Suche:not me

Duke Pearson’s 1967 album The Right Touch is perhaps the finest of his career and a showcase for the breadth of his talents as a pianist, composer, and arranger. Six memorable Pearson original are performed by a dynamic 8-piece band including Freddie Hubbard, Stanley Turrentine, and James Spaulding.

This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket.

Damit können nur Insider etwas anfangen. Nichteingeweihten soll dieses Bewerbungsschreiben verdeutlichen, dass 'Ich bin der Boss' an Umstände gebunden ist. Während wir empfehlen, sich bei einem Bewerbungsgespräch kein T Shirt mit 'Ich bin der Boss' anzuziehen, ist 'Ich bin der Boss' als neu aufgelegtes, phantastisch anzusehendes und vorzüglich anzuhörendes Vinyl hingegen ein unverzichtbares Muss.

Nein, wir wollen Euch nicht nötigen, erpressen, zwingen, herausfordern, oder verpflichten, aber es bleibt Euch sicher keine andere Wahl, als dem inneren Drang und Druck nachzugeben, sich davon zu überzeugen, dass der erneute Release von Deutschlands meister Schallplatte der Welt ein Volltreffer für Augen und Ohren ist.

Der britische Folk-Singer/Songwriter Roo Panes kündigte sein neues Album 'The Summer Isles' dieses Jahr mit ersten Konzerten an namhaften Orten in London (Union Chapel), Amsterdam (Paradiso) und Berlin (Heimathafen) an. Zu Panes' durchdachtem Gitarrenspiel gesellen sich himmlische Harmonien und klangvolle Strukturelemente, die sich mühelos zu stimmungsvollen Bildern verbinden, während Roo von Schätzen, Jacarandas, unberührten Blumen und ruhigen Meeresnächten singt. Durchweg sicher und atmosphärisch, trägt die klare Produktion des Albums zur natürlichen Thematik bei.

- 'Mit seiner grandiosen Gitarrentechnik verzaubert er die Ohren, mit den Texten die Herzen der Hörer*innen. Der Aufbau und die Harmonik seiner Songs stammen nicht selten aus der klassischen Musik.' - heimathafen-neukoelln.de

Electronic Music from 1972-2022 seeks to frame ¬fty years of Carl Stone's compositional activity, starting with Stone's earliest professionally presented compositions from 1972 ("Three Confusongs" and "Ryound Thygizunz", featuring the voice and poetry of Stefan Weiser – later known as Z'EV) up to the present. This collection is not meant as a de¬nitive history but rather as a supplement to be used alongside the previous two archival releases. It is simultaneously an archival release marking Carl Stone’s

evergreen 70th birthday and a document of archival art. In the spirit of disorienting repetition and layering, call it an archive of archiving.

Put Webbed Wing’s Taylor Madison up against some of rock’s most celebrated songwriters––he’s ready. On their new EP, Right After I Smoke This..., the Philly-based guitarist and singer puts on the kind of unforgettable performance that can take everyday people and turn them into musical heroes for the masses.

For those in the know, Webbed Wing––incomplete without Jake Clarke (drums) and Mike Paulshock (bass)––have long-since reached cult status; the project follows Madison and Clarke’s already-decorated career in their band, Su- perheaven. Here, each member freely flexes their innate genre-bending musicality, taking notes from the likes of The Lemonheads, Teenage Fanclub, and Weezer.

In just three songs, Right After I Smoke This... channels everything lyrically-gripping about rock music and everything vibrant about pop. There’s as much earnest twang in their toolkit as there is snotty skate-park punk and intense metal; it’s a celebration of the genre as they’ve come to love it, resulting in something highly palatable and new.

Zur Feier des 40-jährigen Jubiläums wurde die Studioversion von ”The Lexicon of Love” von ABC in den Abbey Road Studios als Half Speed-Version neu gemastert! Das Album enthält einige seltene Tracks und Konzertauftritte, die noch nie zuvor auf Vinyl veröffentlicht wurden! Diese Neuauflage von ”The Lexicon Of Love” wird als 4LP+BluRay und auf schwarzen Vinyl (Half Speed Master) am 04.08 veröffentlicht.

Rare 1986 Funk/Soul From Alabama.

Originally released as a private pressed cassette tape only.

First Time On Vinyl.

Released in collaboration with the Numero Group.

