glued to their television screens awaiting for their own ‘Inglorious basterds’, the Belgrade guerilla group, to appear gunning down nazis by the hundreds - backed by an original deep funk soundtrack.
Probably the best Milt Jackson LP as a leader, Plenty, Plenty Soul presents him playing the blues in the company of such stars as Cannonball Adderley, Joe Newman, Jimmy Cleveland, Horace Silver, Oscar Pettiford and Art Blakey, among others. THE COMPLETE ALBUM + 1 BONUS TRACK - Contains new specially prepared liner notes by Penguin Guide to Jazz's writer BRIAN MORTON and by Paris' prestigious JAZZ MAGAZINE
"Vibraphonist Milt Jackson was a frequent presence on Blue Note sessions in the bebop era. As part of the fabled 1500 Series begun in 1956, the label issued the 12” compilation Milt Jackson and The Thelonious Monk Quintet which expanded Jackson’s 10” LP Wizard of the Vibes with tracks from 1948 and 1951 dates led by Monk. The album cover was the first designed by Reid Miles.
This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal."
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"Ballads & Blues" - Lucky Thompson (ts); Milt Jackson (vib); John Lewis (p); Barney Kessel, Barry Galbraith, Skeeter Best (g); Oscar Pettiford, Percy Heath (b); Kenny Clarke, Lawrence Marable (dr)
Whenever Milt Jackson could free himself from the 'bondage' of the Modern Jazz Quartet and its assertive leader John Lewis, he dedicated himself to his two great passions: ballads and the blues. That was precisely the case when he entered the famous Rudy van Gelder Studio in Hackensack, New Jersey, USA in 1956. He was free to choose his sidemen, and money was no object, which is why various formations gathered in the studio for the three recording sessions. With Lucky Thompson on the tenor sax (unfortunately for only three numbers), Barry Galbraith, Barney Kessel or Skeeter Best on the guitar, Oscar Pettiford or Percy Heath on the bass, together with Kenny Clarke or Lawrence Marable on the drums, he set off on a journey through the history of jazz. John Lewis stayed unobtrusively in the background and offered 'Bags' (as Milt was known) plenty of opportunities to glory in soloistic freedom.
The themes were soon found: the musical composers Cole Porter, Irving Berlin and Jerome Kern, as well as a work from The Duke Ellington Songbook, formed a basis upon which all the musicians could perform with confidence. Three compositions by Milt Jackson himself proved that he too was full of imagination.
If you don’t possess this LP – or maybe none by Milt Jackson – here is an opportunity to remedy this shortcoming. The present author would award this recording 5 out of 5 possible stars!
This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under
All royalties and mechanical rights have been paid.
Recording: January 1956 in New York City by Tom Dowd and February 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, by Rudy Van Gelder
Production: Nesuhi Ertegun
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Vibraphonist Milt Jackson and tenor saxophonist John Coltrane make for a surprisingly complementary team on this 1959 studio session, their only joint recording. AllMusic notes that with fine backup by pianist Hank Jones, bassist Paul Chambers, and drummer Connie Kay, Bags and Trane stretch out on two of Jackson's originals (including "The Late Late Blues") and three standards: a romping "Three Little Words," "The Night We Called It a Day," and the rapid "Be-Bop." The highlight of the set is the eponymous opening track, which just oozes late-night cool.
This deluxe 180-gram 45 RPM 2LP reissue from Analogue Productions (Atlantic 75 Series) is a gem and will be a must-have for all jazz music fans.
Unique collaboration between French singer-songwriter Mina Agossi and the electro-jazz group AGE7, which features Marc Charriere (Peter Gabriel) on keyboards and electronics and Mina's longtime creative collaborator Eric Jacot on bass
Mind Maintenance are the duo of Joshua Abrams playing guimbri and
Chad Taylor on mbira. This is where the music begins but Mind
Maintenance can’t be described with a summing of parts and players.
It’s not about world music, it’s not about jazz. It’s about mind
maintenance.
