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A career-spanning Compilation, including new and rare mixes, compiled by Dr. Alex Paterson. "Orboretum: The Orb Collection" goes way back, but also focusses on recent highlights from albums such as "Abolition Of The Royal Familia" (2020) and "Prism" (2023) - which were cited by the media as some of their greatest work - up there with the bonafide gold of yesteryear. "I don"t want The Orb to end up milking it like Roxy Music, who were always cranking out another best-of, although we did release the "History Of The Future" best-of in 2013, and its part 2 in 2015 to be fair. We have such a gigantic catalogue though, that sometimes even I need a reminder of what I"ve done, especially these days. This is a sort of director"s cut, reframing our output, making new neuro pathways, and new juxtapositions. Some of these tracks are 30 years apart, but there are clear through lines, a continuum." Alex Paterson

Alan Kwan, the Hong Kong-born guitarist, recorded his debut acoustic quartet album ‘Petrichor’ in 2018, which is now finally being released on clear-colored vinyl. After winning Taiwan's Golden Melody Award—often referred to as the Taiwanese Grammy—Kwan has also performed with Japanese jazz legends like Kazumi Watanabe and Masaki Hayashi, marking him as a rising star in the Asian jazz scene. This album was recorded in New York after Kwan graduated from the University of North Texas, just before returning to Hong Kong.

The title ‘Petrichor’ refers to the unique scent produced when rain interacts with dry soil, symbolizing Kwan's emotions at the time of recording in the U.S. and releasing it in Hong Kong. The album features top-tier musicians from the New York jazz scene, including bassist Linda Oh, who toured with the Pat Metheny Trio, and the exceptional modern jazz drummer Johnathan Blake.

an excerpt from Edward George's 10,000+word liner-note 8 page booklet that comes with the double LP: Delay, 1961 (the Story SO Far) "They are, Seymour said, in movement, and in keeping with their claim, their music is, like a Brownian bridge, an A&J Tranean train, a Byrdian plane, or a Blountian space-time myth-machine, a way of playing themselves into the historio-graphical hands, or better yet, the loving arms, or perhaps, to be precise, the metaphysical embrace, of ‘a new creative space’, and playing is a way, the only way, when you think about it, of getting and staying in movement, the only way of staying ahead of themselves. Staying ahead of themselves was always important, and tricky too: they were on the (musical) trail of someone who preceded them, was ahead of himself, or at least ahead of his own epoch, the late 1950s, and theirs, the late 20th and early 21st century, in which he was, before they found him (or he found them, the way music finds you — and finds you out) present as no more than a discographical evanescence. And to complicate things further, the way they talked about what they were doing as they proceeded along that trail, you’d think they were archaeologists (and not anthropologists), or geologists (and not ethnographers), as well as exemplars of whatever discipline it is through which the capacity for inhabiting and transforming the body, the corpus, of another takes place: ‘We excavate and reinhabit documents and fragments of plans and compositions that he left behind to make music that though it originated in the 20th century will speak to the 21st’. They said that, on the back, or the strength, of their first album, and it was enough to make you wonder where in the world it was that they started from, what their point(s) of departure might have been."

Unite by Kool And The Gang, released in 1992, marks the return of co-founder Khalis Bayyan, bringing a renewed energy to the album with a more R&B-oriented sound. This work combines romantic ballads and danceable grooves, while maintaining sophisticated arrangements. It reflects the group’s musical essence, with tracks like “Better Late Than Never” and “My Search Is Over,” blending funk and soul with elegance and emotion, offering a refined and energetic fusion of their influences. SIDE A1. (Jump Up on the) Rhythm and Ride2. I Think I Love You3. Love Come Down4. Sexy MissSIDE B1. Better Late Than Never2. Heart3. My Search Is Over4. Wkool/SummerSIDE C1. B. Ball/Brown2. Give Right Now to You3. State Of the Earth Address The Weight It’s Not Too LateSIDE D1. Show Us the Way to Love2. Now Is the Time/Unite3. Klassical Kool God Will Find You4. Spatial Relationships

