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Gatefold 180g Includes Rare Or Exclusive Artwork Inside

Moondog is the fifth album by American composer Moondog.

Moondog had released no music for twelve years since his 1957 album The Story of Moondog. Finally, in 1969, producer James William Guercio invited him to record an album for Columbia Records.[1]

The resulting album compiled various music which Moondog had been working on since the 1950s. This included two "minisyms" (Moondog's term for short symphonic-styled works performed by small orchestras); two canons; a chaconne in memory of Charlie Parker; ballet music originally written for Martha Graham ("Witch of Endor"); and three symphonic (or "symphonique") works, one of which was dedicated to Benny Goodman and featured elements of swing. A version of one composition, "Theme", had previously been recorded for Epic Records in 1952

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

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

The tussling vegetables in Mal Dean’s cover-sketch somehow befit perfectly this extraordinary duo of Bailey and the great Dutch drummer Han Bennink. Recorded in London in 1972, Incus 9 was their second record (after an ICP in 1969), becoming a blueprint and inspiration for generations of free-improvisers. It is paired here with a brilliant session from the following year, with the same power and friendly combativeness, and oodles of creativity, technique and humour. It’s obvious how much they loved playing together.

Captivating, ethereal and majestic, Mammal Hands unleash their third album, Shadow Work: drawing on spiritual jazz, north Indian, folk and classical music to create something inimitably their own. Recorded at 80 Hertz Studios in Manchester, it is the result of 18 months of intensive touring and mammoth writing sessions. The energy from their exhilarating live performances has fed into the writing process and yet there is a quiet reflective side to this album, giving it an expanded emotional range that draws the listener deep into Mammal Hand’s sound world.

Afrobeat legend Tony Allen will release “The Source”, the Nigerian-born Paris-based drummer's debut full-length album for Blue Note Records, following the tantalizing 4-track EP release “A Tribute to Art Blakey and the Jazz Messengers”.

“The Source” is the next step in Allen’s musical and spiritual voyage, and a further exploration of his early jazz influences. To share writing tasks and take care of the arrangements, he called on saxophonist Yann Jankielewicz, with whom he has worked since 2009 and the album Secret Agent. They began by getting together to listen to and exchange their favorite jazz records: Lester Bowie, Charles Mingus, Art Blakey, Gil Evans… albums that served as a compass to guide them on their way.

“Tony has never played drums as well as this,” says Jankielewicz. “He's never had as much freedom, never had as much power as he does today.”

Surrounding Allen are some of the best musicians on a Paris scene that is difficult to call “jazz” due to its highly changeable nature: Jankielewicz alongside saxophonists Rémi Sciuto and Jean-Jacques Elangue, trumpeter Nicolas Giraud, trombonist Daniel Zimmermann, bassist Mathias Allamane, pianist Jean-Philippe Dary, and keyboardist Vincent Taurelle, who produced the album with Bertrand Fresel… a French cast to begin with, but with the addition of guitarist Indy Dibongue from Cameroon who, like Allen, contributes an indispensable African sound to this palette. 11 excellent players in total would finally deliver The Source, including one notable guest: Damon Albarn, who adds an ethereal piano part to “Cool Cats.”

The album sparkles in the variety of its timbres and the diversity of its colors. Each of the 11 instrumental tracks—all new originals co-written by Allen and Jankielewicz—bring forward a particular instrument: Giraud's trumpet on “Bad Roads”; the bass of Allamane on “Crusin’”; Dary's piano inside “On Fire,” and Sciuto's bari sax on “Woro Dance.” With “Cool Cats,” it's the turn of Elangue and his tenor, while Zimmerman's trombone is featured on “Wolf Eats Wolf.” And throughout, Tony’s indelible signature, a unique way of hitting skins or a cymbal, its main characteristics a caressing, almost ethereal energy, and a formidable efficiency.

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.

Includes one bonus track.

Gatefold 180g Includes Rare Or Exclusive Artwork Inside

“To understand the significance of the word ‘featuring’ on Featuring Pharoah Sanders And Black Harold, consider how infrequently Sun Ra used it and the exact way it had been used.

“The October Revolution in Jazz, organized by Bill Dixon in the West Village in 1964, presented a vivid cross section of approaches to the new music, including a sextet led by Ra. For the October Revolution’s continuation, titled Four Days in December, held at nearby Judson Hall on the last days of 1964, the Arkestra performance presented Pharoah Sanders as well as a flautist (who was and remained obscure thereafter) named Harold Murray, nicknamed Black Harold.