180g BLACK vinyl limited to 500 copies w/obi strip. Non-Returnable.

Armed with little more than his Peavey T-60 guitar and a Jumbo Fuzz pedal, Errol Stubbs and his bar-band cohorts cranked out a self-released tape of funked-up disco soul in 1986. With no label or distribution to speak of, Errol would simply put on his best suit and sell the cassettes by hand. The tape languished into obscurity…until now!

The story of Errol Stubbs begins in Birmingham, Alabama in 1959. The youngest of five, he was surrounded by music as a child–his aunt taught piano at Daniel Payne College while his older brother, Avery Beavers, was an accomplished jazz trumpeter. Under the guidance of Avery, Errol started playing trumpet at the age of nine, though he gravitated toward songwriting and quickly picked up the guitar. Inspired by blues greats the likes of Albert King, Buddy Guy, and Little Milton, 12-year-old Errol began mimicking the sounds that filled southern airwaves. As a teenager, he played at barbecues, fish fries, and dive bars across the Magic City. After a brief stint at Jefferson State studying music, Errol’s passion for songwriting beckoned him away from the classroom.

Stubbs bounced around bar bands before settling on a live lineup and saving enough dough to take his vision to the recording studio. Over the course of two days, his well-rehearsed band recorded Turning it Out mostly live to tape at the Sound Of Birmingham Studio. Located on Birmingham’s east side, the state-of-the-art studio kept the lights on by recording commercial jingles but was more than happy to open their doors to local talent.

Taking notes from guitar god Ernie Isley and funk legend Rick James, the resulting recordings are drenched in cosmic phaser-fuzz guitar work, slapping bass lines, and sexual disco innuendos. Big brother Avery lends a hand on Clavinet for “Sweat,” while studio owner/engineer Don Mosley adds a tasteful dose of Moog synthesizer across a handful of cuts.

Soon after the Sound Of Birmingham sessions, Errol released the private pressed EP “Dancin’ Fancy,” b/w “Spaced Out On Your Love,” the latter of which was featured on Numero Group’s 2019 compilation Visible and Invisible Persons Distributed In Space.

The seven-song cassette Turning It Out was sold in local record stores and from night club stages, but only a few copies made their way out of Birmingham.

Joshua Ray Walker announces NEW RECORD “What Is It Even?” - lending his signature alt-country style to iconic pop songs - paying homage to female-identified powerhouse vocalists and their influence on global culture. Launching with his reimagination of Lizzo’s “Cuz I Love You,” Walker pushes himself and his band to respectfully and artfully build a bridge between two seemingly polar styles of music. What Is It Even? Album Rollout 6/2 - “What Is It Even?” Preorder launch & IG1 “Cuz I love You” 7/7 - "Linger" 8/4 - “What Is It Even?” Street Date The catalyst of Joshua Ray Walker’s new album, What Is It Even?, was sparked on the patio of the Tulsa, Oklahoma music venue and dive bar Mercury Lounge, a fitting origin story for any country record. But this is far from an ordinary country record. It was on that Tulsa patio, deep into tour, when Walker and drummer Trey Pendergrass were half joking about what their gospel jump blues version of Whitney Houston’s “I Wanna Dance With Somebody” would sound like, wondering “what if the Blues Brothers covered a Whitney Houston song?” At that point, it was still unclear how the Dallas native would follow up his trio of critically acclaimed, interconnected albums, all of which were packed tight with character-driven songs that put multiple national-tours worth of crowds on the precipice of staining their shirts with either beers or tears, depending on the song. The third of the trio, See You Next Time, led to Walker appearing on The Tonight Show and CBS Saturday Morning, brought with it performances at the Ryman Auditorium in Nashville and Gruene Hall in Texas, landed him on Rolling Stone’s “Best of 2021” list, and prompted SPIN to call him “one of country’s most exciting storytellers.” Those stories about dive bar dwellers running out of last chances made listeners feel a gauntlet of emotions. What Is It Even?, a 10-track covers album consisting of songs made famous by female pop acts, produced with John Pedigo and arranged alongside his touring band of Pendergrass, bassist Billy Bones, and pedal-steel player Adam Kurtz, was born out of wanting to make people feel joy.