Charles Mingus's music is, and will remain, in the hearts and ears of all Jazz lovers, serving to inspire generations of musicians. Mingus, besides being a magnificent double bassist, was also a prolific composer, arranger, pianist, and band leader of several historic ensembles. His groups, ranging from trios to big bands, have traversed and influenced various stylistic periods from the 1950s to the 1970s. Undoubtedly, Mingus, alongside Duke Ellington, was one of the most important composers of the 20th century; in his music, one can hear the roots of Blues, echoes of Gospel, Swing, Bebop, Soul Jazz, and even Free and avant-garde music. It is for this reason that his music can almost be considered an encyclopedic portrait of Jazz history and can still be played today without appearing dated, instead providing new insights and inspiration. From these considerations arises my desire to reinterpret Mingus's repertoire, influenced by our individual experiences as musicians. In this recording, in addition to Mingus's compositions, two original compositions inspired by or closely related to Mingus's musical style are performed. The group originates from the musical collaboration of over thirty years between myself, pianist Massimo Colombo, and saxophonist Tino Tracanna, and is complemented by saxophonist Gianni Azzali, drummer Tommy Bradascio, and two new young talents of Italian Jazz: trombonist Andrea Andreoli and trumpeter Daniele Nocella. One day, when he was already very ill, Charles Mingus said to his wife Sue: "You know, I've already had a body. Next time I want to be a star. I want to shine all night." We do not know if his wish was granted, but certainly his music continues to shine and illuminate the world like a star. Attilio Zanchi

All tracks composed by Charles Mingus unless otherwise stated.

Brazilian singer/songwriter/multi-instrumentalist Antonio Loureiro's debut album, originally released in 2010, is now available on vinyl for the first time! Antonio Loureiro, who was establishing himself as an up-and-coming young composer in the state of Minas Gerais by winning the Premio Bdmg Instrumental, a competition for prominent composers, released his debut album "Antonio Loureiro" in 2010 with full anticipation. The music seamlessly blends influences from Brazilian jazz predecessors such as Egberto Gismonti and Hermeto Pascoal, Brazil's rich musical heritage from popular music to folklore to the "Clube da Esquina," as well as progressive rock, jazz, and electronica. Antonio has released six records so far, and in addition to his own work, he has produced and supported various artists, and outside of Brazil he has performed with artists such as Kurt Rosenwinkel, Miho Hazama, Qururi, Hakushi Hasegawa, and many others.

This is the first time that the entire Acoustic Soul album will appear on vinyl. And the first reissue in 10 years - the previous version left off the important interludes - which really set up the record. Used copies sell for $100 - $180 on Discogs - long out of print.

Intervention Records is thrilled to announce its first jazz release, Bobby Bradford and his CuZns' Freddie Ain't Ready.

Freddie Ain't Ready is about identity. It is about discovering, developing, and embracing who you are. That is an act that makes us examine if we are indeed who we thought ourselves to be, and where does this leave us? Does a glimpse of the truth set us free?

Freddie was recorded live-to-two-track analog at Hollywood's legendary EastWest (formerly Western) Studios by Steve Genewick and Joe Harley. Custom Flux Magnetics head stacks were used, with no editing, limiting, or compression. Just the highest resolution delivery possible of live sound to your home. Mastering and lacquers are cut by Kevin Gray at CoHEARent Audio, and boutique press RTI delivers dead quiet 180g vinyl. No expense was spared, and laborious attention to detail ensured that the listener is transported into the studio and the creative experience.

His discography is extensive and includes classics such as Ornette Coleman's ''Science Fiction'' and ''Broken Shadows.'' Additionally, he holds a B.M. from Huston-Tillotson University (Austin, Texas), and was a jazz educator of note at Pomona College (Claremont, California) for 44 years. Bobby is currently 90 years of age and is still performing and smokin' on his cornet.

This recording project was initiated when drummer-percussionist Garth Powell (Zen Widow, AudioQuest) proposed a performance with CuZns (Bobby Bradford and William Roper) on the long-time New Music Sunday's series hosted by Open Gate Theatre in Los Angeles. This was extremely well-received, and a grand time was had by all.

Double vinyl LP pressing. New Edition's career-spanning collection showcases 17 essential R&B hits. This latest compilation includes all their major hits from their MCA era, such as "Can You Stand the Rain," "Mr. Telephone Man," "If It Isn't Love," and "Cool It Now."

Robert Glasper’s holiday album In December was released last year as an Apple Music exclusive. We’re now able offer it widely available to physical retail and all DSPs!



Is there anything to be done with carols like “God Rest Ye Merry Gentlemen” and “Joy to the World” that hasn’t been done in the past 300 years? If there is, Grammy-winning pianist, composer, and producer Robert Glasper is the kind of artist to do it. “I like covering songs that people know well,” Glasper tells Apple Music. “That’s what I’ve done throughout my whole career.” It’s true: As a jazz pianist, he’s obviously learned his way around making classics his own, whether they were written by Mongo Santamaría or Kurt Cobain. But, he says, “The biggest challenge in making a holiday album was trying to do it in a way that feels festive but at the same time feels real and not corny.”



