Search:verve

This beloved 1963 Impulse! LP is a career highlight for both Johnny Hartman and John Coltrane. Hartman was apparently Coltrane's suggestion for the recording date, and his deep, dark voice meshes perfectly here with Coltrane's tenor. The material is well-chosen, including definitive readings of 'My One and Only Love' and 'Lush Life.' McCoy Tyner fills out the chords, augmenting the harmonies and keeping the tone of these ballads respectful but not overly sentimental. All the players get to the deep structure of the songs and are not afraid to play in the most essential and elegant manner.

The wonderful world of Louis Armstrong All Stars are the cream of the crop of curr
ent New Orleans musicians, paying tribute to the musician who started it all in the Crescent City. The album is comprised of new arrangements and recordings of music assosciated with Louis, featuring a previously unknown Louis Armstrong and the All Stars track, and a touching spoken word private recording made by Louis made near the end of his life. Produced by Wycliffe Jordan, Jackie Harris, and Nicholas Payton, with a rotating cast of key New Orleans players including guest features from Wynton Marsalis, Common, and more. This is the LP release.

A worldwide icon, 4-time Grammy Award winner, BBC’s TOP 100 Most Inspiring & Influential Women. Known for her humanitarian efforts in the areas of Education, Women’s Rights and Environmental Awareness. Angélique returns with a new image & new sound on May 28th. Produced by the Nigerian rising star producer Kel-P (Burna Boy, Wizkid, Future). Featuring Burna Boy, Yemi Alade, Wizkid, Mr Eazi + more.

"One of the quintessential Charles Mingus recordings regardless of label, Mingus Mingus Mingus Mingus Mingus finds a mini-big-band playing some of Mingus’ best-known compositions – albeit with new titles! Features Mingus favorites Eric Dolphy, Booker Ervin and Jaki Byard among its all-star cast.
Mainly recorded during the sessions for the Black Saint And The Sinner Lady, this 1964 classic featured many of Mingus’s greatest compositions including ‘Celia’, ‘Theme For Lester Young’ and ‘Better Git Hit In Yo’ Soul’
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

The first of Sonny’s albums for Impulse!, this 1965 collection caught Rollins at the peak of his creative powers, and is arguably the tenor hero’s best for the label–an intense, freewheeling set, featuring classic takes on ‘On Green Dolphin Street’ and ‘Three Little Words’ in the company of Ray Bryant (piano), Walter Booker (bass) and Mickey Roker (drums). Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Black Coffee, Peggy Lee's 1956 album smash for Decca (she left Capitol in 1952 over creative and artistic differences), presents her in an intimate setting with a top-notch jazz quartet in place of her usual studio orchestra. This smaller combination, including trumpeter Pete Candoli and pianist Jimmy Rowles (two of her favorite sidemen), works to perfection, especially on sultry takes on “It Ain’t Necessarily So”, “Gee, Baby Ain’t I Good To You” and the title track. Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging. SOLD IN PREVIOUSLY-EXISITING ORDERS STILL STAND

"New York, N.Y. is a high point in the work of leading jazz composer and arranger George Russell. Russell was an early advocate for Modal Jazz and the conceptualizer of the influential Lydian Chromatic Concept of Tonal Organization. For this 1959 Decca classic, Russell assembled an all-star orchestra, including John Coltrane, Bill Evans (a frequent Russell collaborator), Art Farmer, Bob Brookmeyer and Milt Hinton, among others. Singer Jon Hendricks provided beatnik-style, stream-of-consciousness narrations that opened and closed this landmark album.
Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging."

'One of the most lauded (not to mention brilliant) trumpet players in the history of jazz, Clifford Brown adds to his luster on this varied program of nine engaging tunes. The 1955 line-up of the Clifford Brown/Max Roach Quintet – one of the premiere early hard bop units – included tenor saxophonist Harold Land, pianist Richie Powell, and bassist George Morrow.