“It wasn’t until long after Sanders had achieved worldwide acclaim with John Coltrane that Ra and manager Alton Abraham decided to issue the music they’d recorded at Judson Hall. After its first release in plain or hand-decorated covers in 1976, Featuring Pharoah Sanders And Black Harold remained an exceptionally rare item in the El Saturn discography, known to a few lucky collectors.

“We’re lucky to have this glimpse of what Sanders sounded like in such a different context, galvanizing the large group and in turn being inspired to make his first significant contribution on record.”

—John Corbett (excerpt from the liner notes)

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough 'Knee-Deep in the North Sea', and 2010 John Leckie produced 'Isla', to the self titled record 'Portico Quartet' in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester's forward thinking indy jazz and electronica label Gondwana Records. It's an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. So much so that their four-night run at Archspace E8 (June 22-25) sold out in less than an hour as fans from around the world scrambled for tickets to hear the return of Portico Quartet. Support from Gilles Peterson, Jamie Cullum and similar minded DJs around the world. Airplay from TSF France.Features in Jazzism, Jazzthing, Jazzwise and beyond. Reviews in the Guardian, Mojo, Uncutand more. Full servcing to the Gondwana Records international DJ and radio mailing list.

Harmony of Difference will mark Washington’s first collection of new music since his 2015 debut, The Epic. The six-movement piece was premiered as part of this year’s Whitney Biennial alongside a film by A.G. Rojas which also featured artwork by Washington’s sister, Amani Washington. The vinyl version of the record will come with a concertina booklet that includes some of Amani’s artwork and stills from Rojas’ film. The last track of this fantastic EP runs 13 minutes!!

Includes four bonus tracks.

Betino's Records proudly presents its third release: an EP by the very sharp collective The Big Hustle. The band founded in 2014 by bass player and composer Sébastien Levanneur, brings together 70's old school funk with the hippest actual sound with influences spanning from Steely Dan to Snarky Puppy, from Mandrill to Lettuce and from Herbie Hancock (Manchild era) to Soulive. With mighty horn players, a rock and funky rhythm section, and percussions added to it, The Big Hustle’s music has a very large variety of sound landscapes. Still, the music never loses the groove and always stays close to the funk.
The A side opens with "Afrorever", a tribute to African culture and music. The guest of honor on this song is legendary Malian musician Cheick Tidiane Seck, longtime partner of Salif Keita, and collaborator of Joe Zawinul, Carlos Santana and Damon Albarn to name a few. After Cheick’s introduction, the songs jumps into a typical afrobeat vibe featuring a tight and powerful horn section, suddenly breaks into an electro funk groove and ends in a furious percussive party.
Second track on the A side is "Faure is the Magic Number". It is dedicated to Thomas Faure (co-composer of the track) and François Faure (both featured on this song on tenor sax and keyboards respectively). This piece displays the band’s ability to blend jazz-funk groove with a heavy hip-hop beat. Kind of DJ Premier meets Steely Dan.
The B side starts with "Afrorever (Sun's Up Mix)". Through this mix, one can acknowledge instantly Olivier Portal's touch. From the very first chords, he conveys us into his realm blending warm and melancholy keyboards with an old school deep-house rhythm pattern.
The fourth track is called “1, 2, 1, 2”. It is a purely improvised moment in the studio while the band was sound checking before recording with special guest rapper Raashan Ahmad. Nicolas Gueguen had the good idea to press the R button and what you hear is basically what happened afterwards.
Enjoy!

The Newport Jazz Festival at Rhode Island was first established in 1954 and quickly became one of the main summer happenings in America’s jazz calendar. It became the place to be - a showcase for jazz performers, established stars and innovators alike… Nina Simone was booked to play the opening night at the seventh edition of the festival on 30 June 1960. However, it wasn’t the best of times to appear there - it was the year when the hooligans made their way to Rhode Island to gatecrash the festival. These tussles caused the cancellation of several performances. But whatever the circumstances, Nina Simone was confident that she could make an impact. At the conclusion of Simone’s set, the crowd rose to its feet and offered the kind of ovation that would only be surpassed when she returned to the festival again in 1966, causing an audience of 15,000 to stand and cheer.

Trumpeter Avishai Cohen leads a quartet consisting of pianist Yonathan Avishai, bassist Barak Mori, and drummer Nasheet Waits.