'The Outer Limits' is the seventh studio album released by Canadian heavy metal legends Voivod. It was issued via Mechanic/MCA Records in 1993. The album features a cover of "The Nile Song", originally by the British progressive rock band Pink Floyd, and Voivod's longest song "Jack Luminous", tracking in at 17 minutes and 26 seconds. When originally issued, the CD came with a miniature pair of 3D glasses in order to view the booklet art. The text in the upper right corner of the album cover reads "Number 8" to represent that it is actually the band's eighth album release overall following the compilation The Best of Voivod. 'The Outer Limits' was the final album to feature vocalist Denis Bélanger until his 2002 return. It was also Voivod's first album without original bassist Blacky, who had left the band before the release of the critically acclaimed but commercially unsuccessful 1991 album Angel Rat. Uncomfortable with the idea of bringing in an immediate replacement for Blacky, Voivod opted to have session musician Pierre St-Jean play bass guitar for the recording of the album. (Text by Wikipedia) The album has become one of the band’s ultimate classic albums and is still very much considered today as one of their very best albums by the fans. VOIVOD : ’The Outer Limits’ is now available in vinyl format with 3D graphic design and including 3D glasses for the very first time. First pressing is in white vinyl, Grab it now while you can !.

Lndon Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory. Limited to 300 copies on transparent ochre vinyl.

A complex and sometimes belligerent character in real life, on record,
John Martyn was the epitome of the folk-dreamer, embodying the spirit
of the bourgeoning London acoustic scene of the late 60s
Well- known and respected for his 70s albums Solid Air and One World, this is
where it began.John Martyn met Beverley Kutner and the pair married in 1969.
Kutner was a dazzling folk singer who had been invited by Paul Simon to sing on
Simon & Garfunkel's Bookends album. It was obvious that two such talents united
in love should also unite in music. Stormbringer! – produced by Joe Boyd – was
the first of two albums billed to both of them.
Recorded in Woodstock, the album featured The Band's Levon Helm on drums on
Beverley's standout, eight-minute long Sweet Honesty. Not to be overshadowed
John also contributed John The Baptist, one of his career highlights, with
Beverley adding sweet backing vocals.
This re-issue faithfully replicates the original 1970 Island Records UK release and
is pressed onto high quality 180g vinyl.

Dot Allison returns with a new solo album, Consciousology. After over a decade away, the former One Dove singer and songwriter broke cover in 2021 with Heart-Shaped Scars and this new album follows just two years later, as she hits a purple patch of songwriting. It’s also her first full release for Sonic Cathedral after contributing to Mark Peters’ acclaimed Red Sunset Dreams last year. Consciousology finds multi-instrumentalist Dot joined by the London Contemporary Orchestra, her new labelmate Andy Bell from Ride, who plays guitar on two tracks, and Hannah Peel, who is responsible for some of the string arrangements with both the LCO and a stellar group of Scottish string players. It expands on the styles and themes of the previous album, all while pushing everything just that little bit further – the songs sound bigger, more avant-garde and experimental and, occasionally, properly out-there and psychedelic. “I wanted to make some albums that felt like a set, exploring love, what lies beyond the visible and how all these aspects dovetail together,” explains Dot. “I see Consciousology a more psych Heart-Shaped Scars with a far fuller, more immersive sound and so, in that sense, it’s a more wayward, bolder, rule-breaking partner.” Right from the eye-catching artwork by PJ Harvey collaborator Maria Mochnacz it definitely does not play it safe. It veers from the techno-played-as-folk of opener ‘Shyness Of Crowns’ and ‘220Hz’ and the Linda Perhacs-meets-The Velvet Underground chug of the first single ‘Unchanged’ to the Mercury Rev-style fantasia of ‘Bleached By The Sun’, the Brian Wilson-esque harmonies of ‘Moon Flowers’ and the kaleidoscopic colour trip of ‘Double Rainbow’. Elsewhere there are echoes of Desertshore-era Nico, Jack Nitzsche’s work with Neil Young, Karen Dalton and Anne Briggs before the relative simplicity of the Tim Hardin-inspired closer ‘Weeping Roses’. It’s a brilliant, breathtaking record.

Roach is Miya Folick's clearest and most direct work yet, eschewing
some of the lyrical and musical obfuscations she layered onto her 2018 debut album,

Premonitions With ear- worm melodies, heart- wrenching poetry, eclectic production and anchored by Folick's once-in-a-lifetime voice, Roach straddles a line between pop and something more experimental.

