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It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of it's most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones' first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records.

313 Series Detroit has long held a shared respect with New York; a similar outlook on authenticity. Tough to describe, but you know it when you see it. Third Man Records and Blue Note Records share this respect and also a commitment to integrity regarding the musical legacies they support that extends to the collaboration happening on the 313 Series partnership. The five unique albums from the Blue Note catalog chosen for limited edition re-release by Blue Note Records President and Detroiter Don Was represent the best of the Motor City; innovative sounds, incredible playing and that inexplicable something you know is real. For an undertaking like this you have to walk the extra mile. The original tapes were sent to Third Man's Detroit mastering and pressing facility where their extensive all analog re-mastering process ensured that the albums delivered live up to the tradition they are part of. The Third Man Records team's commitment to audio purity means no corners can be cut; sound and mastering engineer Warren Defever's goal being to provide the closest possible approximation of the magic found on the original master's tape brought to your living room. From the lacquers cut in the studio on the Neumann Vms-70 Cutting Lathe to the 180 gram vinyl pressed across the hall, every step of the process is tested in the facilities against exacting standards. That's the Detroit way and the reason why the musical legacy from the 313 area code remains beloved around the world. Thad Jones - Trumpet Oscar Pettiford - Bass Kenny Burrell - Guitar Shadow Wilson - Drums Tommy Flanagan - Piano Billy Mitchell - Tenor Saxophone Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

It would be difficult to overstate the importance of the Jones brothers Thad, Hank and Elvin on the world of jazz. Between the three of them, their performances can be heard on literally thousands of recordings, including some of the most legendary sessions ever recorded with some of the greatest artists. Post-War Detroit was really taking notes on the new sounds of jazz coming into favor and the group of former Detroiters included on this album include some of it's most virtuosic students. Thad Jones, (although he was technically from nearby Pontiac, MI) on trumpet, Kenny Burrell on guitar, Tommy Flanagan on piano and Billy Mitchell on saxophone. Jones' first for Blue Note from 1956 stands as a fantastic sounding announcement that the Detroiters had landed in New York and were about to take off. Including legendary players Shadow Wilson on Drums and Oscar Pettiford on Bass; Detroit - New York Junction, a long sought after rarity and a true testament to the importance of Detroit on the evolution of jazz music through Blue Note Records.

313 Series Detroit has long held a shared respect with New York; a similar outlook on authenticity. Tough to describe, but you know it when you see it. Third Man Records and Blue Note Records share this respect and also a commitment to integrity regarding the musical legacies they support that extends to the collaboration happening on the 313 Series partnership. The five unique albums from the Blue Note catalog chosen for limited edition re-release by Blue Note Records President and Detroiter Don Was represent the best of the Motor City; innovative sounds, incredible playing and that inexplicable something you know is real. For an undertaking like this you have to walk the extra mile. The original tapes were sent to Third Man's Detroit mastering and pressing facility where their extensive all analog re-mastering process ensured that the albums delivered live up to the tradition they are part of. The Third Man Records team's commitment to audio purity means no corners can be cut; sound and mastering engineer Warren Defever's goal being to provide the closest possible approximation of the magic found on the original master's tape brought to your living room. From the lacquers cut in the studio on the Neumann Vms-70 Cutting Lathe to the 180 gram vinyl pressed across the hall, every step of the process is tested in the facilities against exacting standards. That's the Detroit way and the reason why the musical legacy from the 313 area code remains beloved around the world. Thad Jones - Trumpet Oscar Pettiford - Bass Kenny Burrell - Guitar Shadow Wilson - Drums Tommy Flanagan - Piano Billy Mitchell - Tenor Saxophone Recorded at Audio Video Studios - New York, NY 1956 by Alfred Lion and Rudy Van Gelder

Das 1966er Album „Stick-Up!“ von Vibraphonist Bobby Hutcherson präsentiert ihn in Begleitung einer neuen Bandbesetzung mit Joe Henderson, McCoy Tyner, Herbie Lewis und Billy Higgins. Das Quintett deckt mit fünf Hutcherson-Originalen plus Ornette Colemans „Una Muy Bonita“ ein riesiges Post-Bop-Territorium ab.



Blue Note Tone Poet Edition: Stereo, produziert von Joe Harley, komplett analog von Kevin Gray von den Originalbändern gemastert, RTI-Pressung (180g), stabiles Tip-on-Gatefold, wattierte Innenhülle.



