Novità e Uscite Vinili Pop & Rock - Prevendite

Norway's Aura Noir was formed in 1993 by Aggressor & Apollyon in pursuit of a more thrash- based form of black metal than much of what was coming out at the time - particularly in their homeland - citing bands such as Slayer, Sodom & Kreator as inspirations along with purveyors of the scene such as Venom, for a dirtier, stripped down, violent black/ thrash metal sound. Their first official release was the 'Dreams Like Deserts' EP on Hot Records, & from there-on the band became a truly cult act, releasing a string of albums among ongoing live performances over the subsequent decades. All members of Aura Noir have had illustrious careers to date, with Carl-Michael Eide (Aggressor) notable for his work in Ved Buens Ende, Dodheimsgard, Virus, & Fleurety, as well as being part of other scene icons such as Ulver & Satyricon in their formative years. Apollyon, currently also seen in Coffin Storm with Darkthrone's Fenriz, previously featured in Dodheimsgard, as well as Lamented Souls & Immortal. Completing the trio is Blasphemer, formerly of fellow Norwegian legends Mayhem, as well as being current mainman in his recently established band, Ruim. Originally released in 2012, 'Out To Die' was the band's fifth full length release, & a continuation of the savage raw & ugly feast offered by its predecessors, containing eight relentless tracks in praise of the old thrash masters & early primal black metal forefathers of the 80's. 'Out To Die' features additional guest lyrics by Dirge Rep (Gehenna/Enslaved), & Fenriz, whilst the fittingly underground cover art was created by the prolific artist, Costin Chioreanu.

Featuring a collection of 10-new tracks produced by Boney, the album marks a high point in the chart- topping, smooth jazz icon's remarkable three- decade career, one that includes a long list of accolades; four GRAMMY nominations, three NAACP Image Award nominations, a Soul Train Award for Best Jazz Album and four RIAA Gold Record certifications, to name just a few. A Simple Man also features guest contributions from guitarist Larry Carlton, trumpeter Marquis Hill and vocalist Ledisi.

Initially forming under the moniker of Black Death back in 1986, the star of Darkthrone has ascended with reverence & a degree of infamy over the course of four decades, to become one of the most notable metal bands to have emerged from Norway. Highly inspirational to a whole generation of bands, & also uncompromisingly steadfast throughout their now extensive catalogue, the long-standing duo of Fenriz & Nocturno Culto have remained dedicated to the art of the riff & forging their own path, relentlessly steering the band against the tide of trend. From the death/ doom technicality of 1991's debut masterpiece 'Soulside Journey', through the spearheading of the notorious "second wave of black metal" period of the earlier 1990s, & the integration of punk & heavy doom elements along with way, the Nordic titans have undoubtedly carved an exquisite & eclectic legacy. After a sequence of albums under the Moonfog label throughout the mid-latter 90's & into the new millennium, Darkthrone made the leap back to their original home at Peaceville, for a spectacular return in the shape of 'The Cult Is Alive', released in 2006. With the band's own newly-established Necrohell 2 studio in operation, this allowed the duo to make everything purely on their own terms & in their own time. Creative boundaries were also further removed in order to embrace some of the punk influences which had to date been more subdued, & in the process, created the beginnings of a new era for the band, first revealed in the form of lead track 'Too Old, Too Cold'.

Hopeful, defiant, effusive, and ecstatic, Radio!! Radio!! is the 20th album from Erasure, one of pop’s most beloved songwriting partnerships.

The record finds Andy Bell and Vince Clarke continuing to refine and deepen the pop edifice they’ve been building over the past 40 years with a set of 10 songs about love, loss and injustice that speaks, powerfully, to our empathy-starved times.

A uniquely personal album, it was shaped by a period of profound grief. When the duo got together to write the album, it was as much in the spirit of uplifting an old friend as it was work – you can hear this thread of warmth and mutual care throughout.