The songs of Mind Maintenance exist in a zone somewhere between
composition and improv. Based in melodies that unspool over time as
they move between the two instruments, they benefit from the
players’ intimately enmeshed sensibility and the intensity with which
they listen to each other. Chad and Joshua have been playing
together forever - or, if you need to think of it more tangibly, since
around 1994. Sticks and Stones was their first band. They played
together on the session for the O’Rourke-produced Alan Licht/Loren
Mazzacane-Connors album ‘Hoffman Estates’ in 1998. They live in
different cities but play together whenever they can - whether it’s with
Sam Prekop, Natural Information Society or Joe McPhee. Or just a
jam. After trying out the guimbri–mbira combo for a show at Chicago’s
MCA, they made Mind Maintenance a thing.
Engineered by Cooper Crain, whose vibrational sensitivities have
been displayed on his own Bitchin Bajas recordings (including their
2015 collab with Natural Information Society, ‘Automaginary’), ‘Mind
Maintenance’ captures full spectrums of playing and listening, sound
and music.
Mind Maintenance, using old technology (in the form of a threestringed lute and a thumb piano) make a new thing for today rooted
also in the way of things as they’ve been for millennia. In other words,
when these sounds bounce off your cerebral cortex, the feeling you
get is that of your mind breathing freely in the presence of something
it has known forever.
The pairing of guimbri and mbira is more than unusual but more
important to the music of Mind Maintenance is the shared ground of
inspiration that both instruments occupy. The guimbri is used by the
Gnawa people as part of prayer and healing rituals, as well as for
social and popular music. Traditional Shona mbira melodies
transposed to guitar are essential to Thomas Mapfuno’s widely-loved
Chimurenga music; Miles Davis sought to represent the mbira vibe in
his own music when making ‘Kind of Blue’. Mind Maintenance pursue
their inspirations on these instruments down similarly transformative
paths.
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The brilliant South African singer Miriam Makeba first found international recognition after being “discovered” in America by the wonderful Harry Belafonte who inspired her move to NYC and championed her talent to anyone who would listen. A subsequent recording contract began her half-century long career of international stardom. Combining afro-pop with jazz and western pop music influences, Makeba created a sound that was uniquely her own and inspired generations of singers to come. A life-long anti-apartheid activist and humanitarian, Makeba is recognized around the globe as being one of the most important singers of the middle-20th-century. With conducting assistance from the legendary South African trumpeter, Hugh Masekela, this is Makeba’s 3rd album, originally released in 1963, and a stunning example of of her modern afro-pop sound. A perfect record.
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Kiyoshi Yamaya's "Japanese melody by PCM recording" series second work. A crossover sound picture scroll created by the genius Kiyoshi Yamaya on the theme of Kyoto, featuring Toshiko Yonekawa (1st), who later became a Living National Treasure."
Zwischen 1988 und 2010 komponierte Steve Reich drei Streichquartette – Different Trains, Triple Quartet
und WTC 9/11. Die Deutsche Grammophon legt diese Werktrilogie nun erstmals auf einem Album vor,
in endgültigen Neuaufnahmen des Mivos Quartetts. Vom Chicago Reader als „eines der kühnsten und
wildesten New-Music-Ensembles Amerikas“ gefeiert, entwickelten die Mivos-Spieler ihre Interpretationen
der drei Quartette – inspiriert von der Musik der Sprache, den Echos von Bartók und den Ereignissen
eines von Terror geprägten Tages - in enger Zusammenarbeit mit dem Komponisten Steve Reich. Reich
selbst unterstützte das Projekt von Anfang bis Ende, beantwortete die Fragen der Gruppe zu musikalischen
Nuancen, beriet zum Stil und lobte das fertige Album, das jetzt sowohl digital als auch auf CD und Vinyl
erhältlich ist.
Takashi Mizuhashi’s first leader album, popular for its melancholy title track and the epic, over-15-minute version of "So What." This 1974 live recording also captures the vibrant performances of the young Yoshio Otomo and Fumio Karashima. Series supervised by Koki Hanawa.