She enlisted a team of collaborators who she
trusted to bring out the grittier side of her artistry, including Gabe Wax (War on
Drugs, Fleet Foxes), Mike Malchicoff (King Princess, Bo Burnham), Max
Hershenow (MS MR) and a team of some of LA's best players. The result is an
album that sounds as honest and intimate as the subject matter at hand, a
candid snapshot of where she is now and what it took to get there

MIZMOR, is a one-man heavy music exploration that began in 2012 as a
way of dealing with the mental and spiritual anguish mastermind A L N
feels as a person
More specifically, the content behind the project is that of the existential - primal
and innate musings about cause, purpose, self, and god. It is the search for light
and truth, or the fact that there is none. It comes from an embittered, burned,
confused, and broken heart. It is the fight for survival when reason and
foundation has turned to nothingness. It is the crashing down of towers of
falsehood and the freedom that comes through a certain kind of grief. Ultimately,
MIZMOR is the manifestation of my long-felt depression, and neither have an end
in sight.
In A.L.N.'s own words behind the new MIZMOR album "Prosaic":
"The idea behind "Prosaic" was to make an intentionally less conceptual, more
slice- of- life record. I wanted to make an album that was less precious and
obsessed-over, more honest and real; less grandiose and more human. I found it
an interesting challenge to find the line between 'you can do better' and 'you're
beating a dead horse.' I tried to make my process more efficient and even fun at
times. I simply wanted to share, but if that meant exacting all-out perfectionism, I
wasn't going to make a record. Right now I'm interested in making less selfindulgent music. The themes are the absurdity/futility/purpose/meaning of work,
mindfulness/ consciousness/ living in the present moment/ shedding illusions,
depression/ acceptance/ contentment. This is the first MIZMOR album without
any content relating to god/atheism. You also won't hear any shrieks."

Today, powerhouse mande jazz ensemble Balimaya Project announce
their second album When The Dust Settles to be released by New Soil in partnership with Jazz re:freshed on July 21, 2023
A dynamic maturation of the group's thrilling big band sound, When The Dust Settles is a personal and cathartic expression of grief, rage, love and joy.

Fusing West African rhythmic tradition with the energy of London's jazz continuum, the album celebrates the restorative power of Black male brotherhood among diaspora communities in London.

Led by composer/arranger and UK-based Djembe player Yahael Camara Onono, Balimaya Project have established themselves as one of the most exciting and forward-thinking ensembles in Britain.
Enlisting guest vocalists Afronaut Zu, Obongjayar and Fassara Sacko across ten groove- laden and punchily percussive tracks, each song on When The Dust Settles engages intentionally with the significance of folkloric rhythms to illuminate themes that include the death of Camara Onono's older brother, losing a child, becoming a father, migration, survival and a search for truth.

As Camara
Onono describes: "One thing that's really linking us is that concept of family and the bonds are getting stronger every time ... It was important to me to go deeper and address not just tradition and culture, but also address emotion."

A fascinating blend of jazz and contemporary classical influences, How Time Passes is the debut album from the envelope pushing trumpeter and composer Don Ellis Known for his extensive musical experimentation, particularly in the area of time
signatures, Ellis began his long career in the New York City's post bop and avantgarde jazz scenes of late 1950s. Most notably he appeared on Charles Mingus'
Mingus Dynasty, and albums by George Russell and Maynard Feguson. But he
also worked with, among others, the Glenn Miller Orchestra, Lionel Hampton, and
Woody Herman. On subsequent albums, Ellis would take an even wilder direction.
Here, on his first recoding date as a band leader, the experimentation begins. Ellis
stretches the boundaries of bop-based jazz playing with time, tempo and meter. It
is the start of his exploration of Third Stream - a fusion of jazz and contemporary
classical music. The album title itself - How Time Passes - was taken from an
article written by the controversial German composer Karlheinz Stockhausen on
the "function of time." The exceptional section features Ron Carter on bass, the
underrated Jaki Byard on piano and saxophone, and Charlie Persip on drums. The
LP includes extraordinary liner notes by Candid A&R man and producer Nat
Hentoff, and noted musician, historian and writer Gunther Schuller - the originator
of the term "Third Stream" - giving a context and insight that adds to the
experience of hearing these extraordinary performances.

