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The Berlin based label Sonar Kollektiv has been waiting for it anxiously: Key Elements‘ debut album leads Jazz music into the new decade down-the-line. The music Key Elements create is fresh, merciless and ruthless and has always the finger on the pulse of the time. The album‘s eight tracks are all far away from Broken Beat nostalgia or Beatmaking nedism, they breathe inspiration from the young, thriving British jazz scene.
Key Element‘s initiator, DJ and producer Marian Tone, built up a reputation in the Berlin hiphop, soul and jazz scene over the years (also as a co-founder of Beatkollektiv). With all of his compositions you always feel this heritage and his love and passion for hiphop. But the other two allys within «Key Elements», drummer Waldi and the keyboard or bass player Jim Dunloop made their contribution with compositions and ideas as well. An album which was initially designed to be a mere solo project became an effort of a trio over the years being inherently consistent. Already the opening track «Mike Needs Sugar» shows the direction this album will take us: To the land of the good groove. It‘s here where the three thoroughbred musicians feel on top of the world obviously and deliver one luscious track after the other. From the cheerful «Morning Boom» to the kinda furtively laid back «Impossible» and the final «Funky Dave», which could be on an Italian soundtrack from the 70‘s every single tone and note from «Key Elements» is great fun.
Especially because even when you listen to it a second, third or fourth time you will discover new nuances and niceties again and again. As is right and proper for really good jazz album.

Tashi Dorji (electric guitar) and Tyler Damon (drums/percussion) have developed a musical language that is not only shaped by original forms as free jazz, metal, rock and Buddhist monastic music. Their sound merges passion and emotions of literature, art, cultural movements, politics - flashes of ecstatic intensity, blurred timbral lines, fractal repetition, noir-ish, cinematic mystery and inclinations toward free play hint that the two are pleased to follow a winding path to destinations yet unknown.Recorded by Dave Zuchowski, March 25th, 2018, as part of Elastic Arts' 2018, Chicago.Mixed by John Dawson, Mastered by Martin Siewert Artwork by Aaron TurnerIn 2017 the duo released an album for Trost with danish saxophon player Mette Rasmussen."Together, the combination of Dorji's high-end metallic power-tool skree and Damon's manic-but-earthy hippie clomping are a perfect pairing. Each has a musical spoon in the other guy's soup to begin with, resulting in a collaboration that seems almost brotherly. [_] I'd say expect great things, but they're already happening." - The Free Jazz CollectiveTracklisting A. To Catch A Bird In A Net Of Wind (20:31)B. Upon The Rim Of The Well (18:39)

With promo sticker. Cut corner. Original US pressing.

The first instalment in our new ‘Mr Bongo Record Club’ compilation series – a
selection of favourites, recent discoveries and sought after obscurities, which
form the basis of our DJ sets and our radio show of the same name. Including
cuts by Claudia, Cortex, Dave Pike Set, Fruko, Neno Exporta Som, Connie
Laverne, Barbosa and more.
The original concept for ‘Mr Bongo Record Club’ was a radio show that allowed
us to air our treasured record collections, recorded and broadcast once a
month. We wanted to create an outlet free from any genre or BPM restrictions,
not constrained by the need to beat-mix every record, a space where we could
play latest finds alongside favourites. The only self-imposed rule being that
it had to be played from vinyl.
We have always DJ’d across-the-board, but playing in an eclectic way hasn’t
always been easy. Recently DJ’s such as MCDE, Floating Points, Nick The Record,
Leon Vynehall, Four Tet, Jeremy Underground, Antal (Rush Hour), Sassy J and
Young Marco – to name a few – have opened things up with very diverse sets to
younger audiences; Brazilian samba-rock, next to modern soul, highlife, disco,
boogie, jazz, house, techno and beyond.
We’re seeing a rare groove like sensibility. A shift towards the attitude of
legendary club nights hosted by the likes of Mr Scruff and Gilles Peterson,
where you could hear house, hip hop, Turkish funk, boogie, jazz, dub and Latin
back to back. At the same time it isn't a nostalgic or retro movement, people
have a progressive attitude and a thirst for new-old music. It is a vibrant and
exciting time – we are proud to be a part of it.

Set for release at the height of the season it’s dedicated to, ‘Music For Autumn Lovers’ by Adam Scrimshire is an eight track album of lush, mostly acoustic based, minimal instrumentals eliciting a mixture of feelings for this special time of year.

Four tracks originally released on an EP in 2022 are joined by new compositions ‘Hawthorn’, ‘Hazel’, ‘Willow’ and ‘Blackthorn’. Gently finger-picked acoustic guitars cosy up alongside pianos, synthesisers, strings and horns; filtered through an autumnal hue of susurrous production and effects. In turns comforting, melancholic and evolutionary; it feels like an album that can be kept being made and remade forever, like a season in itself.

