Suche:walter

From Chile now Rotterdam comes that extraordinary One Lady Rock'n'Roll Orchestra giving you the most obscure Covers of the Cramps, Motörhead or the Drifters, Recorded in Peru and the NL Ladies & Gentlemen welcome to violence, der künstlerischen Gewalt der emotionalen Kraft, Sinnlichkeit und grenzenloser Stärke... Willkommen in der Welt von Bang Bang Band Girl, der allmächtigen ein Damen-Band, die dieses fabelhafte Album komponiert und gassenhauer neu um-komponiert, spielt, singt und produziert. In Chile geboren, dann auf der ganzen Welt gelebt und jetzt im niederländischen Rotterdam heimisch, ist das Album ein echtes Sonic-Meisterwerk, das wie eine Jukebox die grandiosen Hits unseres Bang Bang Band Girl spielt. Eine wild abgespacte Wand aus Fuzz gitarren, Theremin, Reverberation-Feedback und einer warmen, gefährlichen und doch süßen Stimme bringt Ihnen die Hits von The Troggs (Wild Thing) Wanda Jackson (Funnel Of (trash) Love) Hasil Adkins (No More Hot Dogs) Nancy Sinatra (bang bang) Motorhead (the Watcher) The Drifters (Up On the Roof) Dave Diddle Day (Blue Moon Baby) The Heartbreakers (All By My Self) Elvis Presley (Heartbreak Hotel) the Cramps (Call Of The Wighat) alles selbst aufgenommen und gespielt in Rotterdam oder Lima, Peru, ausgenommen Walter Daniels (daddy long legs, Oblivians, john schooley etc) spielt Saxophon in Blue Moon Baby und Veronik spielt das Theremin in Heartbreak Hotel, wir können nur aufstehen mit den Füssen stampfen und laut applaudieren und eine weitere Münze in die Jukebox werfen, nur um in den Tiefen der Nacht zu tanzen. (Frank Zwiler) Vinyl-LP mit DLC, Poster-Booklet-Inlay und Gratistrip ins All, CD in Karton-Digisleeve inklusive 12seitigem Insert, kein Kunststoff bis auf die CD

Many Worlds Interpretation is a collection of cosmic Americana for electronics, guitar, and percussion culled from Jon Iverson’s extensive home-studio archive. 1984, Los Osos, California. In a small cinderblock cottage, hand-painted with bright psychedelic flora, Jon Iverson created vibrant new worlds. He spent long days and nights immersed in sound, perfecting home recording on his 8-track reel-to-reel, combining his love for kosmische and Berlin School electronics with an infatuation with ethnographic sounds and expansive guitar music. In a duo with fellow sonic traveler Thomas Walters, Iverson released missives from the studio on a self-titled LP released on country legend Guthrie Thomas’ Eagle Records. That release featured
three electro-acoustic compositions (“Naningo”, “River Fen”, and “Fox Tales”) as well as a gathering of guitar duo tapestries. Many Worlds Interpretation re-imagines those interplanetary works alongside several unreleased compositions that also feature synthesizer, guitar, and percussion, creating a re-visioned album which leans into Iverson’s electronic studio wizardry.

All songs have been carefully transferred from analog tape to high resolution digital, retaining their vintage studio warmth, but mixed and mastered for modern ears and audio systems. The album is pressed at 45rpm, further enhancing the audiophile experience.

Artist Statement

I worked in a Harley Davidson parts warehouse in the summer of 1976 in the San Francisco Bay Area. The goal was to save enough money to buy transportation for college and a Teac 4 track 1/4" reel to reel tape machine. By September there was a rusting monkey-vomit green car in the driveway and shiny new Teac with a Sony condenser microphone in the bedroom. At this point I had been playing guitar for a dozen years and like most children of the sixties, dreamed of joining
a band.

Went to college instead to study business.

But all was not lost. 1978-1979 was spent as Weird Al Yankovic's roommate and we recorded and created enough songs to play shows around San Luis Obispo, California, where we were attending college. Many of those recordings have yet to be heard by the public, including the first performances of My Bologna and many other parodies of pop songs of the day. We sent tapes to Dr. Demento, we auditioned for The Gong Show and were barred from playing at the local college after one memorable performance. Wild times.

I, however, was more intent on working on "serious" music, with albums from Vangelis, Tangerine Dream and Jean Michel Jarre providing inspiration. DJing at the local college radio station and then public radio outlet provided exposure to an endless stream of obscure albums (Sky Records from Germany was a particular favourite). Most of them would never make it to the air, but my buddies and I would pass them around like exotic treasure.

Fast forward a couple more years and I had picked up a Mini-Moog and eventually a Prophet V synthesizer as well as starting a collection of instruments from around the world. The Teac and synths formed the basis for a growing DIY studio that had taken over a modest-size garage (pictured on the cover) that had been converted into a two room cottage in Los Osos, California.

The Teac was eventually joined by a rented Otari 1/2" 8-track and then finally a vintage MCI JH-100 2" 16-track. The compositions on this album were recorded on these three machines between 1982 and 1989. At some point an Apple II computer with Alpha Syntauri sound card and keyboard were added and then later the first personal computer sampling hardware/software kit, the Decillionix DX-1. The DX-1 forms the rhythm track for “Fox Tales” and the Alpha Syntauri was programmed to create the pulsing synth for “Naningo”. “River Fen” was tracked with both the Alpha Syntauri and the Prophet V.

I knew this music wasn't commercial, but didn't care. It was inspiring working with the first computer-based synths and semi-pro gear. Home studios were still rare in the early 80s until the Tascam Portastudio blew the DIY door wide-open. But I was more interested in sound quality so stuck with reels of tape instead of lower fidelity cassettes.

During the time these songs were recorded, I was also collaborating with my good friend and mandolinist, Tom Walters. “River Fen”, “Naningo” and “Fox Tales”, were solo recordings that also ended up on the first Iverson & Walters album, First Collection. The other four pieces on this new LP were never fully finished or released until now.

— Jon Iverson, September 2022

Art Of Primitive Sound is a sensational journey to the origin of Music. In his crucial research chapter on the Paleolithic, Walter Maioli between 1986 and 1991 investigates the soundscape of different geographical, climatic and botanical environments, in which the mystery of the ancient human-nature relationship resides. What emerges is an expanded and unprecedented Paleorganology, with a range of acoustic and natural instruments from all over the World. Rubbing of fossils, animal artefacts, plant elements of all sorts, everything becomes sound and each object opens up forms of imaginary communication, psychic effect and unexplored languages. Whistles, flutes, leaf and shell rattles, rhombuses, horns, bone pipes, slate slabs, bamboo arches, stones, vertebrae, seeds, stalagtites etc...how great can be the Natural Orchestra inherent in the spirit of forests, rivers, caves, seas, swamps or Amazon jungles? Thanks to an interdisciplinary partnership (Anthropology, Archaeology, Botany, Ethnomusicology) of collaborating friends, Maioli directs an Opera of universal character inspired by the archaic essence of sound and infrasonic dimension.

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

Recorded October 22, 1958, Olympia hall, Paris.
Original LP issue: Brunswick 87 903.