The Modern Jazz Quartet, known for its sophisticated and elegant approach to jazz, consisted of pianist John Lewis, vibraphonist Milt Jackson, bassist Percy Heath, and drummer Connie Kay
Here are Some key points about the album: "Fontessa" is regarded as one of the Quartet's essential recordings, praised for its elegant performances and refned compositions. The album refects the commitment to creating jazz that is both accessible and artistically ambitious. Critics and jazz enthusiasts often highlight the interplay between Milt Jackson's vibraphone and John Lewis's piano, supported by the solid rhythm section of Percy Heath and Connie Kay. The title track "Fontessa" is a suite in several movements, showcasing the band's ability to merge different musical themes seamlessly; the album includes notable covers such as "Angel Eyes," "Willow Weep for Me," and "Over the Rainbow" all of which are given the Modern Jazz Quartet unique treatment with a mix of lush harmonies and sophisticated improvisation. The album, released in 1956, signifcantly contributed to the evolution of jazz by demonstrating that it could be a serious, artful genre capable of sophisticated expression. The Modern Jazz Quartet infuence extends beyond jazz to classical and popular music, and "Fontessa" remains a testament to their innovative spirit and enduring appeal, a key album in their discography, exemplifying their unique sound and artistic vision.
A showcase of some of The Modern Jazz Quartet’s most iconic Montreux Jazz Festival live performances, recorded between 1985 and 1993!
The audio has Expertly restored and remastered in superlative HD audio; The Montreux Years is released on superior audiophile heavy weight vinyl, MQA quality CD and in HD digital. The release includes brand new liner notes and rare photos from his Montreux shows.
John Dikeman – saxophone
Jaimie Branch – trumpet
Luke Stewart – bass
Aleksandar Škorić – drums
A powerful collision of musical personalities - American saxophonist (and Dutch resident) John Dikeman invited avantgarde trumpeter Jaimie Branch, bassist Luke Stewart (Irreversible Entanglements) and drummer Aleksandar Škorić to form a new band project! This quartet presents its own definition of contemporary improvised jazz -with no distinct leader and with tight and supportive interplay, they demonstrate the independent musical voice of each own. Album cover by Jaimie Branch.
John Dikeman - saxophone Jaimie Branch - trumpet Luke Stewart - bass Aleksandar Skoriæ - drums A powerful collision of musical personalities - American saxophonist (and Dutch resident) John Dikeman invited avantgarde trumpeter Jaimie Branch, bassist Luke Stewart (Irreversible Entanglements) and drummer Aleksandar Skoriæ to form a new band project! This quartet presents its own definition of contemporary improvised jazz -with no distinct leader and with tight and supportive interplay, they demonstrate the independent musical voice of each own. Album cover by Jaimie Branch.
Following the release of her critically acclaimed sophomore album, First Flower, last October, Texan chanteuse Molly Burch returns with two heart-stopping tracks. Entitled Ballads in homage to the strong and powerful female vocalists that she admires, this 7” EP embodies what Burch loves to do and what she does best: crafting music with emotion, drama and romance, giving her voice all the room it needs to burn bright.
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Tum Tum Tum is the eighth album from London-based Brazilian artist Marcelo Frota aka MOMO., featuring guest appearances from Brazilian bossa nova legend Marcos Valle and Smoke City's Nina Miranda as well as UK jazz trombonist Rosie Turton and his tight-knit band, all recorded in South London This is a free-flowing, warm, expansive and fully assured album, and exudes a playfulness and a sense of someone who is truly in their element and at peace when writing and recording.
MOMO. releases his 7th album Gira, on Batov Records bringing together some very special musicians and guests from London"s bustling and hustling jazz community, with fellow Brazilian artists, recorded and cut to tape at East London"s Total Refreshment Center.
Recorded in 1959 at the height of the Latin Jazz Era, This is Mongo Santamaria's second album for Fantasy Records. A deep and fascinating investigation of Afro-Cuban roots run by the great percussionist and a
quite large group featuring Paul Horn on flute, Emil Richards on vibraphone, Al McKibbons on bass and of course lots of multicolored percussion and vocals split by a bunch of masters players including
Armando Peraza and Willie Bobo.The album opens with the redolent melody of "Afro-Blue" one of his most beautiful compositions which later became a classic Jazz standards with historical renditions by
the likes of John Coltrane, Abbey Lincoln and Oscar Brown Jr.