Both a relentless creator and inspiring champion of new music; South London based Scrimshire has been recording, producing and DJing since the mid 2000s. Amongst his credits, he was featured by the Guardian as one of three producers behind the new wave of UK soul, alongside Inflo (Michael Kiwanuka, Sault, Lil Simz) and Swindle (Joel Culpepper, Greentea Peng, Kojey Radical). His bold 2023 album ‘Paroxysm’ was a response to the absurdity of the breakdown in the UK government, picking up an Album of the Week award on Huey Morgan’s BBC 6 Music show, and 2021’s beautiful ‘Nothing Feels Like Everything’ received an Album of the Year nomination at the Gilles Peterson Worldwide Awards. Scrimshire also somehow finds the time to support a wealth of talent on his label Albert’s Favourites, formed with Dave Koor and Jonny Drop, where they have recently released albums by And Is Phi, Huw Marc Bennet, Inês Loubet, Irini Arabatzi, Jonny Drop & Andrew Ashong, and Qwalia.

The Atlantis Jazz Ensemble is on the rise once again with "Celestial Suite", a brilliant set of spiritual soul-jazz, with a righteous energy in the mode of some of the best work on independent labels such as Strata East or Tribe back in the day, though updated with a fresh current vibe. With the blend of electric piano, sax, trumpet, bass and percussion presented here, the quintet has refined the searching, soaring quality of their sound, capturing over the course of two days in the studio an inspired session worthy of the skyward promise of the album’s title.

The set flows seamlessly from track to track. Opener “Breaking Dawn” starts things off gently as in a morning sunrise, before settling into a hypnotic modal groove. “Transcendence” then kicks up the tempo with boisterous Afro-Latin rhythms, before heading into the mystic soul-bossa brew of “Enlightenment”. Side A eases off with the pleading soul-jazz of “Invocation”, before ramping things up again on Side B with the ethereal pharoanic groove of “Oneness”. The tension builds on “Blessings”, with its searching, coltranesque modal quality, before easing into the funky, down-home exultations of “Joyful Noise”. The suite then winds down as calmly as it began with a solemn “Meditation”, closing the arc of this skybound journey.

The Atlantis Jazz Ensemble was first formed by Pierre Chrétien and Zakari Frantz of The Souljazz Orchestra back in 2013, as an outlet for the more modal, esoteric and spiritual compositions they were exploring outside the confines of their original unit. After the addition of trumpeter Ed Lister, bassist Alex Bilodeau and drummer Mike Essoudry, the Atlantis Jazz Ensemble released their maiden voyage "Oceanic Suite" in 2016, a bold first outing that became a bit of an underground classic, capturing the number two spot on the Canadian radio jazz charts that year (just behind BadBadNotGood’s "iv"), and leading Atlantis to open up live for the likes of Kamasi Washington and Anderson Paak.

However, the wind was somewhat taken out of the group’s sails when their original bassist suddenly moved away to Boston to study with Dave Holland, Cecil McBee, and other jazz luminaries. Atlantis sank into hiatus for a few years, until young double bass phenom Chris Pond blew into town from Eastern Canada, and the group rose up once again in 2022. After a fruitful residency in Ottawa’s hip Somerset Village that summer, perfecting the new set of original compositions that were to make up "Celestial Suite", the quintet hit Metropolitan Studios in the fall, and laid down an especially inspired rendition of the suite, captured with all of the analogue warmth the studio is known for.

"Celestial Suite" is the Atlantis Jazz Ensemble’s 2nd album and is released by Marlow Records on LP, CD, and digital / streaming on October 27th 2023. LP format is meticulously pressed in Canada with the new WarmTone fully automatic, modernised vinyl record pressing system, and comes with download card.

High quality reissue of Steve Lacy's rare Japanese collaboration album Distant Voices. 180gr. vinyl and 4 page insert with liner notes by Julian Cowley. Remastered & Cut by Rashad Becker. Thelonious Monk, Mal Waldron, Don Cherry, Roswell Rudd, Derek Bailey, Musica Elettronica Viva – saxophonist Steve Lacy played with them all. Renowned for remarkable solo concerts that confirmed his mastery of the soprano horn and that carried its instrumental language into previously unexplored regions, Lacy also loved to collaborate with musicians who could inspire him to stretch the boundaries of his own artistry.

Copy closer to NM

"From A Love Supreme to The Sex Machine!" The personal musical mantra of the late Philadelphia reedman Byard Lancaster informed an open-minded and varied lifetime in jazz. Strut presents one of Lancaster's lesser known classics, 'My Pure Joy', recorded in 1992 for Black Fire. Lancaster had initially cut his musical teeth with the avant-garde on New York's Lower East Side in the 1960s (famously on sessions with pianist Dave Burrell and drummer Sunny Murray) and in Paris during the '70s after an appearance at the Actuel festival but, throughout his career, his path was built around community engagement, positivity and "the Philly jazz sound, Germantown style." He became an ambassador for the music of the City Of Brotherly Love, starting his own Dogtown label, helping launch the Philly Jazz imprint and campaigning tirelessly to improve the circumstances of the city's street musicians. Originally delayed by three years because of cashflow issues within Black Fire, 'My Pure Joy' eventually surfaced as one of the label's final CD releases in 1995.