The album that transposes the dazzling hugeness of the duo’s best work onto avowedly more personal, more reflective songwriting. Bell acknowledges that it would be easier, perhaps, for he and Clarke to go on autopilot, 40 years into their career. But how would that pass as Erasure? “It’s a two-person brain, and everything that we’ve gone through comes into it,” he says. “We have a sense of responsibility. We couldn’t ever do something throwaway.”

Radio!! Radio!! is rooted in Erasure’s unique synth-pop palette with some key augmentation: when working on the sound of this album, Clarke was unusually drawn to piano, as well as acoustic guitar. The use of these instruments adds drama and depth to their sound whilst leaving room for the kind of glassy synth pop that Erasure made their name on.

Hoffnungsvoll, trotzig, überschwänglich und euphorisch: Radio!! Radio!! ist das 20. Album von Erasure, einem der beliebtesten Songwriting-Duos der Popmusik.

Auf dem Album entwickeln Andy Bell und Vince Clarke das musikalische Pop-Gebäude, an dem sie seit 40 Jahren arbeiten, konsequent weiter und verleihen ihm zusätzliche Tiefe. Die zehn Songs handeln von Liebe, Verlust und Ungerechtigkeit und treffen damit auf eindringliche Weise den Nerv unserer Zeit, in der es so oft an Empathie mangelt.

Es ist ein ausgesprochen persönliches Album, geprägt von einer Phase tiefer Trauer. Als sich das Duo zum Schreiben der neuen Songs traf, ging es dabei ebenso sehr darum, einen alten Freund wieder aufzurichten, wie um die gemeinsame Arbeit. Diese Wärme und gegenseitige Fürsorge ziehen sich hörbar wie ein roter Faden durch das gesamte Album.

Das Album überträgt die schillernde Größe der besten Arbeiten des Duos auf ein bewusst persönlicheres und nachdenklicheres Songwriting. Bell räumt ein, dass es für ihn und Clarke nach 40 Jahren Karriere vielleicht einfacher wäre, einfach auf Autopilot weiterzumachen. Aber wäre das noch Erasure? „Es ist wie ein gemeinsames Gehirn zweier Menschen, und alles, was wir erlebt haben, fließt darin ein“, sagt er. „Wir verspüren eine gewisse Verantwortung. Wir könnten niemals etwas Belangloses machen.

“Radio!! Radio!! ist fest in Erasures unverwechselbarer Synthie-Pop-Klangwelt verwurzelt, erweitert diese jedoch um einige entscheidende Elemente: Bei der Arbeit am Sound des Albums fühlte sich Clarke ungewöhnlich stark zum Klavier und auch zur Akustikgitarre hingezogen. Der Einsatz dieser Instrumente verleiht dem Sound zusätzliche Dramatik und Tiefe, lässt aber zugleich genügend Raum für jenen glasklaren Synthie-Pop, mit dem Erasure berühmt geworden sind.

Hopeful, defiant, effusive, and ecstatic, Radio!! Radio!! is the 20th album from Erasure, one of pop’s most beloved songwriting partnerships.

The record finds Andy Bell and Vince Clarke continuing to refine and deepen the pop edifice they’ve been building over the past 40 years with a set of 10 songs about love, loss and injustice that speaks, powerfully, to our empathy-starved times.

A uniquely personal album, it was shaped by a period of profound grief. When the duo got together to write the album, it was as much in the spirit of uplifting an old friend as it was work – you can hear this thread of warmth and mutual care throughout.

The album that transposes the dazzling hugeness of the duo’s best work onto avowedly more personal, more reflective songwriting. Bell acknowledges that it would be easier, perhaps, for he and Clarke to go on autopilot, 40 years into their career. But how would that pass as Erasure? “It’s a two-person brain, and everything that we’ve gone through comes into it,” he says. “We have a sense of responsibility. We couldn’t ever do something throwaway.”

Radio!! Radio!! is rooted in Erasure’s unique synth-pop palette with some key augmentation: when working on the sound of this album, Clarke was unusually drawn to piano, as well as acoustic guitar. The use of these instruments adds drama and depth to their sound whilst leaving room for the kind of glassy synth pop that Erasure made their name on.

