Jazz | Fusion 200 Items

Vinyl LP pressing. 2017 release. On the heels of his acclaimed 2016 recording, Cuong Vu Trio Meets Pat Metheny and his 2014 collaboration with electro-acoustic pianist-composer and Director of the School of Music at the University of Washington Richard Karpen on their Ellington-Strayhorn tribute That The Days Go By And Never Come Again, trumpeter-composer Cuong Vu joins forces with guest guitarist Bill Frisell on Ballet, a tribute to renowned composer-arranger Michael Gibbs. With regular Vu 4Tet bassist Luke Bergman and drummer Ted Poor, the four exchange ideas in the moment in a collective fashion on the expansive opening track, "Ballet," which gradually morphs into a kind of quirky, dissonant blues waltz featuring brilliant solos from Vu and Frisell. Regarding this exhilarating Vu 4Tet project, Vu says, "This was a very collective/equal opportunity effort, so we just played and dealt with the cards collectively as they were dealt. I think it just comes down to the collection of players and our individual aesthetics coming together and trying to find a common goal/language." They succeed in triumphant fashion on Ballet, the second collaboration between Cuong Vu and Bill Frisell (their first was Vu's 2005 ArtistShare album Mostly Residual).

Limited 180gm vinyl LP pressing. 2017 release. For his follow-up to 2016's purely improvised studio recording Strength & Power (a cooperative quartet album featuring pianist Jamie Saft, bassist Trevor Dunn and drummer Balazs Pandi), the ever-adventurous trombonist-composer Roswell Rudd made a decided shift in direction on his first RareNoise Records release as a leader by embracing jazz standards he has loved and played throughout his long and illustrious career. Accompanied by the brilliant pianist Lafayette Harris, upright bass virtuoso Ken Filiano and soulful vocal sensation Fay Victor, the 81-year-old jazz master delivers with rare potency and poignancy on the aptly-titled Embrace. This intimate, drum-less quartet session is brimming with conversational playing between all the participants, with Rudd and Victor partaking in some particularly interactive exchanges on jazz classics like Billy Strayhorn's "Something to Live For," Charles Mingus' "Goodbye Pork Pie Hat," Thelonious Monk's beautiful ballad "Pannonica," the standard "Can't We Be Friends" and the traditional "House of the Rising Sun."

The album Ashac, initially released in 2017, a true gem that Discogs speculators have been coveting, is finally getting a repress.

Misha Panfilov Sound Combo “En Route” is back by popular demand!

An album of originally unreleased Sun Ra, over 50 years after it was recorded, back in print on lightning yellow vinyl!

Sun Ra is still trying to get our attention 50 years after dispatching this transmission. Humanity's path since then makes his message even more urgent today. Years after Herman Poole "LeSony'r Ra" Blount "left the planet" he's still trying to reach us, to wake us up and to change our destiny.

Sun Ra and the Arkestra weren't a traditional studio band, and every star in the vast galaxy of their discography reflects this. The origins of these records can be hard to pinpoint at times, but when it comes to Thunder Of The Gods, it's a bit easier. "Calling Planet Earth - We'll Wait For You" was discovered on tapes from Ra's, Universe In Blue, believed to be recorded in '71. The raucous title track and "Moonshots Across the Sky" are unearthed from the '66 Strange Strings sessions. Modern Harmonic has once again paired Ra's sonic art with the visual art of "The Father of Modern Space Art," Chesley Bonestell, whose 1952 work "Formation of the Earth's Continents" spralls across the front and back covers.