“They’d been living in Europe for months. They’d appeared in Cannes and at Knokke (…) yet the only thing missing was the consecration that a great concert in Paris would bring. They won that last battle with astounding brio, in front of an audience of connoisseurs. There were many there who thought modern jazz had never been so well- served in Paris.” (Jazz Magazine). Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. Byrd and his band took pains not to disappoint a Paris audience they knew to be particularly fickle, and they astutely varied the public’s pleasures throughout the evening. The complicity that united the rhythm section – Walter Davis Jr., Doug Watkins and Art Taylor – was much in evidence on Ray’s Idea; mistrusting the traps of the spectacular at all costs, Donald Byrd, producing brilliant inventions on the trumpet, took the lion’s share of the honours on a theme that was then much in fashion, Dear Old Stockholm, adapted from a Swedish traditional song; on Flute Blues, Bobby Jaspar proved he was still a specialist on that instrument, and Paul’s Pal showed that, on tenor, the playing of Sonny Rollins hadn’t gone unnoticed. It must be said that it didn’t have much effect on the discreet lyricism underlying the choruses he played during his “St. Germain” period. The Olympia spectators weren’t sparing in their applause for the five musicians. How else could they have reacted, faced with the fire the band showed during a tune like The Blues Walk? It wouldn’t take much for us to applaud, too, even if it is fifty-five years later…
Text – Alain Tercinet

Re-mastered from the original master tapes.
180 gr vinyl pressed by Optimal in Germany using the Metal Mothers from Pallas.

Facsimile reissue using the original photo by Jean-Pierre Leloir.
Double insert using an original color photo by JP Leloir.
Each record has been visually checked to prevent defects.

In its October ‘58 issue, the title carried by Jazz Hot magazine was: »Revelation at the Chat Qui Pêche. The spirit of jazz (which some thought was dying) is sparkling with life in the Donald Byrd Quintet.« And indeed, on its first appearance at the Cannes Festival in July (the Jazz Festival, not the other one), the Donald Byrd Quintet brought the house down. Its members were hardly the Who’s Who of jazz, however. People vaguely knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins had played bass with them, and that pianist Walter Davis Jr. had been with Charlie Parker before he was 19. As for Art Taylor, if he’d already enjoyed a career longer than that of his colleagues, it hadn’t yet brought him recognition beyond a small circle of cognoscenti. Only Bobby Jaspar – who’d shone at the Club St. Germain – was famous with the Parisian audience. At the beginning of 1956, he’d decided to try his luck in the United States; J.J. Johnson had hired him, and then Miles Davis (for a brief spell) before Donald Byrd brought him into his own group. After appearing in Cannes (in the sun) and Knokke-le-Zoute (a much smaller audience) for almost three months, the Donald Byrd Quintet settled down for the autumn in one of the capital’s top jazz spots, the Chat Qui Pêche on the Rue de la Huchette. »In that tiny room,« wrote Frank Ténot, »where the owner used to bump into the soloists by accident when she was serving her customers, the music they played was hot, and always surprising.« To crown a tour that had been extremely satisfying for everyone, a concert at the Olympia theatre was organised (there were gigs there called “Jazz Wednesdays”). Byrd and Co. took things very seriously, even though they preserved the relaxed approach that their (relatively) long association now permitted: "La Marseillaise", and "And The Angels Sing" are both present in the introduction to Parisian Thoroughfare played by the two horns. The latter then went on to imitate other horns, those of the cars on 52nd Street ... However, when it came to "Stardust", it was with all the seriousness in the world, almost in meditation in fact, that Donald Byrd improvised over the backing provided by just Walter Davis Jr. and Doug Watkins. Bobby Jaspar, of course, was marvellous. If he showed a marked obedience to Sonny Rollins, he still preserved, intact, the virtues of sobriety that prevented him falling into the trap of serving up torrents of notes in pieces taken at a rapid tempo ("At This Time", for example). During the exchanges on "Formidable", you’d be forgiven for saying that he gets the better of Donald Byrd. As for the complicity that reigned between the members of the rhythm section, it gave the formation a homogenous character that was very rare in a quintet. One can’t thank François Postif enough for taking the risk to release this concert at the time. Now, almost half a century later, one

Renude19’s debut single Blah Blah Blah is a Synthpop protest song; an original piece of music sampling Greta Thunberg’s famous Blah Blah Blah speech from the Youth4Climate Conference in Milan, in September 2021.

The feel of the track is reminiscent of Kraftwerk, Cabaret Voltaire and early Human League, a dark marble slab of electro, sat on a mid-tempo break beat and underpinned by classic synths that give the piece a beautiful retro feel. The track has the vibe of a house record, a slow builder that reaches a subtle climax and makes a hard hitting point about climate change.

The song itself is powerfully delivered by Brighton based vocalist Christabel, who has recorded with artists such as the Freemasons and Skylab 9. The piece has an unusual song structure with Greta Thunberg sampled in the chanted chorus, and her speech used to dramatic effect.

Recorded in Brighton UK by producer Ash Huntington; engineered by veteran techno artist Iain Rive (Cydonia, Semsis, Universal Sound); mastered by the wonderful Walter Coelho; and the sleeve design was created by the world class album sleeve designer Pete Hayward, who has designed for Paul McCartney, Kylie Minogue, Simon Cowell, Universal Music, Sony and Wham!

The single is being promoted with Facebook and Youtube campaigns, has already had over 65’000 plays on Youtube, and is gaining radio support from 6music DJs.

2+ is the 3rd album of DjeuhDjoah & Lieutenant Nicholson. A new sound stopover in their funky trip since their beginning with T’es qui ? album in 2015. This new building stone prolongs their critically acclaimed album Aimez ces airs released in 2019.

What’s new? 15 tracks , eclectic, soft, deep, and funky, where electro, soul even afro beat touches , or bossa nova live together harmoniously. DjeuhDjoah & Lieutenant Nicholson make praise of slowness (« Pas si vite »), address environmental issues (« Coeur béton »), social statements on (« Police », « Raie publiques », « clic »), childhood on (« Bola Mba ») , the post colonial relation between Africa and the other continents. Love is also really well presented ( « Thé à la menthe «, « Ping Pong ») and why not sailing to Essaouira in Morocco ?

During the summer of 2020 , when the french national radio asked them to perform a live cover , our french funky duo chose the famous « Né quelque part » by Maxime Leforestier released in 1987. Their Suave interpretation, haunting beat and spatial & languid atmosphere give a fantastic tribute to this beautiful melody and strong lyrics. They found a very intimate link with chorus in Zulu, harking back to the strong connection they made with South Africa during their last tour.
It became clear that they needed to put this track on their new album , as their now club remix classic « Bwe Dlo « performed with their friend David Walters.

After their tour in South Africa, they met « Cool Affair », the musician and electro house producer in Johannesburg who made a beautiful remix of « Aimé Césaire » which close perfectly this new opus. Recorded at « Le triangle des Bermudes » the home studio of Lieutenant Nicholson, produced and mixed by him with a electro analog sound dear to them. Horns, live drums, percussions and vocal choir were recorded at Bastille village at the label basement , even during the pandemic… On 2+, we can also hear the swirls of Antoine Berjeaut at the trumpet and bugle, magic keys from Florian Pellissier , two new flagships of the French jazz scene.

Once again, DjeuhDjoah & Lieutenant Nicholson push the boundaries of the traditional « French song « to make the world dance. They want to keep their international audience , from Australia, Japan, Usa, South Africa to name a few the dance floors of the world will ignite with this new album . The French touch will still shine !