He succeeds on both fronts on In December, his holiday album that mixes classic carols with a set of originals, and which was recorded in Spatial Audio. Part of what keeps it credible is the fact that Glasper’s hiphop/R&B/jazz fusion is done on a compositional level instead of just a cosmetic one (no collages of sampled sax solos and drum loops here). The covers reveal a lot about his musical worldview: Sung by Tony winner Cynthia Erivo (The Color Purple), “God Rest Ye Merry Gentlemen” is turned into dark, airy neo-soul, while “Joy to the World”—sung by Alex Isley—feels like a Stevie Wonder ballad. But the originals reveal even more. “The intention for this album was less about Christmas songs and more about songs that feel good during the holidays,” Glasper says. “I stayed away from thinking too much about Christmas and its traditional lingo, and concentrated on real things people go through during the holiday season.”

HHV Exclusive Coloured Vinyl Edition limited to 100 copies.

Gary Bartz (alto & soprano sax, vocals) - Charles Mims (piano, syntheziser) - Curtis Robertson (electric bass, back vocals) - Howard King (drums)
A fantastic live recorded in Bremen on 8th November 1975 set from reedman Gary Bartz – captured here with his ultra-hip NTU group – who you might know from their classic albums on Milestone in the 70s!
1 hour and 46 minutes of free and spiritual jazz.
Double LP 180gm vinyl
Gatefold cover
Strictly Limited Edition

Side A: Nation Time 11:54 / Ju Ju Man 18:50
Side B: Medley: Rise / Celestial Blues / The Sounding Song / Incident / Uhura Sasa 9:44 / Peace And Love 7:56 / Sifa Zote 10.02
Side C: I've Known Rivers 24:36
Side D: Sweet Tooth 24:26

King Chino's first full length instrumental album.

Thirty years after it was released on CD and cassette, Fuemana’s cult classic New Urban Polynesian album is finally available on vinyl. Born from the blood, sweat and tears of the late great Polynesian renaissance man Phil Fuemana and his family and friends, Fuemana’s music transports the listener back to the autumn and winter days of 1994 in the antipodes, where they turned love, loss, grief and acceptance into the finest R&B/street soul album ever recorded in Aotearoa New Zealand.

Fuemana spent several late nights tracking one-take sessions at The Lab Recording Studio with engineers Simon Taylor, Chris Sinclair and Mark Tierney. From there, New Urban Polynesian came together quickly. Across the album, Phil showed off his prodigious skills as a multi-instrumentalist and producer, playing most of the smooth, sophisticated, and heartfelt music himself. In the studio, he shared the lead with Christina and Matty J, supported by a cast of backing vocalists, musicians and guest vocalists, including a young Carly Binding.

From the lush openings of their soulful Roberta Flack, Donny Hathaway, and Stevie Wonder covers ‘Closer’ and ‘Rocket Love’ to the misty new jack swing serenade of his original ‘Seasons,’ Phil’s goal was to craft material that would let the music industry know the Fuemanas had arrived while also inspiring the next generation.

In 1995, the Fuemana family’s youngest sibling, Pauly, borrowed the initials from Ōtara Millionaires Club and began performing as OMC. Not long after, he changed everything for New Zealand music by recording the feelgood guitar-laced Polynesian pop global mega-hit ‘How Bizarre’ with producer Alan Jansson.

Consumed by a desire to do more musically, Phil established Urban Pacifika Records, where he launched the careers of a new wave of Pacific hip-hop and R&B talent, including Lost Tribe, Moizna, AKA Brown, and Sani Sagala, aka Dei Hamo.

In 2005, Phil tragically passed away from a heart attack aged 41. Five years later, Pauly, equally tragically, joined him after an extended battle with a rare neurological disorder, leaving Tony and Chirstina to grieve and make sense of their family’s extraordinary story.

When New Urban Polynesian first hit record store shelves in 1994, the Fuemanas dedicated the album to their father, Takiula Fuemana. Three decades later, it has expanded in meaning to become a remembrance of their youngest brother Pauly and a celebration of the life and times of their big-hearted big brother, Mr. Fuemana, Mr. Phil Fuemana.

Words by Martyn Pepperell in conversation with Tony & Christina Fuemana.

Gazebo Records feel honoured for the opportunity to share this important album for our inaugural release, now available for the first time on vinyl with remastering by Mikey Young.

All proceeds from this record flowing to the Fuemana family.