"louise Bock is one of the performing names worn by Taralie Peterson of that most excellent duo, Spires That IN THE Sunset Rise. And the music on Repetitives in Illocality recalls a few aspects of Spires' recent live shows. It's akin to a dreamily aggressive take on the outer fringes of early ECM-style improvisation. A lovely hover between out-chamber-jazz, new music and the unknown tongue. Using cello, sax and treated lap harp, Louise Bock creates surfaces that are sometimes as chopped as ice sculptures made with a chainsaw, and at other moments as smooth as the soft expanse of Brian Eno's forehead. Those passages where the cello takes the lead are the most serious. Some passages, with their mournful sweep, almost sound like the slower parts of Kodály's 'Solo Cello Sonata.' The treated lap harp has resonance qualities not unlike a jaw harp at times, enabled to produce long tone lines, as well as to wobble like a jaw full of loose teeth. When Taralie's voice comes in, it can almost seem like Martin Rev is playing a solo on an old pushbutton phone while Judy Nylon blows clouds of aether into his wig. But the vocals combine with the sweet saw of cello in an entirely different way. Suggesting snippets of not-yet-discovered operettas about life elsewhere. Meanwhile, lap harp and sax appear to exist in a post-progressive universe where early '70s Gong may have actually had some serious moments. And this is some seriously amazing stuff -- solo, duos, trios and quartets drawn from the deep well of Louise Brock's imagination. Defy illocality. Come close and listen.”—Byron Coley, 2018 Edition of 300.

2023 Repress.
Wildflower is a trio comprising Idris Rahman (sax), Leon Brichard (bass) and Tom Skinner (drums).
The trio takes you on an intense, meditative and spiritual musical journey that embodies the spirit of freedom. Based around hypnotic grooves laid down by Brichard’s unswervingly solid bass lines, drummer Skinner plays around artfully with the beats, grooving hard in constantly shifting, unexpected turns of rhythmic play. Rahman’s contributions range from subtle conversational interplay to loudly expressed angry passion to the most delicate of whispers, conveying a depth of emotion and a deep sense of musical structure withIn an ever changing sea of musical conversation.
Using simple, arresting melodies as a starting point, the trio create freely improvised waves of emotion ranging from powerful climaxes to hauntingly beautiful breath-like passages and everything in-between, creating unique forms and structures that react to the acoustics and the atmosphere of the situation.
Taking inspiration from the spiritual jazz pioneers such as John and Alice Coltrane, Pharoah Sanders, Yusef Lateef and Sun Ra, compositional influences range from Gnawa music to modal jazz to Bengali folk music but the scope is wider still and the important unifying factor is the spontaneous communication and interplay between the three musicians. Rather than having a tight rigid structure, the tunes are allowed to breathe and develop into new unexplored forms, allowing fresh interpretations that make each performance a unique experience.
The album is a collection of live and studio recordings that have been recorded and mixed by the band.

The Mark of the Devil” is the third and last chapter of Alex Puddu’s trilogy with Italian legendary vocalist Edda Dell’Orso, here featured in three songs. Written, arranged, produced and performed by Alex Puddu, together with many great musicians, the album is ope-Groove, is Prog-Rock, is Psych-Blues, a walk through the gates of hell within Lust and Temptation. This album is the most obscure and experimental Alex Puddu has ever made to date!

A download code is included.

A download code is included.

A download code is included.

A download code is included.

A download code is included.

Can be played at 33rpm or 45rpm. Frank Maston’s Tulips is a sample-ready film score to the best 70s movie never made. Originally a super-limited self-release on his Phonoscope label in late 2017, Tulips has already become incredibly sought-after. Be With were introduced to Maston by mutual friends Aquarium Drunkard and it didn’t take long before we decided this modern classic deserved a reissue. Inspired by the deep-grooving soundtracks of Italian cinema - think Morricone, Umiliani and Alessandroni - Maston conceived the entire Tulips project as a continuation of these revered works. Frank designed the artwork and made two 16mm films to accompany the music: “It wasn’t just the LP… it was kind of a whole vibe I was trying to create. Not really trying to emulate the things that influenced me but more trying to make something that could sit alongside those records on a shelf. I’m still very proud of the project.” There’s a distinct library music feel too, with wiry organ, spacey keyboards and loping 60s guitar hinting at KPM and DeWolfe.

LP includes download coupon. At a moment when musical streams are crossing with unprecedented frequency, it's crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City's inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history. So It Is (2017) finds the classic Preservation Hall Jazz Band sound invigorated by a number of fresh influences, not least among them the band's 2015 life-changing trip to Cuba. A visit to the island, so integral to the evolution of jazz and New Orleans culture in general, had long been in the works when President Obama's diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band's storied history. Back in print on vinyl and CD via Sub Pop, which signed Preservation Hall Jazz Band in 2018, and will soon be releasing new music by the band.