The Vee-Gees (previously known as the Versatile Gents) were from Greensboro, N.C. The versalite Gents started the Group in 1967 originally as "the African Americans" performed at a talent show at Gillespie Park School, Geensboro, North Carolina. Soon After Virginia Massey a Senior Music Major at A&T joined the group and the name was changed to Gin And The Gents. After one year Massey left the Band and their name was changed to The Versatile Gents. They reformed and called themselves the Vee Gees in the early 70’s. The Members are Robert Evans (Vince Evans of the NFL's brother), Nathaniel Herring, Anthony Quick, CC Stewart, Cecil Young.In their band. Carlton Morales that wrote "Vallotte" and played with Julian Lennon on guitar. Kevan Tynes on drums. Walter Carlton on bass. They recored a beautiful sweet soul side call It’s hard to say so long on Jump in 1973. They came back to the studio in 1974 and cut the incredible Talkin on Jump off records. Vee Gees Talkin is the ultimate crossover tune, Spun by some of the best deejays in the world in the last 3 decades including Arthur Fenn, Keith Money, Andy Burns, Buey, Andy Dawes, Alexander Dimitriades Bentley, Jens Chreisti, Steven Clancy and many others. We’re sure you will be singing all day “Hey brother, brother, just had a talk with the man yesterday.. what did he saaaaaay? “

After Quiet Places (2020) Andreas Vollenweider has grouped his music
on his new album according to atmosphere and character: Slow Flow is a collection of pieces with a relaxed, flowing feel, while "Dancer" is full of movement and rhythm All 11 songs on "Slow Flow" and "Dancer" were created between 2010 and 2021 in collaboration with British producer Andy Wright (Eurythmics, Simply Red, Jeff Beck, Simple Minds, among many others). The two were supported in their
creative process by Vollenweider's talented circle of friends, who laid the foundation for the songs: Walter Keiser (drums), Andi Pupato (percussion), Daniel Kueffer (bass clarinet), Oliver Keller (guitars) and the young Swiss rapper and beat boxer Steff La Cheffe, a.k.a. Stefanie Peter. The music of "Dancer" also reflects Vollenweider's connection with Africa. The South African vocal harmony band Africapella and singer Ayanda Nhlangothi embody this connection. The London Session Orchestra, consisting of musicians from the Royal Symphonic
Orchestra under the direction of James McWilliam, filled out the sound.
Renowned British producer and arranger Peter Vettese is responsible for most of the orchestration. The recordings took place at Andreas' Lakeside Studios in Switzerland, as well as at SABC Studios in Johannesburg, South Africa, and finally at the legendary Abbey Road Studios in London. Andy Wright's long-time sound engineer Gavin Goldberg has set new sonic standards for Vollenweider's music
with his work, and is able to delight even the most discerning audiophiles with a punchy yet transparent, dynamic soundscape.

After the 2021 Re-Release of “Schwingungen” (MG.ART612) and together with “Seven Up” (MG.ART613) we proudly announce “JOIN INN” as Part3 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“JOIN INN” is the fourth album by Ash Ra Tempel. It was recorded at Studio Dierks and originally released on LP by Ohr Musik-Produktion, catalogue number OMM 556032. Each side of the LP comprises one long track.
In 1972 ASH RA TEMPEL teamed up again with Klaus Schulze during the recording of Walter Wegmüller's Tarot album, and after one of the recording sessions, ASH RA TEMPEL members: Enke, Göttsching and Rosi, together with Klaus decided to "play it again" in a late night session. This recording led to the birth of the “JOIN INN” album, as well as two legendary last concerts in February 1973 in Paris and Cologne.
Manuel Göttsching recalls Hartmut Enke on bass and Klaus Schulze on drums being a dream-team rhythm section for him to play his guitar, especially here to hear on “Freak'n' Roll”, that was ingenious and not to replace ever since.
It was the last recording ever where Klaus Schulze (who sadly passed away this Year) played the Drums and also Hartmut (the Hawk) Enke soon after quit the Bass and music forever.
Join Inn marks the end of the collaboration with Klaus Schulze.
However, together with Ash Ra Tempel, their eponymous first album, which will be released in 2023 as the final edition of our Series, it is considered a highlight of the Krautrock movement.
As for the music itself we again refer to Julian Cope´s review from his book “Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
""Freak’n’roll” fades in like it never started - just was always there from the beginning of time, a dry wah-guitar freerock riff-out unlike any of the other Ash Ra Tempel LPs, and not much like any other music. Yes, there are bluesy riff but none of them have a blues context. Manuel Gottsching’s guitar is so confident that he sometimes drops down to a simple major chord groove, whilst the Hawk pushes that round woody bass into strange overlapping rumbling melody. And ... it’s the return of Klaus Schulze on drums which propels “Freak’n’roll” to its height. No-one but Klaus has the ability to
transcend rock’n’roll in such an on-the-beat non-groove-y way and still send sparks of light into the cosmos as he does it.
-> continued on page 2“Freak’n’roll” is so egoless that it even works at a quiet volume as meditational music. Themes rise from the high tempo pulse beat, then are carried along the muscles of the song into the main area where the riff actually becomes real and expressionist for just long enough before slipping back into the musical fabric of the song.
As usual with Ash Ra Tempel, the other side is an enormous drift piece called “Jenseits (The Next World)”, a beautiful Klaus Schultze meditation of haunting synthesizer chords over which Rosi Muller tells the story of the Cosmic Couriers’ meeting with Timothy Leary. Gradually, the pulsing guitar becomes increasingly intense and turbulent, but Rosi never sounds less than freaked out. Essentially, “Jenseits” is a precursor to Klaus Schulze’s later spacey minor-key grooves.
Unfortunately, this was the last Ash Ra Tempel album in its particular ‘series.
(…) After “JOIN INN”, Manuel Gottsching took over the Ash Ra Tempel mantle alone.”

After the 2021 Re-Release of “Schwingungen” (MG.ART612) we proudly announce “Seven Up” as Part 2 of the authorised 50th Anniversary “A.R.T.” Re-Edition Series.
“Seven Up” is the third studio album by Ash Ra Tempel and their only album recorded in collaboration with American Ph.D. in psychology, Dr. Timothy Leary. The Coverart for “Seven Up” was designed by famous Swiss Artist Walter Wegmüller. Recorded in August 1972 at Sinus Studio in Berne, Switzerland, remixed September 1972 at Dierks Studios in Stommeln, Germany. First release in spring 1973 by OHR Musik - the first release on the new sub-label "Kosmische Kuriere", Kat-Nr. KK 58001.
We release “Seven Up” in a Re-Cut carefully overseen by Manuel Göttsching himself, on September 9th 2022, also being Manuel Göttsching´s 70th Birthday. Our Edition features the full original text for the “7 levels of consciousness” by Timothy Leary in English, i.e. “Instruction Manual for Pleasure Panel” plus a previously unreleased glimpse view of the original scripts incl. notes and mark ups as well as partly unreleased photos from the recording session. ->continued on page 2->continued on page 2 As for the music itself we again refer to Julian Cope´s review and remarks from his book "Krautrocksampler” (published by Head Heritage, 1st ed. 1995):
“When the Leary Mob met the Kaiser Gang, the sparks flew ever Up-wards... 7up is a stone classic in every way. Yes, it is unlikely to find Timothy Leary singing lead vocal in a cosmic group, but even weirder that he chose to sing a wild yelping freaked out blues !
Manuel Göttsching and Hartmut Enke had begun their careers in The Steeple Chase Blues Band back in the mid-'60ies, and they quickly felt their way through what Barritt and Leary were aiming for. They reconciled it all as a kind of West Coast chordless psychedelia, where blues riffs sparkle out of nowhere and the sheer weight of synthesizers renders everything with an unreal Pere Ubu/early Roxy Music quality.
The greatness of Ash Ra Tempel burned so brightly on 7Up that there is really nothing else like it. Hartmut Enke and Manuel Gottsching here returned to their riffy roots. It can hardly be called a retro act, though, as the context of music is everything. And with Dierks at the controls, even the New Kids on the Block would have sounded psychedelic.
7Up is like a late night radio show glimpsed through a shattered tuner where all but the most truly dangerous sounds have been allowed to stay, to drift and to dance around the performers.
The result is an extreme gem, a flash of hysterical white lightning, and a pre-punk Technicolour yawn in the grandest of traditions.
In typical Ash Ra Tempel style, the record is divided into two pieces, “Space” and "Time”. Within this, though,
Timothy Leary’s ideas are allowed to free-flow and the two sides are therefore divided into mini-songs all segued together. The highlight of Side 1 is “Power Drive”, a West Coast burn-up that transcends any W.
Coast music I ever did hear. Leary and Barritt present the greatest twin-vocal of all time, coming on like Jagger and Morrison but too caught up in their own maelstrom to be anything less than Heralds of the Punkfuture still five years away.
In chaos it was conceived and in chaos it was recorded. Yet Dieter Dierks, the great Aural Architect of the Cosmic Couriers, turned 7Up into a personal triumph and a Kosmische dream.”