A year after his impressionistic, critically-lauded ECM debut Into The Silence, trumpeter Avishai Cohen's Cross My Palm With Silver introduces a program of new pieces which put the focus on the ensemble, on teamwork, with a quartet of the highest caliber. The adroit, almost telepathic interplay among the musicians allows Avishai Cohen to soar, making it clear why he is one of the most talked-about jazz musicians on the contemporary scene. "All of these people together are my dream team", says the charismatic trumpeter of fellow players Yonathan Avishai, Barak Mori and Nasheet Waits, who share his sense for daring improvisation and his feeling for structure. "I feel we're in a perfect place with the balance. It's open and there's so much room for the improvisation to take the music any place we can. At the same time the composition is very specific and the vibe is very direct and thought about." As with Into The Silence, Cross My Palm With Silver was produced by Manfred Eicher at Studios La Buissonne in the south of France.

180g Vinyl LP comes with download code.

Musicians:
Avishai Cohen, trumpet
Yonathan Avishai, piano
Barak Mori, double bass
Nasheet Waits, drums

This 200-gram Analogue Productions LP reissue is a magnificent-sounding recording of a historic TV event. For a rare and glorious one-hour nationwide broadcast, CBS brought together 32 leading musicians — a Who's Who of the swing era — including Count Basie, Lester Young, Ben Webster, Billie Holiday, Jo Jones and Coleman Hawkins; the Chicago style players of the same era, like Henry 'Red' Allen, Vic Dickenson, and Pee Wee Russell; and younger 'modernist' musicians such as Gerry Mulligan, Thelonious Monk, and Jimmy Giuffre. These players played separately with their compatriots, but also joined to combine various styles in one group, such as Red Allen's group and the group backing Billie Holiday on "Fine and Mellow".
The one-hour program aired on Sunday, December 8, 1957, live from CBS Studio 58, the Town Theater at 851 Ninth Avenue in New York City.
Columbia Records released this LP in 1958 that is actually a rehearsal that preceded the telecast (recorded on December 4 at Columbia's 30th Street studios), and is not its soundtrack. The recording doesn't include all of the performers on the TV show (Mulligan refused to participate because no additional payment was involved) and includes several who were not on the show.
For this Analogue Productions reissue we started with the original tape and the best mastering available — Ryan K. Smith at Sterling Sound did a steller job, and naturally, plating at Quality Record Pressings was handled by master plating technician Gary Salstrom. Our 200-gram QRP platters serve up an utterly noiseless background that lets the superior sonics shine through.

For his third ECM release as a leader, Chris Potter presents a new acoustic quartet that naturally blends melodic rhapsody with rhythmic muscle.

The group includes superlative musicians well known to followers of ECM s many recordings from New York over the past decade: keyboardist David Virelles, bassist Joe Martin and drummer Marcus Gilmore, who each shine in addition to the leader on multiple horns. “The Dreamer Is the Dream” features Potter on tenor saxophone the instrument that has made him one of the most admired players of his generation in the striking opener Heart in Hand and such album highlights as Yasodhara, as well as on soprano sax (“Memory and Desire”) and bass clarinet (the title track).

Potter is an artist who employs his considerable technique in service of music rather than spectacle, says The New Yorker, and his composing develops in texture and atmosphere with every album. Along with his previous ECM releases, “Imaginary Cities” and “The Sirens”, he has appeared on some of the label's most acclaimed discs, including Paul Motian's classic “Lost in a Dream” and Dave Holland's Grammy Award-winning “What Goes Around”.

The Heliocentrics are a group for which genres are meaningless and boundaries invisible. Since first appearing on DJ Shadow’s 2006 album The Outsider the group have gone on to release a string of records that float through jazz, hip-hop, psych, krautrock, and musique concrete whilst collaborating with numerous genre heavyweights from Mulatu Astake to Gaslamp Killer and picking up prestigious fans along the way, such as Madlib and the recently departed David Axelrod.
The primarily instrumental group, who operate out of their vintage analogue studio in East London called the Quatermass Sound Lab, bring in a new singer on album number four - a young Slovakian singer called Barbora Patkova. The result is an album that takes the band, already solidified in ever-expanding grooves and rhythms into new previously unexplored dimensions.The group’s deep-set ability to craft music intuitively and impulsively stems from a desire to avoid typical processes or generic structures. Since its conception, the band’s music has mainly been created from live improvisation. This musical approach gives the band its own sound and identity -”for anything to happen it must be at that time from the people in the room, and on the spot”. A decade of such sonic adventures has resulted in a tightly knit bond that the group refer to as “almost a form of telepathy” with “musical changes that otherwise would be near impossible to write.”

Includes one bonus track.

A great album by the London-based oufit, one of the hottest
acts on the city's contemporary jazz scene. Led Bib stakes out
a unique spot in the musical terrain that falls somewhere
between the realms of John Zorn, Ornette Coleman, Charles
Mingus and Eric Dolphy, all imbued with a very strong jazz-rock
sensitivity. This double-LP comes on 180-gram vinyl.

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

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.

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.