Hoffnungsvoll, trotzig, überschwänglich und euphorisch: Radio!! Radio!! ist das 20. Album von Erasure, einem der beliebtesten Songwriting-Duos der Popmusik.

Auf dem Album entwickeln Andy Bell und Vince Clarke das musikalische Pop-Gebäude, an dem sie seit 40 Jahren arbeiten, konsequent weiter und verleihen ihm zusätzliche Tiefe. Die zehn Songs handeln von Liebe, Verlust und Ungerechtigkeit und treffen damit auf eindringliche Weise den Nerv unserer Zeit, in der es so oft an Empathie mangelt.

Es ist ein ausgesprochen persönliches Album, geprägt von einer Phase tiefer Trauer. Als sich das Duo zum Schreiben der neuen Songs traf, ging es dabei ebenso sehr darum, einen alten Freund wieder aufzurichten, wie um die gemeinsame Arbeit. Diese Wärme und gegenseitige Fürsorge ziehen sich hörbar wie ein roter Faden durch das gesamte Album.

Das Album überträgt die schillernde Größe der besten Arbeiten des Duos auf ein bewusst persönlicheres und nachdenklicheres Songwriting. Bell räumt ein, dass es für ihn und Clarke nach 40 Jahren Karriere vielleicht einfacher wäre, einfach auf Autopilot weiterzumachen. Aber wäre das noch Erasure? „Es ist wie ein gemeinsames Gehirn zweier Menschen, und alles, was wir erlebt haben, fließt darin ein“, sagt er. „Wir verspüren eine gewisse Verantwortung. Wir könnten niemals etwas Belangloses machen.

“Radio!! Radio!! ist fest in Erasures unverwechselbarer Synthie-Pop-Klangwelt verwurzelt, erweitert diese jedoch um einige entscheidende Elemente: Bei der Arbeit am Sound des Albums fühlte sich Clarke ungewöhnlich stark zum Klavier und auch zur Akustikgitarre hingezogen. Der Einsatz dieser Instrumente verleiht dem Sound zusätzliche Dramatik und Tiefe, lässt aber zugleich genügend Raum für jenen glasklaren Synthie-Pop, mit dem Erasure berühmt geworden sind.

Out There was Eric Dolphy's second LP as a leader, taped in 1960 the same year he recorded his debut LP, Outward Bound - both for Prestige Records. Although these were his first recordings as a leader, Dolphy was already a veteran performer with considerable recording experience. He had formed part of drummer Roy Porter's orchestra during 1948-1950 (with whom he waxed his first sides), and in 1949 he made his first recording with Charles Mingus, who would serve as his employer and mentor for many years. The instrumentation used on Out There is quite unusual, with Eric Dolphy playing in a quartet format with Ron Carter on cello, George Duvivier on bass, and Roy Haynes on drums.

The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

EverEve - "Seasons", "Stormbirds" & "Regret"The first three masterpieces of Germany's EverEve, (Their name is taken from a poem out of "Lord of the Rings") "Seasons" (1997), "Stormbirds" (1998), and "Regret" (1999), are deeply emotional works of art, forged in darkness, melancholy, and poetic introspection, standing today as some of the most compelling statements ever produced within the Gothic Metal movement.In the late 1990s, while countless bands attempted to define the boundaries of Gothic Metal, EverEve effortlessly rose above convention Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity.

Their music was never confined by genre limitations. It drew equally from Doom Metal's oppressive weight, Gothic Rock's romantic desolation, and the emotional grandeur of Dark Wave, creating a soundscape that was uniquely their own. "Seasons " marked the beginning of this remarkable journey. A debut album rich in atmosphere and emotional depth, it introduced a band already possessing a mature artistic identity. Its songs unfold like chapters from a forgotten gothic novel, where every melody is wrapped in shadows and every lyric resonates with profound emotional sincerity. EverEve expanded their vision with "Stormbirds", an album that many regard as one of the defining moments of European Gothic Metal. Majestic, dramatic, and emotionally overwhelming, it elevated the band's songwriting to extraordinary heights. The interplay between crushing guitars, haunting keyboards, and deeply evocative vocal arrangements created a listening experience that remains as captivating today as it was upon its release.