Ash Ra Tempel – “Seven Up”
TIMOTHY LEARY - voice
BRIAN BARRITT - voice
MICKY DUWE - voice & flute
LIZ ELLIOTT - voice
BETTINA HOHLS - voice
PORTIA NKOMO - voice
HARTMUT "HAWK" ENKE - bass, guitar & electronics
MANUEL GÖTTSCHING - guitar & electronics
STEVE A. - organ & electronics
DIETMAR BURMEISTER - drums
TOMMY ENGEL - drums
DIETER DIERKS - synthesizer & Radio Downtown

This previously unreleased album by the Horace Tapscott Quintet was unearthed from master tapes in the Flying Dutchman archives. Recorded in 1969 and was intended to be a follow-up album to the classic 'The Giant Is Awakened' which was released that year.

The iconic pianist and composer Horace Tapscott was one of the most unique and important figures in LA’s jazz world. This lost recording was produced by one of the pivotal figures in jazz, Bob Thiele, a leading behind-the-scenes star who worked with many of the greats in jazz, such as Quincy Jones, Duke Ellington, John Coltrane, Della Reese, Shirley Scott, Gil Scott-Heron, the list goes on. His name can be seen gracing, arguably the best, Impulse! releases and those released on his own Flying Dutchman imprint set up in 1969.

Joining Horace for this three-track, deep, heavy, avant-garde session is the same stellar cast featured on 'The Giant Is Awakened'; Arthur Blythe on Alto Sax, Everett Brown Jr on Drums, with David Bryant and Walter Savage Jr. on Bass. Kicking things off we have 'World Peace’, which starts with an almost baroque-esque melody, leading to an eruption in sound, it then ends in the same manner it began. The beautiful 'Your Child' is the jewel in the crown, skirting modal, deep jazz and introducing elements of free jazz. 'For Fats' with its bow bass and piano intro takes you on a journey, dropping into, at times dark, stormy melodies and developing a driving energy as the composition progresses.

After recording this album, Horace was said to be wary of the music industry, so he retreated and distanced himself from this world, recording only for the independent labels UGMAA, Interplay Records, and Nimbus West Records. He set up The Pan-Afrikan People’s Arkestra and reintroduced the pan-African-roots sound back into the heart of jazz. He also developed and promoted the art form through performances and recordings.

Thankfully, this session from these wonderful musical pioneers was preserved and finally has its time to shine.

Featuring brand-new artwork by the illustrious artist/designer/musician Raimund Wong (Total Refreshment / Floating World Pictures)

Blue Mitchell's run of albums for Blue Note are among the great jazz recordings of the era. His '70s output has often been overlooked, however Blue Mitchell remains a fantastic set featuring the stellar lineup of Black Jazz recording artist Walter Bishop, Jr. on piano and keys, the legendary Doug Sides on drums, bass extraordinaire Larry Gales and the one and only Jimmy Forrest on tenor sax. This record deserves reappraisal as a fine selection of recordings. Licensed officially from Mainstream and remastered from the original tape transfers, this is the best the record has ever sounded. Featuring new words from Doug Sides especially for this release.

Truly one of the great trumpeters of the bop era, Howard McGhee suffered with drug addiction his whole career which meant his band-leading recorded output was minimal. Although the 1950s had largely been a waste for McGhee, Dusty Blue, recorded in 1960, marked a strong return-to-form and is credited amongst fans as some of his best recordings. Featuring an all-star band of Bennie Green, Pepper Adams, Tommy Flanagan, Roland Alexander as well as the ever-touring Ron Carter, this is a collective of musicians at their very best. Mastered from the original tape transfers by Kevin Gray, this is a sublime recording from start to finish.

Features:

180g Vinyl
Remastered from the Original Analog Tape Transfers by Kevin Gray
Printed & Pressed at Pallas
12" Insert Featuring a Photographic Print
Deluxe Reverse-Board Jacket
Officially Licensed from Bethlehem/BMG

Musicians:
Pepper Adams baritone saxophone
Ronald Carter bass
Walter Bolden drums
Tommy Flanagan piano
Roland Alexander tenor saxophone
Bennie Green trombone
Howard McGhee trumpet

Blue Mitchell’s run of albums for Blue Note in the
1960s are considered some of the great jazz
recordings of the era. However, his early 1970s
output following his departure from the label is
often overlooked.
 ‘Blue Mitchell’ is a fantastic jazz soul set featuring
a stellar line up of Black Jazz recording artist
Walter Bishop Jr., Doug Sides, Larry Gales and the
legendary Jimmy Forrest.
 Licensed officially from Mainstream and
remastered from the original tapes, this is the best
the record has ever sounded.
 Mastered from the original analogue tape transfers
by Kevin Gray.
 12” insert featuring rare photographs and words
written especially for this release by Doug Sides.
 Printed and pressed at Pallas on 180 gram vinyl
and housed in a deluxe reverse-board jacket.

On 21 April 1960, Claudio Arrau recorded Johannes
Brahms' 1st Piano Concerto in London with the
Philharmonia Orchestra and Carlo Maria Giulini - under
the auspices of Walter Legge, the legendary artistic
director of EMI, who hired the pianist. The Chilean pianist
is an immense Brahmsian, and here he delivers a
masterly version that is at once heroic and tragically
profound.
The LP benefits from a new remastering in 192htz/24 bit
done in 2022 from original tapes by Art & Son Studio,
Annecy.

Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other's output, May Our Chambers Be Full is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge. May Our Chambers Be Full straddles a similar, very fine line both musically and thematically. While Emma Ruth Rundle's standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early '90s Seattle sound and later '90s episodes of Alternative Nation, while still retaining much of the artists' core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement. "Excessive sorrow laughs. Excessive joy weeps." Melodic, melancholic, heavy, visceral. The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.