Eine junge, innovative Sängerin und Songschreiberin sorgt ab sofort auf dem Verve Label für einen mitreißenden Mix aus Soul, brasilianischer Jazz-Fusion, Funk, Mexican Bolero und House-Einflüssen. Die in Chicago
lebende Sparklmami eröffnet ihr Debütalbum mit den Worten “You’re listening to Sparklmami radio“, und
zieht sofort hinein in eine Welt jenseits klarer Genregrenzen. Nach den digitalen Singles “running“ und
„fajas“ (2024) wird hier erstmals die ganze Tiefe ihrer künstlerischen Vision hörbar.
Sparklmami versteht ihre Musik als Gesamtkunstwerk, erschafft ein eigenes Universum geprägt von markantem Styling. Die visuellen Elemente spiegeln sich auch musikalisch wider: “in this body“ lebt von einer
brodelnden Rhythmusgruppe, vielschichtigen Keyboard-Arrangements, warmen Bläsern und einer Stimme,
die mühelos zwischen Gesang und Spoken Word wechselt.
Sparklmamis Texte folgen diesem Prinzip: Themen wie Identität, Herkunft und Selbstfindung werden nicht
erklärt, sondern erfahrbar gemacht. Gerade darin liegt die besondere Kraft dieses Albums – verletzlich,
eigenständig und mit einer künstlerischen Handschrift, die Aufmerksamkeit verdient.

“My auntie asked me what’s my path?” spits Lord Jah-Monte Ogbon on his de but from the celebrated Lex Records. The lyric relatably references the cross roads he’s at in his current life, especially as someone right on the cusp of rap stardom. “Recently I’ve been thinking more and more about what comes next in my life,” the artist reveals.


It’s fair to say Ogbon’s Lex LP features less of the sh*t-talking court jester of old. Instead, there’s more of an imperfect man re-examining past mistakes so he can avoid any future forks in the road. There’s a particular focus on over coming heartbreak, inspiring Ogbon to admit he’s haunted by an ex so badly he now needs to call up the Ghostbusters for assistance.


Since emerging in the late 2010s, Lord Jah-Monte Ogbon has consistently lit up America’s underground rap scene and this is thanks to a refreshingly honest writing style. Amid the exquisitely wavy strings of 2021’s The Missing Link / The Sneaky Link, for example, he rapped: “Everyone thinks they’re play er, until their bitch doesn’t come home.” Biting and snappy, the nasally vocals carry the playful verve of comedian Richard Pryor bravely excavating personal Demons to solicit giggles.


All this brash, wry Redman-inspired storytelling continues on the new pro ject. Its first single is titled I’m Signed to Lex, Now I’m Up – a name that mirrors what a big moment releasing a project on the label that once housed MF DOOM represents for Lord Jah-Monte Ogbon’s legacy. “I’m really driven by being able to level up and give my family more financial freedom,” he hopes.
And, if auntie asked what his path was right now, what exactly would the rap per say? Lord Jah-Monte Ogbon concludes: “Auntie: this rapping thing feels like it’s finally about to pay off!”

Alien Tropical: the perfect title for the second album by Servicio Al Cliente (Customer Service), the project of Colombian-born, Berlin-resident Juliana Martinez. If you were cannily seduced by the debut self-titled Servicio Al Cliente album, from way back in 2021, the wait for a follow-up has felt long, but Alien Tropical was worth the wait. Indeed, it feels like the perfect way for Michael Mayer’s Imara imprint to introduce itself to the new year: an album full of play and spirit, verve and sparkle, rich with pop spirit and with one eye smartly cocked toward the dancefloor.

That first Servicio Al Cliente album was a smart statement of intent, and a wonderful, unexpected turn from Martinez, who’d already been through plenty: being expelled from private music lessons,
training in law, joining a group named Las Palabras Correctas. 2021’s Servicio Al Cliente landed on the turntables of anyone with discerning radar (Ada included “Romántico” on her Connecting The Dots mix for Kompakt, for example). With Alien Tropical, Martinez works the sensual sway of her music even harder, building six luscious songs that twist chant-like repetitions into hypnotic mantras, each song the perfect confluence of melody and mystery.