Bobby Hutcherson (vibraphone); Joe Henderson (tenor saxophone); McCoy Tyner (piano); Herbie Lewis (bass); Billy Higgins (drums)

Curtis Fuller (December 15, 1932 – May 8, 2021) was an American jazz trombonist best known for being a member of several legendary jazz outfits, his impressive catalog of solo albums and a contributor to many classic jazz recordings. Fuller was born in Detroit and lost both his parents at a very young age. He spent several years in an orphanage run by Jesuits where he developed a passion for jazz after one of the nuns there took him to see his first live performance. Curtis attended public school in his hometown (together with Donald Byrd and Milt Jackson) where he took up the trombone at the age of sixteen. Curtis Fuller was a well-respected member of iconic outfits such as Art Blakey & The Jazz Messengers, Art Farmer’s Tentet, The Benny Golson Quintet and Eastern Rebellion. The list of his collaborations is impressive to say the least, Mr. Fuller recorded and performed with greats such as Quincy Jones, John Coltrane, Count Basie, Dizzy Gillespie, Freddie Hubbard, Roland Kirk Rashaan, Miles Davis…and many others. Fuller was granted an honorary doctorate of music from Berklee College of Music in 1999 and eight years later he was honored as a NEA Jazz Master. Curtis Fuller’s performances were included on classic recordings released by prominent labels from the likes of Blue Note, Savoy, Prestige, Strata-East, Muse, Verve and Impulse! On the album we are presenting you today: Four On The Outside (Recorded in 1978 at the famous New York CI Recording Studio and released on Timeless Records the same year) the listener is treated to six majestic tracks of the highest caliber and features a remarkable outing of advanced musicianship by jazz-giants in their prime, delivering an inspirational gem of an album. The all-star line-up includes Pepper Adams (Oliver Nelson, Lalo Schifrin, Herbie Hancock) on saxophone, Dennis Irwin (The Jazz Messengers, Chet Baker) on bass and James Williams (Calvin Keys, Thelonious Monk) on piano. Four On The Outside shows off Fuller’s mastery of the Trombone and this delightful set features him in a front line with Pepper Adams delivering a unique trombone-baritone saxophone combination (few others have followed this intriguing coupling). Curtis Fuller plays from the heart and is on top of his game. Expect sharp and elegant original compositions, machine gun-like spurts, angular boppish lines and top rhythm section work that never gets in the way of the horns spreading their wings. All of the above makes this record a must have for any self-respecting jazz fan or collector! Tidal Waves Music now proudly presents a much-needed and long overdue vinyl reissue of these classic jazz recordings (originally released in 1978 and out of print on vinyl since 1986). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) and features the original artwork/photography by Don Diesveld & Hans Harzheim who are responsible for designing iconic album covers for the likes of Sun Ra, Pharoah Sanders, Charles Mingus and Ben Webster. This will also be the the first time the album is being released in North America and in the UK.

Maura & Fred Red: eine dieser absolut romantischen Produzenten und MC Connections, bei denen man spürt, dass hier eine Verbindung glüht, die weit über Emailverkehr à la „hab dir'n neuen Ordner Beats geschickt“ hinausgeht!

Den Interpreten dabei den „Bedroomproducer“ und Rapperin Stempel aufzudrücken wirkt dann aber doch schon nach dem ersten Track auf „Grimus“ fast blasphemisch, denn was die beiden hier an Bandbreite auf Albumlänge abfeuern ist zu groß für jede Schublade.

Knallharte Breaks, dezente von Jazzbesen geführte Grooves und funkgeladene Synthiesolos, treffen auf eine der charismatischsten Frontfrauen, die unser junges Hip Hop Deutschland zu bieten hat. Maura bewegt sich spielerisch leicht in ihrem Universum zwischen soulgeladenen Kopfstimmen und Hardcore Rapflows, die alles auf ihren Platz verweisen was sich bis dato noch für konkurrenzfähig hielt. Das Ganze von Fred Red penibel und mit Liebe produziert, stilvoll instrumentalisiert und dabei so kompromisslos edgy, dass einem am Ende bei aller Demut nichts anderes übrigbleibt, als die Madlib/Erykah Referenz laut auszusprechen.

Dass uns irgendwann Demos in solchen Qualitätsdimensionen in die warmen Schöße fallen würden, hätte uns auch vor zehn Jahren niemand sagen brauchen. Fred Red und Maura liefern mit Grimus eine lange überfällige Souljazz-Faust für die Sichtexot genau das passende Auge ist.

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