After a sold out 20 Anniversary 3XLP, Turntables on the Hudson returns with a diverse 3 X vinyl set that carries the Inside the Dance series (previously on WONDERWHEEL Recordings) to all new releases made between the international friends & family between 2020 - 2022. It was a call to action for inspiration, creation, motivation & moving your body in response to the depressing times of initial lockdown & continued music gathering closures during the pandemic. What we did instead was invested in music, art, collaborations, videos, remixes hoping to keep the spirits alive & inspiration high for each other. It’s now Spring of 2022 & we’re happy we did it all. Here’s the fruits of those seeds planted. Songs from artists across the sound spectrum from Morocco, Italy, USA, Spain, Argentina, Peru, UK, Montenegro, France, Belgium, Turkey, Dominican Republic, Niger & more. Almost all songs slightly edited to make sure we got enough output on each side of the record to mix the music in the clubs & on sound systems everywhere. Combining the singles artwork of Marcus (Tupi Lab) & the album LP vinyl art of Bodo (Marcial Arts), we have a very special limited edition 400 until pressing of this soon to be collectible. We hope you enjoy the collective effort that makes this look & sound so special. Ever since the party & label began in 1998, its mission was to shine the light on the underground international community making dance music & after 15 compilations, this is another proud example. Thanks for your continued support.

Jazz writer Walter Kolovsky has said that Friday Night In San Francisco "may be the most influential of all acoustic guitar albums." LPs of it have been a demonstration staple on turntables around the world for over 40 years. To celebrate the lasting impact of this singular album and the legendary concert that it represents, Impex Records is proud to announce the long-awaited follow up: Saturday Night In San Francisco.

Working with hours of original 16-track live session tapes, Al Di Meola and his team have brilliantly curated this musical tour-de-force, bringing to life for the first time on LP, SACD-Hybrid and CD the explosively virtuosic final performance of Di Meola, John McLaughlin, and Paco De Lucia at the Warfield Theater in San Francisco, December 6, 1980. In the exclusive essay by music historian Charles L. Granata, Di Meola says of that final night: "It's exciting because the audience was right there with us, savoring every single note of music. And, we were ripping. It was crazy good!"

Impex worked carefully with Di Meola, mixing engineer Roy Hendrickson (SPIN Studio), and mastering engineer Bernie Grundman to recreate the magic of Friday Night In San Francisco so these never-before-released solos and trios burst out of your system with striking clarity, dynamics and technical brilliance. "Crazy good," indeed.

Tim Pinch

Musicians

Al Di Meola guitar

John McLaughlin guitar

Paco De Lucia guitar

Selections

Jazz writer Walter Kolovsky has said that Friday Night In San Francisco "may be the most influential of all acoustic guitar albums." LPs of it have been a demonstration staple on turntables around the world for over 40 years. To celebrate the lasting impact of this singular album and the legendary concert that it represents, Impex Records is proud to announce the long-awaited follow up: Saturday Night In San Francisco.

Working with hours of original 16-track live session tapes, Al Di Meola and his team have brilliantly curated this musical tour-de-force, bringing to life for the first time on LP, SACD-Hybrid and CD the explosively virtuosic final performance of Di Meola, John McLaughlin, and Paco De Lucia at the Warfield Theater in San Francisco, December 6, 1980. In the exclusive essay by music historian Charles L. Granata, Di Meola says of that final night: "It's exciting because the audience was right there with us, savoring every single note of music. And, we were ripping. It was crazy good!"

Impex worked carefully with Di Meola, mixing engineer Roy Hendrickson (SPIN Studio), and mastering engineer Bernie Grundman to recreate the magic of Friday Night In San Francisco so these never-before-released solos and trios burst out of your system with striking clarity, dynamics and technical brilliance. "Crazy good," indeed.

Tim Pinch

Musicians

Al Di Meola guitar

John McLaughlin guitar

Paco De Lucia guitar

Selections

“I’m closing a chapter in my life,” Barbie Bertisch says to me from a park bench in Greenpoint, “I spent the last four years working towards gaining confidence around my ideas and my creative perspective. This feels like a culmination of that process” The “this,” in question is Bertisch’s debut record Prelude, a collection of eleven songs that chronicle 5 years of Bertisch’s life. The legendary musician Anna Domino describes the record best: “Prelude is a record of layers and depths. The melting phases and soaring distances.”


Raised in Buenos Aires and Miami, Bertisch has called New York home for most of her adult life. When she started piecing together Prelude, she was in her Brooklyn kitchen. It was early quarantine. Stuck at home instead of DJing at clubs, she found the space to parse through the archives. What she previously considered unworthy of attention in the era of distractions, finally made sense as a whole once all the noise was turned down. Compiling a list of songs in various states of completion, Bertisch dreamed up an album, a chronicle in growth and healing frustrations of the past, an honest account of someone trying to find her own voice. That in and of itself was a journey. It took years for Bertisch to accept that she was an artist. “I felt like I was surrounded by men who ruled every space. I constantly felt like I had to ask permission to enter, always around bands but never the girl in the band” she says.


Prelude is an introspective record. It explores all of the valences of being and feeling. Some songs are chaotic and choppy. Others are soft and searching. There is rage and innocence, and moments of forced stillness, like capturing the aftermath of panic attacks, as in “After The Storm”. Bertisch also focuses on rhythm, bass guitar being her main instrument, and no stranger to the power of the beat. The record also draws on influences as varied as Kaitlyn Aurelia Smith, Cocteau Twins, Berlin School, and pioneering producer François Kevorkian. Both sonically and conceptually, Prelude is a portrait of who Bertisch is as a person.“Is This What You Wanted?” is fiery, a pointed provocation to domineering figures from her past. It’s full of strobing, strident synths, and heady lines of bass. It gives off the same vibe as a fire alarm, as a big room dance track that subverts your expectations of what it means to dance in a sea of bodies. “28,” the record’s opening track is more peaceful. It’s all languid keyboard arpeggios with the occasional flourish of a cascading synth effect.


Since most of the songs already existed in some form or another, Bertisch’s job on Prelude was to refine and reimagine music that had previously been private. She spent time rearranging, rewriting, adding elements newly available to her, such as the saxophone, and pushing the limits of the rough mixes to mold the universe she envisioned. Along the way, Bertisch grew more excited about her abilities as a musician. The resulting record is one that is inherently confident.


Prelude is also a homespun release. It’s coming out on Bertisch’s own label, Love Injection Records, which she runs with her partner Paul Raffaele. The two also DJ and make zines under the name, which started in 2015. Love Injection is a love letter to New York. Prelude is a word of encouragement to those struggling with self-actualization. The record was mixed by Justin Van Der Volgen and mastered by Walter Coelho. Love Injection Records holds the remix tradition in high regard, and they’ve enlisted reworks by some of Barbie’s favorite producers. It’s all a labor of love for Bertisch. Prelude is her: Barbie the musician.
©℗ Love Injection Records 2022