When asked about Alien Tropical, Martinez pieces together fragments of memory: winter explorations, long road trips, navigating the highways and the heart. “I had been driving a lot at the time on the highway,” she recalls. “I depended on music I played in the car to manage my emotions and my thoughts on those long drives. Everything felt strange and unfamiliar on the highway, and I realised music was so psychological and my only tool to influence my feelings between highways and new places.”

So, the music becomes the narrative for where the body and the heart wants to go. That might explain the gentle yearning in Alien Tropical, and its eternal hypnotic, its sense of forever forward-motion, as though the music is flickering like the highway strip reflected in the rear-view mirror. But there’s also the skyward movement of the melodies, the way their loveliness lifts these six songs up through the clouds, like the helium balloons on the cover. From the sensual swelt

FABRICLIVE’s new incarnation as an artist-focussed label continues, with a stunning two-track 12” by the Hong Kong-born, Netherlands-based rising star Kiana Li, aka gyrofield.

Rooted in drum & bass but distinctly the sound of now, this single sparkles with freshness, and stands-out with an exquisite verve for detail and craft. Balmy and comforting, atmospheric and melodic, the cloudsurfing breakbeats and celestial propulsion of ‘Akin’ is pure friendly pressure, whilst on ‘Mother’ big vocals, low-end precision and techno swathes soar even higher.

“'Akin' and 'Mother' remind me of my earliest days writing dance music. These are two free-spirited, transportive pieces that feel like spreading my wings and letting the air take me. Brought skyward in the hand of fate, nurturing yet weathered by my very own ideals. We all wish for better days. And toil to heal.” gyrofield

gyrofield has released music on prominent labels including Critical, Overview and Noisia's Vision. Last year she released the album A Faint Glow of Bravery on Metalheadz, and the EP These Heavens for XL’s prestigious house bag series, which has previously showcased music by Blawan, Joy Orbison and Overmono.

gyrofield is a regular on NTS and an in-demand DJ, whilst radio/club support has come from Mary Anne Hobbs, Objekt, Special Request and DJ Flight. Press fans include Rolling Stone, Crack, The Quietus, The Fader, DJ Mag and Resident Advisor.

“Scintillating - a sonic portrait of heaven that takes drum & bass and imbues it with the divine” Resident Advisor

“An artist whose journey and sound are quite unlike those of anyone else” The FADER

“Her vivid productions are a breath of fresh air in the scene” DJ Mag

“Merging the atmospheric and experimental with the melodic and emotional” Crack

“Packed with shapeshifting sounds that examine the universe and beauty of nature. Fusing atmospheric and spaced-out sounds with danceable sonics” Dummy

"She will never sit comfortably in any one genre or play to expectations or rely on any standard production formulae” UKF

Back with a bang for 2025, FABRICLIVE re-enters the fabric Records fold, which also incorporates Houndstooth and fabric Originals.

Der Waffle House Index bemisst in den USA seit 2011 die Wucht von Katastrophen: Grün = vollständiges Menü - Restaurant hat vollen Strom, Speisen unbegrenzt, Schaden schlimmstenfalls begrenzt. Gelb = eingeschränktes Menü - kein Strom, Verfügbarkeit von Speisen ist begrenzt. Rot = Restaurant zu - ernsthafte Schäden oder Überflutungen. Übertragen auf den freigeistigen Jazzrock der Band Kuhn Fu: Die Musik auf dem neuen Album "Katastrofik Kink Machine" springt mit Begeisterung und Verve zwischen Grün und Rot hin und her, und lässt die laue Mitte aus. Dem Wort Jazzrock haftet etwas Altbackenes an: Musik, in der seelenlose Virtuosität den Spirit und die Unmittelbarkeit ersetzt hat. Der Gitarrist und Komponist Christian Achim Kühn allerdings spielt mit seiner Band Kuhn Fu einen mit E-Gitarre infizierten Jazz, dem die Spielfreude und der Spaß am tiefschürfenden Unsinn (und eben dann doch auch: die Virtuosität) aus jeder Pore dampfen. Spaß an den Extremen nicht zuletzt, Grün und Rot, kein Gelb.