Jazz | Fusion 275 Items

'The Choice' disc is hidden in the middle of the packaging, under a corrugated seam. The seam must be cut open to access the hidden disc.

180g 1LP

Both Directions at Once: The Lost Album is a studio album recorded by saxophonist John Coltrane for Impulse! Records that was first released in 2018. The recordings were made in 1963 during Coltrane's Classic Quartet period and were lost for decades.

R+R=NO is a supergroup assembled by Robert Glasper but functionally egalitarian, in no small part because its members are visionary players, composers, and producers on their own: Glasper on keys, Terrace Martin on synthesizer and vocoder, Christian Scott aTunde Adjuah on trumpet, Derrick Hodge on bass, Taylor McFerrin on synth and beatbox, and newcomer Justin Tyson on drums.

The pianist and his longtime trio, which includes drummer Jeff Ballard and bassist Larry Grenadier, perform three Mehldau originals combined with interpretations of pop songs (Paul McCartney, Brian Wilson), jazz tunes (Elmo Hope, Sam Rivers), and one work from the American songbook (Frederick Loewe's "Almost Like Being in Love").

Uncharted Territorie reunites Dave Holland with saxophonist Evan Parker, a longtime friend from their early days in London. Theyre joined by Craig Taborn, on piano and electronics, and Ches Smith on percussion. In addition to quartet improvisations, they also broke off into every possible subset of duo and trio configurations. The group also recorded two compositions by Smith and one by Holland. A resulting 23 tracks present a series of deep, multi-layered conversations between the musicians, some of whom were interacting for the first time

Limited edition for Record Store Day 2018!

In the four years since Green’s initial release, Robohands, AKA. London-based composer/multi-instrumentalist Andy Baxter has released two more albums, quickly becoming a leading force in London’s growing Jazz scene. Compared to his post-bop, avant inspired contemporaries, Baxter’s music is laid back, a modern reincarnation of cool jazz that perhaps might feel more at home being called “chill” than “cool”. With repeating riffs, spacy delay, and warm synth pads, this album blurs the lines between jazz, funk, post-rock, and ambient music to create an album more concerned about mood than genre. Its original pressing sold out almost instantly, and with the prices they’re fetching on the second hand market, we knew we had to repress it! Don’t miss this limited edition repressing of Robohands’ ‘Green’ on limited edition clear green vinyl, available only from P-vine Records!

Brilliant, inspired and somewhat surprising collaboration between Chicago’s premier free-rock trio and the truly legendary percussionist, Hamid Drake, who has played with everyone from Don Cherry to Peter Brotzmann to Lee Perry.

​ This collusion was precipitated by Matt Jackowiak, a mutual friend, who thought a merging of their sounds might make for an ecstatic explosion. This feeling became mutual after they played a show together at Constellation. The set mixed Mako Sica tunes with improvisations that took everyone to places they hadn’t expected, and the trip was deemed an utter success.

​ Ronda was done at two sessions, scheduled around Hamid’s insanely busy work schedule. The first was at Jamdek with Douglas Malone at the board, the second was at Electrical Audio with Taylor Hales. The Electrical session allowed the players access to a host of additional instruments, so the sonic palette on “Dance with Waves” and “Emanation” is wider and somehow more cosmic than usual.

​ But the whole album has an extraordinary depth and width of sound. Even the great songs Mako Sica has had in its set for a while like “The Old Book,” gain whole new levels of otherness here, and the material based in quartet improvisations, like “The Wu Wei,” explores wild new territory for the band.

​ Ronda (named after a town in southern Spain with a famous 18th Century bridge crossing a deep gorge) is the first span connecting the disparate musical worlds of Mako Sica and Hamid Drake. Let us hope it is but the first of many.