He may not have known it before, but Toronto-born, New York-based
guitarist Matthew Stevens, prized for his forceful, distinctive electric
sound was an ideal candidate to make an album fully devoted to solo
acoustic guitar: the intimate, unadorned, straightforwardly titled
'Pittsburgh'
September 2020, Stevens was hunkering down in his wife's family's hometown of
Pittsburgh, while navigating his way through the crisis. He had with him a vintage
Martin 00-17, a small- body mahogany guitar. Practicing daily on the Martin, he
began generating a series of short song "starts" - ideas and sketches he thought
might lead somewhere. Then one rainy Pittsburgh day, Stevens' bike slid out from
under him and he broke his right elbow. Rather than getting derailed musically, he
became immersed in a creative process that led straight to 'Pittsburgh': a
document of those short song "starts" from the notebook, now hatched as
completed compositions. "Playing this music became a big part of my rehab,"
Stevens recalls.
As the album took shape, it became clear to Stevens that he was headed in the
direction of a wholly unaccompanied recital, with no overdubs or sound layering
of any kind. Just him and this special Martin, two Neumann U89 mics and enough
peace of mind across two separate sessions to make 'Pittsburgh' the triumph that
it is.
In addition to his extensive high-profile work with Esperanza Spalding (serving as
co- producer on 'Exposure' and '12 Little Spells'), Stevens is also a member,
songwriter and co-producer of Terri Lyne Carrington's GRAMMY-nominated Social
Science band. He has made vital contributions to groups led by Dave Douglas,
Linda May Han Oh, Christian Scott aTunde Adjuah, Ben Williams and more. With
tenor saxophonist Walter Smith III he co-leads the In Common collective. Stevens
has also amassed many credits beyond the jazz world, collaborating on
forthcoming releases by Anna B Savage, Jamila Woods, Tyler Armes
(Murdagang) and Berlin-based electronic artist Robag Wruhme.

James 'Perturbator' Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its '80s video game aesthetic with metal and post-punk.

Meanwhile, the Swedish sextet have affirmed themselves as post-metal's biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they're as blistering as they are forward-thinking.
Eclecticism and violence are married in Final Light: Perturbator's team-up with Cult of Luna singer/guitarist Johannes Persson. The pair's self-titled debut album is the perfect conglomerate between seemingly incompatible sounds.

On its opening track, the insidious "Nothing Will Bear Your Name", synths bubble to construct an arresting opening half. Then, release. Johannes' roar strikes and guitar chords boom as computerised beats anchor the chaos.

"It Came with the Water" echoes Cult of Luna's 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track's distorted EDM beats, on the other hand, are all James 'Perturbator' Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths - but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.

Lyrically, Final Light seethes with anger. "There was so much that I was so fucking pissed about," Johannes explains. "Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics."

The tandem's story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands' lauded Roadburn festival, approached James 'Perturbator' Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.

"It was immediate," states Perturbator. "It's a project that I really want to share; it's not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime."
They wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they'd crafted.
Johannes recorded additional vocals at Cult of Luna's resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.

Borders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.

James 'Perturbator' Kent and Cult of Luna are the masters of their respective worlds. Over the last decade, the French maestro has become the most expectation-breaking name in synthwave, transcending its '80s video game aesthetic with metal and post-punk.

Meanwhile, the Swedish sextet have affirmed themselves as post-metal's biggest stars. Seismic riffs, earth-quaking growls and brave collaborations with everyone from Julie Christmas to Colin Stetson have ensured they're as blistering as they are forward-thinking.
Eclecticism and violence are married in Final Light: Perturbator's team-up with Cult of Luna singer/guitarist Johannes Persson. The pair's self-titled debut album is the perfect conglomerate between seemingly incompatible sounds.

On its opening track, the insidious "Nothing Will Bear Your Name", synths bubble to construct an arresting opening half. Then, release. Johannes' roar strikes and guitar chords boom as computerised beats anchor the chaos.

"It Came with the Water" echoes Cult of Luna's 2013 titan Vertikal, invoking images of an urban dystopia as its deep guitar melody grinds beneath sci-fi electronica. The title track's distorted EDM beats, on the other hand, are all James 'Perturbator' Kent, capable of invigorating the seediest of underground nightclubs. Both parties are clearly playing to their strengths - but for them to do so in such perfect harmony is, in itself, a genre-demolishing feat.

Lyrically, Final Light seethes with anger. "There was so much that I was so fucking pissed about," Johannes explains. "Some of my friends were dealing with a poisonous person: a narcissistic, crazy person. I was walking around full of anger and hate, so I think that came out in those lyrics."

The tandem's story began in 2019. Walter Hoeijmakers, the artistic director of the Netherlands' lauded Roadburn festival, approached James 'Perturbator' Kent with the opportunity of doing a commissioned piece with any musician of his choosing. As soon as the pair began work on their boundary-decimating songs, they knew that they had to be immortalised as an album.

"It was immediate," states Perturbator. "It's a project that I really want to share; it's not only the fruit of a collaboration between me and one of my favourite musicians, but also very unique and once-in-a-lifetime."
They wrote and recorded together in Paris before the start of the pandemic. Covid, which postponed the Roadburn festival at which the band would have debuted, gave them time to perfect what they'd crafted.
Johannes recorded additional vocals at Cult of Luna's resident studio in Umeå, Sweden, fully capturing the rage of his apocalyptically harsh voice.

Borders were built to be shattered. This is the sound of their destruction. Single-handedly, Final Light have birthed a new, bleak breed of experimental metal.

Der musikalische Werdegang der japanischen Gesangskünstlerin Hatis Noit begann einst unter ganz besonderen Vorzeichen. Nun mündet diese Reise in die Veröffentlichung ihres ersten Longplayers. Das acht Stücke umfassende Debüt ist die perfekte Eintrittskarte in ihre unvergleichliche Klangwelt. Genau genommen begann die Reise mit einem Initiationserlebnis , einem musikalischen Erweckungsmoment im zarten Alter von 16 Jahren, als die Japanerin gerade pilgernd zu Buddhas Geburtsstätte in Neapel unterwegs war. Sie hatte die Nacht in einem Frauentempel verbracht und vernahm am nächsten Morgen den Sologesang einer buddhistischen Nonne: Das Jenseitige in diesen Gesängen berührte sie so sehr, dass ihr schlagartig die unvergleichbare Kraft der menschlichen Stimme bewusst wurde. Was sie da hörte, war ein wirklich ursprüngliches, auf uralten Instinkten basierendes Instrument, das uns unweigerlich mit dem Kern des Menschseins, unserer Umwelt und unserem Universum verbindet. Ab diesem Moment wusste sie, dass das Singen ihre Berufung ist. Der Albumtitel Aura ist vom Werk des Philosophen Walter Benjamin inspiriert, der darin die Essenz der Kunst erkannte, da für ihn die Aura eines Werks unter anderem durch Echtheit und Einmaligkeit geprägt war. Hatis teilt diese Auffassung, denn sie musste feststellen, dass sie "während der Pandemie wirklich sehr zu kämpfen" hatte. "Als Sängerin bin ich einfach nicht besonders gut darin, am Computer zu arbeiten. Ich ziehe Live-Auftritte in wirklichen Räumen vor. Mit anderen Menschen zusammen zu sein, denselben Raum mit ihnen zu teilen und die einzigartige Energie und Atmosphäre des jeweiligen Moments zu spüren - das ist etwas, das mich immer wieder inspiriert. Für mich bedeutet Kunst tatsächlich genau das: dieser geteilte Augenblick."