When he first came on the scene, Phil Woods was often referred to as
"The New Bird," in a nod to the legendary Charlie Parker - A testament to
his genius on the saxophone to be sure
But while obviously indebted to Parker - as all modern jazz saxophonists of a
certain era were - there is no question that Phil Woods was an original. After
earning a degree in music from Juilliard in the early 1950's, Woods found himself
in the orbit of the great Quincy Jones. At Jones' invitation Woods joined Dizzy
Gillespie's infamous Jazz Ambassadors - a tour sponsored by the US State
Department as part of a global cultural diplomacy initiative - and subsequently
became a member of Jones' own touring band. This recording, his 9th album as a
band leader, consists entirely of Woods' five- part Rights of Swing Suite. An
ambitious large-scale composition based solidly on jazz traditions. A culmination
of the influences the then 30 year artist had absorbed. Arguably considered one
of Woods finest recordings, the record features a stellar section made up of
Wood's fellow Quincy Jones band members. (It should be noted that these same
musicians, for the most part, are also the section on Benny Bailey's Candid
Records recording, Big Brass, recorded a a few months prior in November of
1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in
January and February of 1961, and conducted by Quincy Jones. The LP includes
extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and indepth commentary from Woods himself, giving a context and insight that adds to
the experience of hearing these extraordinary performances

Toshiko Mariano Quartet is the 1961 album from fourteen time Grammy
Nominated pianist and composer Toshiko Akiyoshi - then known as
Toshiko Mariano
Women have long been denied the credit they deserve in jazz. It must be noted
that as a Japanese women in jazz, Akiyoshi had to battle for acceptance on many
fronts. Jazz has been a patriarchy community from the beginning, and even
critical praise of her playing could not help but take note of her gender. Leonard
Feather, for example, writing at the time in the Encyclopedia of Jazz called out
Akiyoshi's playing as "fiery, powerfully articulated and exceptionally fluent," but
added that there was "nothing delicately feminine." Even today it is still hard for
people to see Jazz in any other way. We are pleased to be a part of shifting the
narrative and shine a spotlight on this talented artist and this wonderful album.
While she was later to compose using themes, harmonies, and instruments
connected to her Japanese heritage, this album captures the pianist early in her
career playing a straight ahead, harp bop style. This was already her 7th album as
a band leader, and it is a shining example of her confidence and mastery of her
instrument and as a band leader. Recorded at the Nola Penthouse Studios in New
Your City in December of 1960, the LP includes extraordinary liner notes by
Candid A&R man and producer Nat Hentoff giving a context and insight that adds
to the experience of hearing these extraordinary performances

The group was formed by three members of Descendents (Bill Stevenson,
Karl Alvarez, and Stephen Egerton)
The ninth release from the original high octane pop punkers, Problematic furthers
the ALL vision by innovating the genre they helped create. ("Go for ALL")
Caffinated, sharp- witted lyrics over tight, highly memorable riffs and choruses
continue to set them ahead of the pack from others who have followed in their
footsteps.
Features 18 classic romantic- angst ridden tunes that will be certain to please
fans ALL over the world.

Throw on your platform boots and stomp along to the latest 7' double Aside vinyl single and digital release of "Rock N Roller" and "Rock N Roll
Angel" out on Curation Records in May 2023! It's pure bubble glam crunch
rock madness!
Hammered Satin is a glam rock band from Los Angeles California
established in late 2010
Stylistically pulling from what is now known as unkshop Glam from the 1970's. In
other words, they aspire to sound not like David Bowie himself but more like the
hitless wonder wanna- be Bowie's, Bolans, Quatro's, Sweets, Muds ect ad
nauseam. There are also punk or 'Proto Punk" and Bubblegum elements to
Hammered Satin's music that seemingly goes under the radar. The current 2023
lineup includes the three founding members. Noah Wallace lead vocals (formerly
of Teachers's Pet, S'cool Girls), Dan Sandvick Bass, Conor Berhle guitar, and
glampa Don Bolles drums, vocals (formerly of The Germs, Celebrity Skin, 45
Grave among many others). To date Hammered Satin have released two albums,
four two song 7" singles, and four digital-only singles. Their music has made it
onto a few TV shows such as Showtimes 'Dice", and Netflix's cartoon Mr.
Peabody and Sherman. The band has even managed to garner press in Rolling
Stone magazine more than once which is unheard of for an underground band.
Other noteworthy moments were direct support slots for The Ark in Sweden and
The Black Crowes in Las Vegas.