-Byron Coley, 2018

“In Passing” began as an elegy for Glasper’s Houston friend, Scooby, who died in 1999. “I never could finish the tune, but I started working on it again when Aliyah died,” Glasper says. “Not too long after that, 9/11 happened. That made me finish the song. It’s about how your time on earth is passing.” Glasper ends the program with the incendiary “L N K Blues,” setting up a John Ellis-Marcus Strickland tenor battle that implicitly affirms his connection to and extensions of the idiom that defined the sound of jazz in Houston from the ‘40s through the ‘60s. —Ted Panken, Downbeat, Jazziz, WKCR, 2003 The trio embarks on their own voyage with Glasper’s “Lil’ Tipsy,” using compression-expansion techniques to explore in painstaking detail a disjunctive dance of inebriation. Glasper uses the concluding vamp as a spur-of-the-moment opportunity to segue directly into “Alone Together.” There ensues an avid triologue, Hurst holding down the bottom as Glasper and Reid, with nonchalant confidence, weave through of an obstacle course of rhythmic signatures. On “Mood,” a quintet track, Moreno and Ellis offer beautiful contrapuntal section playing and pungent solos, capturing the composer’s intent to resolve from a melancholy opening to an impassioned feelgood vamp. Bilal ratchets the intensity on “Don’t Close Your Eyes,” a bluesy jazz ballad to which Glasper wrote the melody and the lyric. Glasper says: “I have a certain feel, a certain way of thinking and imagining of and hearing harmony, and it all descends from coming up in and playing music in the church.” Glasper returns to ebullience on a creative and virtuosic treatment of Irving Berlin’s “Blue Skies.” There was a detergent commercial that used it during my first year in school,” he relates, “and I was singing all the time. Then someone told me it was a jazz tune. I arranged it for a concert at school. A year later, I came up with this arrangement. “‘Interlude’ happened because we kept playing after I faded out from the drum solo, and when I listened to the tape I thought the hip-hop part was hot. Hip-hop is a part of me, too, and I wanted to have that influence on the album.”

In a career spanning over 50 years the American band Kool & the Gang recorded an
impressive list of hit songs and hidden gems, now bundled on our exclusive Collected
record. Kool & the Gang Collected covers the music from their funk, soul, rock, jazz and
disco period. 27 songs in which you’ll hear their musical diversity and the energetic and
positive sounds they brought to a worldwide public.
After recording three albums Kool & the Gang had commercial success with the singles
“Jungle Boogie” and “Hollywood Swinging”. It meant the start of a fantastic career, in
which they reached their highlights at the end of the ‘70s and beginning of the ‘80s.
Hit singles like “Ladies Night”, “Celebration”, “Get Down On It”, “Joanna” and “Fresh”
are among their most famous songs and are all included on this double LP. With their
fantastic set of bulletproof funk and jazzy arrangements they influenced the music of three
generations. They continuously performed during the pas 45 years and remains one of the
most active touring bands, performing hundreds of shows every year.
Kool & the Gang Collected includes liner notes and the Gatefold sleeve has an embossed
“Kool & The Gang” logo. The release is available as a limited first pressing of 2.500
individually numbered copies on purple vinyl.

Don Cherry"s downtown Paris funk masterwork produced in 1985 by Ramuntcho Matta and originally released by Barclay in France only, finally gets a worldwide release on Wewantsounds. Featuring French post-punk muse Elli Medeiros, avant garde poet Brion Gysin and cult Senegalese drummer Abdoulaye Prosper Niang (Xalam), this is a unique soundbite of Paris in the early 80s at its coolest when funk, jazz and new wave were mingling with sounds from Africa, Jamaica and Latin America. Newly Remastered, the album is augmented by a second LP worth of bonus tracks and a deluxe gatefold sleeve with a new essay by French journalist Jacques Denis (Liberation).

- Legendary early '90s experimental jazz recordings by David Lynch and Angelo Badalamenti.- Music has appeared in pieces in Lynch's film and TV work but never seen the light of day as a proper release.By the time Twin Peaks' second season had air...

Bernard Purdie is one of the most well known drummers of all time, and probably the most recorded in history. From his early days as a session player, Purdie rose to become Aretha Franklin’s musical director, did overdubs for The Beatles, and recorded with the likes of Steely Dan, Cat Stevens, Joe Cocker, Hall & Oats, Quincy Jones, Roberta Flack, and James Brown, to name a few. In 1967 he entered a studio with several friends to cut his first solo album, “Soul Drums”. The album was critically acclaimed upon its initial release, only to reach mythical proportions once being rediscovered by DJs and hip-hop producers years later, when it became one of the most sought-after drum LPs among vinyl collectors. “Soul Drums” is now available on vinyl for the first time in years, along with an entire bonus LP comprising Purdie’s long-lost follow-up LP “Alexander’s Rag Time Band”, which was never given a proper release. This deluxe gatefold re-issue also includes liner notes taken from a recent interview with Purdie, plus rare photos from the late 1960s.

Fifth pressing, this time via Sekito.

Limited edition for Record Store Day 2018!