Fourth volume in Dave Huismans' beloved ex_libris series - a tightly focused suite of slowly unfolding, percussive midtempo mosaics. Bare-bones with maximal dynamics, the narratives are driven by rhythm this time. A diversion of sorts, yet very much from the same environment as previous volumes. Alive as ever.

handstamped copies designed by Bernie van Vlijmen
mastered & cut by Anne Taegert @ Dubplates & Mastering

2026 Repress


Multi - instrumentalist with rare elegance, FKJ unveils its first album French Kiwi Juice, and invites us in his world.

Tribute to his idols, affirmation of musical maturity, FKJ goes from Jazz to Soul, with his electronic touch that makes his paw incomparable.

A warm, reassuring and sensual universe.

His children’s questions (Why are there boundaries), his joys (Blessed & Joy), his journeys (Go Back Home & Canggu), the Franco-New Zealander delivers himself in an intimate and profound album, with music as an universal language.

An opus to advise to enthusiasts, travelers, dreamers...

Greg Freeman was barely done making his breakthrough album, Burnover, which was released to wide critical praise and landed in The New York Times Best Albums of 2025 list and received the coveted 'Best New Album' distinction from Pitchfork, when he started writing his new record All Set The Bone On All Set The Bone, he embraces friction instead of refusing it, using scant rehearsal times and urgent, self- appointed deadlines, which was finished quickly, in a real Hollywood studio with one of rock's best modern architects, John Congleton.

In celebration of John Coltrane's centennial, this 3-LP boxset includes all 3 albums recorded with Wilbur Harden in 1958 for Savoy Records: Mainstream 1958, Tanganyika Strut and Jazz Way Out. Featuring players including Tommy Flanagan, Curtis Fuller, Doug Watkins, Louis Hayes, Art Taylor and more and cut from the original tapes by Kevin Gray at Cohearent Audio the album is pressed on 180-gram black vinyl at RTI and housed in Stoughton tip-on jackets and new liner notes from Syd Schwartz.

As Brice shares, "Anybody can see a sunset, but a sunrise, you gotta earn. Whether you're waking up or just pulled an all-nighter, I tip my hat to you, sunriser." Brice's sixth studio album delivers hopeful and resilient reflections on love, faith, and heartbreak for all sunrisers - from firefighters, nurses, and truck drivers, to blue- collar workers clocking out of graveyard shifts, to tired parents waking up to take care of little ones. Through the lens of what defines who he is -- God, country, and family -- the awardwinning Country star encourages listeners to keep rising.

Led by Samantha Martin's unmistakable powerhouse voice, Samantha Martin & Delta Sugar deliver an explosive blend of soul, blues, gospel and rock 'n' roll Backed by an 11-piece band featuring a three-piece horn section and soaring vocal harmonies, Martin commands the stage with equal parts grit, grace and emotional force. Two-time JUNO Award nominees and internationally recognized as one of Canada's most compelling live acts, the band has built its reputation through electrifying performances and a catalogue that carries the classic soul DNA of Mavis Staples, Sharon Jones and Otis Redding, delivered with the urgency, volume and energy of a modern rock 'n' roll revue. Released in May 2026, A Beautiful Buzz captures Samantha Martin & Delta Sugar at full flight during the Love Is All Around tour. The album generated immediate international attention, topping the Euro Americana, Big Blues and UK Independent Blues Broadcasters Association and Roots Music Report charts. Rolling Stone France Editor in Chief selected A Beautiful Buzz as one of its "10 Albums to Listen to, "With blazing horns, gospel- charged harmonies and Martin's commanding voice at the centre, A Beautiful Buzz recalls the joyful abandon of Joe Cocker's Mad Dogs & Englishmen while remaining unmistakably their own. Blue Matters described it as "the front row experience, bottled with warmth, fire and unmistakable soul," while Blues in Britain placed Martin "up there with the best of contemporary female vocalists." Building on the album's international momentum, Samantha Martin & Delta Sugar will bring their show to Europe and the UK in May 2027, followed by a second run in November.