Der musikalische Werdegang der japanischen Gesangskünstlerin Hatis Noit begann einst unter ganz besonderen Vorzeichen. Nun mündet diese Reise in die Veröffentlichung ihres ersten Longplayers. Das acht Stücke umfassende Debüt ist die perfekte Eintrittskarte in ihre unvergleichliche Klangwelt. Genau genommen begann die Reise mit einem Initiationserlebnis , einem musikalischen Erweckungsmoment im zarten Alter von 16 Jahren, als die Japanerin gerade pilgernd zu Buddhas Geburtsstätte in Neapel unterwegs war. Sie hatte die Nacht in einem Frauentempel verbracht und vernahm am nächsten Morgen den Sologesang einer buddhistischen Nonne: Das Jenseitige in diesen Gesängen berührte sie so sehr, dass ihr schlagartig die unvergleichbare Kraft der menschlichen Stimme bewusst wurde. Was sie da hörte, war ein wirklich ursprüngliches, auf uralten Instinkten basierendes Instrument, das uns unweigerlich mit dem Kern des Menschseins, unserer Umwelt und unserem Universum verbindet. Ab diesem Moment wusste sie, dass das Singen ihre Berufung ist. Der Albumtitel Aura ist vom Werk des Philosophen Walter Benjamin inspiriert, der darin die Essenz der Kunst erkannte, da für ihn die Aura eines Werks unter anderem durch Echtheit und Einmaligkeit geprägt war. Hatis teilt diese Auffassung, denn sie musste feststellen, dass sie "während der Pandemie wirklich sehr zu kämpfen" hatte. "Als Sängerin bin ich einfach nicht besonders gut darin, am Computer zu arbeiten. Ich ziehe Live-Auftritte in wirklichen Räumen vor. Mit anderen Menschen zusammen zu sein, denselben Raum mit ihnen zu teilen und die einzigartige Energie und Atmosphäre des jeweiligen Moments zu spüren - das ist etwas, das mich immer wieder inspiriert. Für mich bedeutet Kunst tatsächlich genau das: dieser geteilte Augenblick."

The only album by Austrian trio Cultural Noise is a an electronic marvel. Band members were Gerhard Lisy, Walter Heinisch and Karl Kronfeld, and instruments used included an ARP Sequencer, an ARP 2600, a VCS 3, an EMS Digital Sequencer, a Mellotron M400, a Micro Moog, a Roland Studiosystem 700, a Roland Analogue Sequenzer and an electric guitar. With these weapons and a strong influence from the Berlin school Cultural Noise created a rich electronic tapestry which expanded through the two pieces of this record, one per side, being compared by reviewers to works by Zanov or Anna Själv Tredge. Mentions of Tangerine Dream are also present on reviews, although Cultural Noise have a pretty unique personality on their own and besides sharing the use of Mellotron, sequencers and analog synths we have a totally personal concept here which sets them aside from all TD impersonators of the era.



The album was originally released in 1980 on CBS and later repressed in 1981 which came in a B&W version of the sleeve that some sources list as a self release private pressing done by the band themselves - this has been denied by members of Cultural Noise.



500 copies only reissue, housed in its original full colour version artwork.

Die internationale Pop-Rock-Band As It Is - Patty Walters, Ronald Ish und Alistair Testo - hat ihr brandneues Album „I WENT TO HELL AND BACK” angekündigt.

„I WENT TO HELL AND BACK“ ist in einem Zeitraum von zwei Jahren entstanden, in denen die Band ihre Lebensentscheidungen hinterfragten und mit einer Welt rangen, die sich in einem ständigen Drang chaotischer Ungewissheit befand- aber das vierte Album der Band könnte nicht aufgeregter klingen. Die vierzehn Tracks sind kraftvoll und jagen furchtlos dem Unerwarteten hinterher. Es ist der Sound einer Band, die immer noch sehr großen Spaß hat.
Walters hofft, dass sich „I WENT TO HELL AND BACK“ anfühlt wie „ein Wiedersehen mit einem alten Freund“.

Wir können über all die guten und schrecklichen Dinge sprechen, die passiert sind, und wie wir daran gewachsen sind.
Das Album ist ab dem 4. Februar als 1CD erhältlich und erscheint am 10. Juni als 1LP

The final installment of the electronic fusion projects that Walter Bachauer concocted for Klaus Schulze’s Innovative Communication label, Visions of Audio delves further into minimalist musique concrete, extending themes developed on Memorymetropolis in drawing on non-European vocal chants, here applied in dissociative layers. The diverse, complex arrangements include the symphonic synths of ‘Promised Land’ and the war-mode Sensurround of ‘1922 In Baku,’ as well as the obtuse loops of ‘The Final Ritual,’ the work inspiring future hitmaker Pilooski. Mondshine fans, Berlin School freaks and abstract electronica lovers should bag it.

To celebrate the 45th anniversary of iconic Dutch jazz label Timeless Records, Music On Vinyl is releasing a series that features albums that are part of the Timeless Records legacy and will be released mainly throughout 2021/2022.

American jazz drummer Billy Higgins recorded his second album The Soldier in 1979. Featured on this album are Monty Waters on alto saxophone, Cedar Walton on the piano, Walter Brooker on bass and vocalist Roberta Davis. The track “Peace” features guest performer Horace Silver and on “Sonny Moon For Two”, Higgins is accompanied by Sonny Rollins.

Higgins mainly played free jazz and hard bop. He was one of the house drummers for Blue Note Records and played dozens of Blue Note albums of the 1960s. His drums were an important addition to many recordings such as Dexter Gordon’s Go! and Herbie Hancock’s Takin’ Off.

The Soldier is available as a limited edition of 500 individually numbered copies on translucent green coloured vinyl and includes an insert with upcoming titles from the Timeless Records 45th Anniversary Jazz Series.

Mit Oop Boomp veröffentlicht Stag-O-Lee mit Vol. 13 eine neue Folge der fantastischen Exotic Blues & Rhythm Serie, die unter den Fans bereits Kultstatus genießt. Wie auch bei den Vorgängern bietet die Vinyl-only 10" je 12 Songs zwischen tanzbaren Popcorn-Grooves, ein paar Tittyshakern und 50s Rhythm & Blues Tunes - alle mit einem exotischen Flair!

The English synthpop, new wave group formed in 1977 in London and was led by Tony Mansfield, who later worked as a producer for furthermore Naked Eyes, a-ha and the B-52’s. Their success already kicked off with the first single, “Straight Lines” entered the UK Singles Chart within no-time.

Their second studio album Anywhere was originally released in
1981 and contained 12 tracks. The expanded edition contains 4
bonus tracks; “The Office”, “From The Village”, “Guitars” and the
12” version of “While You Wait”.

This expanded edition of Anywhere includes the corrected D-side and is available as a limited edition of 1500 individually numbered copies on blue marbled vinyl.

OFFICIAL SOUNDTRACK FOR PERSONAL EFFECTS, THE FILM. SYNOPSYS:

Walter is a rising star in the NCAA wrestling world until his life is ripped apart by the brutal murder of his sister. Returning home to console his mother Gloria he seeks vengeance on the man who is accused of the crime. A chance meeting with a beautiful mature woman gives him solace to the situation. Will this unlikely pairing bloom into a romance and heal a wound the world cannot see or will the loss of his sister push him over the edge?

Nick Walters returns to his D.O.T. Records imprint with a suite of forward thinking, cosmic, electronic-jazz experiments, inspired by NASA & the concept of gravitational singularity. Each track on “Singularity”, his first home studio produced album, is built around an audio sample recorded by NASA in space, then expertly transported back to earth by Walters via some magical trumpet and synth work on his newly purchased Juno-106. The album features key contributions from Ruby Rushton drummer Tim Carnegie, 22a Music’s Tenderlonious on flute and some sublime guitar work from Thibaut Remy.