Issued on vinyl for the first time, Outernational Sounds proudly presents a monumental spirit music document from the Los Angeles underground – Jesse Sharp’s slept-on deep jazz classic Sharps And Flats.

“He became the Ark leader…he was hardcore. They’d all be quiet and listen to him when he talked.”
Horace Tapscott, on Jesse Sharps

You could be forgiven for not knowing how important saxophonist, bandleader and composer Jesse Sharps is. After all, the only album to come out under his name, Sharps And Flats, was recorded in 1985, and wasn’t issued on CD until 2004.

But despite this seemingly small recorded footprint, Jesse Sharps is a major figure in the history of jazz music in Los Angeles. As the bandleader for Horace Tapscott’s Pan-Afrikan People’s Arkestra (P.A.P.A.) – the Marshall Allen to Tapscott’s Sun Ra – he led Tapscott’s seminal music community through its most cohesive phase. And, after a hiatus living in Europe, his return to Los Angeles in the 2000s saw him build a new group, The Gathering, which linked original heads including acclaimed singer Dwight Trible and legendary trombonist Phil Ranelin with a new generation of LA jazz voices, including none other than Kamasi Washington. Sharps has been around, and he’s made an indelible mark.

Born in Los Angeles in 1953, Jesse Sharps spent his childhood in Watts. He first encountered the visionary pianist Horace Tapscott when he was still at high school – the Arkestra were performing on 103rd Street, and when Sharps heard them he knew what his future would be. Tapscott soon invited the young Sharps to rehearsals, where he played baritone. At college, Sharps studied under Cecil Taylor. When he came back to LA he rejoined the Arkestra on flute and reeds, and eventually took over band-leading duties from the great altoist Arthur Blythe. Trusted completely by Tapscott, as bandleader Sharps turned the Arkestra into a well-drilled unit. This was the time of the classic P.A.P.A. recordings Flight 17, Live at I.U.C.C, and The Call, and Sharps also wrote for the band. The funky, deep spirituality of compositions like ‘Desert Fairy Princess’, ‘Macramé’ and ‘Peyote Song III’ has made his tunes among most celebrated in the whole P.A.P.A. catalogue.

Sharps And Flats was recorded in 1985 for Tom Albach’s legendary Nimbus West imprint, a label Albach had founded specifically to document the work of Horace Tapscott and his circle. Featuring a quintet of P.A.P.A. regulars at the height of their game, Sharps And Flats is one of the great lost Nimbus sessions – it lay unissued until 2004, and never saw a vinyl press.

In line with the original Nimbus CD release, this edition of Sharps And Flats includes ‘McKowsky’s First Fifth’, a stunning 16 minute bonus cut by the Pan-Afrikan Peoples Arkestra featuring Horace Tapscott, recorded in 1979. A lost classic of the LA underground, on wax at last!

Both Directions at Once: The Lost Album is a studio album recorded by saxophonist John Coltrane for Impulse! Records that was first released in 2018. The recordings were made in 1963 during Coltrane's Classic Quartet period and were lost for decades.

To celebrate the inclusion of v2.0 as a Barclaycard Mercury Prize album of the year, GoGo Penguin are releasing a deluxe digital edition of v2.0 with three killer tracks from the original album sessions! Released here for the first time is the incessant 'Break' featuring a killer groove that offers a not to the one and only Squarepusher, 'Wash', a haunting slice of the band at their most ambient and the wonderful 'In Amber', the first track that the band wrote completely together. The title of which was inspired by a book by Kurt Vonnegut where he describes us all as 'trapped in the amber of the moment' in reference to time happening all at once rather than in a linear fashion.
GoGo Penguin's skittering break-beats, telepathic interplay and a penchant for anthemic melody all contribute to a sound that's wholly their own. Pianist Chris Illingworth's yearning classical influenced melodies are filtered through the dance music energy of bassist Nick Blacka and drummer Rob Turner. Their instrumentation might be the archetypal piano trio but while the melodic, harmonic and structural ideas are influenced by both classical and jazz the rhythms are drawn from left field electronica and it's this meeting of opposites that makes their unique acoustic-electronica sound so exciting and creates such an interesting and emotionally rich palate for the listener - as drawing on a heady brew of influences from Brian Eno, John Cage and Squarepusher to Manchester's grey rain-streaked urban streets they create a brave new sound all their own.

Limited edition for Schwarzer Freitag Record Store Day 2018! Only 1 per customer!

Another friday dedicated to the black gold!