Celebrate 10 years of Shawn Mendes’ Illuminate with this special 10th Anniversary Edition 2LP.

Pressed on translucent aqua vinyl, this anniversary release features the original album housed in updated Illuminate packaging, plus a booklet featuring photography and lyrics from the album .

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Three years following the critically acclaimed "A Journey told through Fire" (2023), the new album navigates a sprawling conceptual narrative, tracing the cyclical nature of the cosmos from its initial spark in the void to its inevitable dissolution. Lyrically, the album explores the terrifying scale of cosmic darkness and the fragility of existence within a primordial emptiness. Sworn investigates the philosophy of becoming and unmaking, where reality and time emerge from nothingness only to eventually collapse back into the same unfathomable origin. Musically, "Null Crowned the Infinite" pushes the boundaries of the band's established sound, balancing their signature melodic tension with newfound levels of aggression and atmospheric depth. The record features "The Starless Origin", a twelve-minute epic that stands as their longest composition to date, alongside " Fracture of Aeons ", which the band identifies as their most aggressive track ever recorded. Sworn collaborated with renowned producer Jens Bogren at Fascination Street Studios , who handled the mixing and mastering. Bogren's legendary portfolio, featuring giants such as Opeth, Arch Enemy and Behemoth, brings a polished yet devastating edge to the performances of Max Wilson, Christoffer Kjorsvik, Goran Hope and Tom Ian Klungland. The album artwork is equally striking, created by Par Olofsson, known for his iconic work with Aborted and Kreator.

Influential UK Jazz/Funk/Disco outfit THE COOL-NOTES' biggest hit 'Spend The Night', originally released in 1985, is back on Dafia Records with a set of brand new, never before released remixes by French Disco icon DIMITRI FROM PARIS.

The original, which reached #11 in the UK Top 40 in the Spring of 1985, is regarded as a mid-tempo UK classic by many since its first appearance. Known for his luxurious, groove-driven productions and remixes, Dimitri From Paris has reworked tracks for artists including Björk, Quincy Jones, Chic and New Order, while helping define the sound of modern disco and house music in a way only he can.

When he got the chance by Dafia label head Mannix to get his hands on the original multitrack tapes, he didn't hesitate to deliver two classic DFP revisions in the making. His Main version leaves all the essential elements of the timeless Original, highlights the parts that have deserved more exposure whilst adding crisp beats and nice effects to the game. The result is a greatly updated version that surely will have many fans within the Soul/Funk/Disco scene.

On his Dub Dimitri Form Paris delivers a spaced out stripped back version with great use of vocal snippets to great effect on any dancefloor.

FIRST TIME ON VINYL! “Instalação Do Samba”, originally released in 2004, has become one of the defining albums in the history of Schema Records. With producer Stefano “S-Tone Inc.” Tirone, Toco created an album that embraced the essence of samba and bossa nova while allowing them to breathe naturally within a contemporary musical landscape, blending Jazz, soul, understated electronics and sophisticated arrangements. Released only on CD at the time, “Instalação Do Samba” is finally given the analogue home it always deserved. This first-ever vinyl edition also includes “Qui C’Est Celui-Là”, previously included in the French CD edition. Over the years, Toco has become the most streamed artist in the entire Schema catalogue, introducing his music to audiences beyond the traditional boundaries of Brazilian jazz and contemporary bossa nova. His songs continue to resonate with listeners around the world, proving that authenticity never goes out of style.

"Spiritual Jazz 19" besteht aus zwei Doppel-LP-Sets, die den Einfluss und die Ausdrucksformen jenes Underground-Jazz beleuchten, der sich in der zweiten Hälfte des 20. Jahrhunderts in Kalifornien und den angrenzenden Bundesstaaten entwickelte. Die insgesamt 24 Titel erscheinen in Gatefolds und enthalten Liner Notes, Fotos und Download-Codes.