The Hill District were a group of working musicians assembled by bassist Walter “Sonny” Hughes who following one afternoon rehearsal session together the very same evening recorded their only ever 45 outing the somewhat elusive and now sort after amongst group harmony collectors “Your Scared Of Falling In Love”. The other group members were Sonny’s brother Richard Hughes (Lead Guitar), Anthony Law (Keyboards), William M. Standard Jr (Piano), Mark Smith (Drums) and Daniel S. Lee Jr (Lead Vocals). The groups name was taken from a grouping of African American neighbourhoods in the city of Pittsburgh P.A. locally referred to as ‘The Hill’. The recording session was held under the direction of record producer and song writer James Richard Calloway (A.K.A) Rich Calloway. Calloway would go on to release “Your Scared Of Falling In Love” on his own ‘C-Way Records’ label featuring a instrumental version on the flipside. Rich Calloway hailed from Uniontown P.A. with Uniontown being known affectionately by the local black community as ‘Oniontown’ the name which Calloway adopted for his publishing company. Unfortunately for the Hill District the final mastering of their song left something be desired (a scenario we’ve now rectified with our release) and as a result local Pittsburgh Disc jockeys refused to plug their song leaving their one and only 45 outing to fade into obscurity with the group members going their own separate ways to continue their careers as session musicians with other ensembles. Producer and lyricist Rich Calloway also continued with his own C-way Productions company later composing both sides of The Cleveland Ohio group ‘The Entertains’1975 outing for Steel Town records “Love Will Turn It Around/Why Couldn’t I Believe Them”. Calloway was no stranger to Cleveland having been earlier employed by Way Out Records owner Lester Johnson to compose the lyrics to Jesse Fisher’s “Your Not Loving A Beginner”, the songs arrangement’s being originally laid down by members of the Way Out group The Soul Notes, William Bell (A.K.A Bill Spoon), John Washington and Ricki Dannison under the working title of “I’ve Been Waiting For Your Love”. Prior to the Hill’s District release Rich Calloway had penned and released a 45 single on another local Pittsburgh artist Richie Merrett. The 1973 outing You’ll Always Have Yesterday Standing By” b/w “I Gave It Up” (C-Way 103). Merritt a professional singer who performed with several groups including The Electron’s on their 1968 outing “Turn On Your Lovelight (Shock 209) recorded his first solo outing on the Nashville Deltron label “Can I Get A Rebate/It’s Never Too Late” which he later released again on his own R.A.M label followed by two early 90’s outings, the modern soul favourite’s “Where Did I Go Wrong” and “You Got Problems”. Richie still performs today doing one off shows in between his solo performances aboard 7 Day Cruise ships travelling between Los Angeles and Sant Cabos, Mexico. “You’ll Always Have Yesterday Standing By” was later produced by Walt Maddox under the shortened title of “Yesterday’s Standing By” on his own group ‘These Gents’.

Therefore Soul Junction brings you two 70’s soul/Lowrider in demanders back to back for your delectation.

Sublime funky jazz album by Harold Vick under the Sir Edward name - first time reissue from the 1973 edition on Funky Drummer Bernard Purdies short lived Encounter Label !

One of the great unsung saxophone hero's: Harold Vick worked as a sideman with Hammond Legends Jack McDuff, Jimmy McGriff, Big John Patton, and Larry Young. He played on and off with Walter Bishop, Jr. and also worked with Philly Joe Jones, Howard McGhee, Donald Byrd and Ray Charles and appeared with Dizzy Gillespie, King Curtis, and from 1970 to 1974 with Aretha Franklin. He played in Jack DeJohnette's jazz-rock band Compost from 1971 to 1973,recording with them in 1972 which is about the same time as this recording and that is probably the reason it is under the pseudonym of "Sir Edward". Add to that an absolutely top notch band, including bassist Wilbur "Bad" Bascomb, Jumma Santos on percussion and the mellow vibes of Omar Clay and this is a must have soulful jazz outing.

The music is a funky mix of some of the big Soul tunes of the day, with versions of Donny Hathaway and The Stylistics and a nod to the CTI stylings of the day with a get down version of "People Make The World Go Round".

New Gospel Revisited is the new album from the fearless and formidable American composer and trumpeter Marquis Hill. A live recording that revisits and reinterprets his debut 2012 album New Gospel, this time round employing a band of super-heavyweight musicians including Walter Smith III, Joel Ross, James Francies, Kendrick Scott and Harish Raghavan. Marquis Hill’s rise over the last few years has been striking and there’s no letting up. Since winning the prestigious Thelonious Monk Institute Jazz Composition award he has demonstrated full command of his art and built a reputation for synthesizing what he describes as the essential elements of the Africa-American creative heritage including contemporary and classic jazz, hip-hop, R&B, house and neo-soul. Now, his sights are set even higher. New Gospel Revisited, is an extraordinary live recording that reimagines his debut as a leader with a new band, a new focus and a sharpened ear as a bandleader, composer and performer. The set is breathtakingly good with a band that sounds as inventive and creative as it reads on paper. “… New Gospel was my debut album and my first completed production. To revisit this music in a fresh way, with a new band has been uniquely invigorating —and hugely rewarding.” Marquis Hill

Limited edition 2000 copies.
•Cut by Kevin Gray at Cohearent Mastering.
•Plated at Quality Record Pressing (QRP).
•180 gr vinyl pressed by Optimal in Germany.
•Deluxe high-gloss flipback album jacket.
•Double insert using an original photo by JP Leloir from the concert.
•Each record has been visually checked to prevent defects.
Donald Byrd’s residency in Paris in 1958 to study with composer Nadia Boulanger gave rise to one of the greatest bands of his career with Bobby Jaspar on tenor sax and flute, Walter Davis, Jr. on piano, Doug Watkins on bass and Art Taylor on drums.

Sam Records is proud to present this previously unreleased concert by the Donald Byrd/Bobby Jaspar Quintet recorded during the evening dedicated to ‘Modern Jazz’ during the 1st and only Cannes Jazz Festival on July 11th 1958. The initiative for this festival was taken by Yvonne Blanc, a lady of good society who played the piano and lived between Paris and Cannes.

This festival was organised in partnership with the festival of Knokke-le-Zoute, in Belgium.

Recorded in Cannes, France, July 11, 1958.

Donald Byrd (Trumpet)

Bobby Jaspar (Flute/Tenor saxophone)

Walter Davis Jr. (Piano)

Doug Watkins (Bass)

Art Taylor (Drums)

Reissue of The Rolf Kühn Orchestra's gently-grooving 1979 album
'Symphonic Swampfire', featuring Joachim Kühn, Philip Catherine, NielsHenning Ørsted Pedersen, Charlie Mariano, Herb Geller and others
For a German jazz musician to find international recognition as a major player
has been and remains a rarity. Clarinetist Rolf Kühn belongs to this elite class. No
one sounds like him on the clarinet; warm, round and masterful, his tone remains
unmistakable no matter what style he may be playing at any given moment. His
play resonates with a maturity and wisdom gathered from a long and rich life of
musical experiences.
Inspired by the captivating and breathtaking landscape of Ibiza, which Rolf Kühn
discovered for the first time in 1970, the album 'Symphonic Swampfire' was
created in 1978. Rolf Kühn had spent many summers in Ibiza, his brother
Joachim is now living there since several years. After Kühn had written orchestral
compositions for commissioned works for film, TV and radio productions, he was
able to fulfill his long- standing wish to record one of his jazz albums with an
orchestra. 'Symphonic Swampfire' is the first collaboration with sound engineer
Walter Quintus, with whom Rolf and Joachim Kühn should collaborate many more
times.