Die US-Westküste wird oft mit dem Boom des Cool Jazz in den 1950er Jahren in Verbindung gebracht; doch überall dort, wo Jazz gespielt wurde, florierten auch modale, afrozentrische und spirituell geprägte Strömungen – und die Westküste bildete da keine Ausnahme. In der Nachkriegszeit rangierte die Central Avenue in L.A. als bedeutendstes Jazz-Viertel Amerikas direkt hinter Manhattan. Auch wenn Manhattan in jenen Jahren das faktische Zentrum des Jazz-Universums war, übte Kalifornien eine stärkere Anziehungskraft auf die Kultur im Allgemeinen aus und zog Menschen aus dem ganzen Land in den Bann seiner aufkeimenden Gegenkultur der 1960er Jahre.

Hier untersuchen wir die Auswirkungen dieser Gegenkultur auf den Jazz. Wir beleuchten den Einfluss der Black Panthers – der prägendsten Kraft innerhalb der schwarzen politischen Bewegung nach der Ära der Bürgerrechte – und widmen uns den neuartigen spirituellen Praktiken und Religionen des aufkommenden New Age. In Kalifornien waren zahlreiche eigenwillige Independent-Labels wie Arhoolie, Theresa und Nimbus sowie viele weitere private Unternehmungen ansässig; wir präsentieren die Ergebnisse ihres Strebens nach musikalischer Freiheit. All diese Faktoren beeinflussten die Entwicklung und Blütezeit des Jazz und der Jazzmusiker an der Westküste – und die Evolution des Spiritual Jazz in dieser Region wird hier eingehend betrachtet.

Spiritual Jazz 19" besteht aus zwei Doppel-LP-Sets, die den Einfluss und die Ausdrucksformen jenes Underground-Jazz beleuchten, der sich in der zweiten Hälfte des 20. Jahrhunderts in Kalifornien und den angrenzenden Bundesstaaten entwickelte. Die insgesamt 24 Titel erscheinen in Gatefolds und enthalten Liner Notes, Fotos und Download-Codes.

Die US-Westküste wird oft mit dem Boom des Cool Jazz in den 1950er Jahren in Verbindung gebracht; doch überall dort, wo Jazz gespielt wurde, florierten auch modale, afrozentrische und spirituell geprägte Strömungen – und die Westküste bildete da keine Ausnahme. In der Nachkriegszeit rangierte die Central Avenue in L.A. als bedeutendstes Jazz-Viertel Amerikas direkt hinter Manhattan. Auch wenn Manhattan in jenen Jahren das faktische Zentrum des Jazz-Universums war, übte Kalifornien eine stärkere Anziehungskraft auf die Kultur im Allgemeinen aus und zog Menschen aus dem ganzen Land in den Bann seiner aufkeimenden Gegenkultur der 1960er Jahre.

Hier untersuchen wir die Auswirkungen dieser Gegenkultur auf den Jazz. Wir beleuchten den Einfluss der Black Panthers – der prägendsten Kraft innerhalb der schwarzen politischen Bewegung nach der Ära der Bürgerrechte – und widmen uns den neuartigen spirituellen Praktiken und Religionen des aufkommenden New Age. In Kalifornien waren zahlreiche eigenwillige Independent-Labels wie Arhoolie, Theresa und Nimbus sowie viele weitere private Unternehmungen ansässig; wir präsentieren die Ergebnisse ihres Strebens nach musikalischer Freiheit. All diese Faktoren beeinflussten die Entwicklung und Blütezeit des Jazz und der Jazzmusiker an der Westküste – und die Evolution des Spiritual Jazz in dieser Region wird hier eingehend betrachtet.

Greg Freeman was barely done making his breakthrough album, Burnover, which was released to wide critical praise and landed in The New York Times Best Albums of 2025 list and received the coveted 'Best New Album' distinction from Pitchfork, when he started writing his new record All Set The Bone On All Set The Bone, he embraces friction instead of refusing it, using scant rehearsal times and urgent, self- appointed deadlines, which was finished quickly, in a real Hollywood studio with one of rock's best modern architects, John Congleton.