Volker Kriegel is considered the pioneering Jazz-rock and Fusion guitarist from Europe. 1968 was a crucial year for his career as he released "With A Little Help From My Friends," his first solo album, and signed with American vibraphonist Dave Pike, joining what would quickly emerge as one of the most popular and influential jazz fusion combos. This precious document reissued for the first time by Cinedelic Jazz with bonus tracks highlights all his qualities that enabled him to become one of the most acclaimed and innovative guitarists in European jazz. The original album included two recording sessions; Side A in Cologne and Side B in Frankfurt, with different performers. Side A as a trio with double bass and drums, and on the other with the addition of vibraphonist Claudio Szenkar. The covers performed are the two by Lennon-McCartney 'With A Little Help From My Friends' and 'Norwegian Wood’, and the traditional Brazilian 'Nãnã Imborô'. Added to the original album are four previously unreleased tracks of great depth recorded at the Deutsches Jazz Festival in Frankfurt in 1968: "Teaming Up" and "Vian-De" by Kriegel himself, "Spanish Soul" by Szenkar and "Nina's Dance" lasting over 9 minutes and featuring Tony Scott on Clarinet and Gustl Mayr on Tenor Sax. Over the years, Kriegel would go on to participate in over 200 albums.

On his debut album producer and Squama co-founder Martin Brugger hovers through Ambient, (upbeat) Downbeat and unfulfilled build-ups. Conceptualized as a blank soundtrack, the music was sent to fellow artists who shared their visual and verbal associations which became the source for the artwork and tracktitles, effectively making the album a collective effort. Evident in all of his recent projects is Brugger's passion for working and thriving within closely set limits. The only audio sources in the process of making the album were his record player and a Dave Smith Prophet 08 synthesizer. In an antithesis to most sample-based music, Brugger takes the more ephemeral moments of recorded music and uses pitching tools as a magnifying glass to dive deeper into the sound and bare layers that normally remain unheard.

Brasil, the new album by Lee Ritenour and Dave Grusin is a showcase for the unique talents of two of the most successful and influential musicians of their generation. It has been an enduring friendship and collaboration, from playing the famed Baked Potato in Los Angeles in the 70s, to collaborations on Dave’s records and films and Lee’s albums, plus years of touring together on the biggest stages.

Guitarist Ritenour and pianist Grusin began their fervent involvement in Brazilian music half a century ago. And, as boldly demonstrated on Brasil, their new studio recording in several decades dedicated to the genre, their passion remains unabated. Brasil is a bracing survey of contemporary Brazilian sounds featuring some of that country’s most notable young musicians. Also spotlighted are the talents of Swiss born harmonica ace Grégoire Maret and Brazilian vocalist and composer Ivan Lins, whose album Harlequin with Ritenour and Grusin won a Grammy® Award in 1986.

Ritenour and Grusin have made an indelible mark in the music industry. With the release of Brasil, they continue to exemplify how their longevity and success is tribute to their ability to stay on the pulse of the music scene today. “Brazilian music continues to permeate the world,” Lee observes. “So, now was the right time and inspiration to go to Brazil and do this recording.” And their musical magic continues!

This is Archie Shepp caught live at two important European festivals in 1973. At the head of some sort of one-off line up featuring Dave Burrell on piano, Donald Garret on bass along with her partner Zusaan Fasteau on percussion, flute and vocals, and last but not least Muhammad Ali (Rashid's brother) on drums, Shepp, heard on tenor and soprano saxes and piano, delivers a full program of hot renditions of mostly standards by the likes of Ellington, Monk and Davis, plus a couple of pieces written by his regular partners of the time, Cal Massey and Grachan Moncur.

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Johnny’s Disk Record is an independent jazz label run by the owner of jazz cafe Kaiunbashi No Johnny located in Rikuzentakata city in Iwate prefecture, Japan. The legendary label released a string of albums of high quality but down-to-earth music, spanning from modern jazz, avant-garde jazz to left-field pop. Albums such as “farewell my johnny / left alone” and “aya’s samba” has reached cult status among fans as some of the best works to come out of the japanese jazz scene. Another japanese jazz classic, Aya’s Samba was a debut effort by bassist Eiji Nakayama, who played as part of elvin jones’ jazz machine and toured with Don Friedman. This album is an important release in the johnny’s disk catalogue, not only because it is the first ever release, but also because the owner hearing the band play was the reason why the label came to be. “Aya’s Samba” is a mellow jazz samba in minor key that’s considered a japanese jazz classic. Slow ballad “yellow living” is drenched in melancholy with emotive keys and sax notes, while the dreamy “sea sea town” impresses with a captivating, expressive sax solo. The 4 tracker ends with “far-away road,” an uptempo tune with rhythmic keys.

Recorded in St. James Norlands church in London in November 1968 and first released in the following year, this work stands as the first solo bass album in the history of Jazz and improvised music. Born in 1934 in San Francisco, Barre Phillips is one the most influential bassists of his generation. In his long career Phillips has played and recorded with almost everyone in the world of Jazz and beyond, a long list of forward thinking music icons including Don Ellis, Bobby Hutcherson, Dave Holland, Archie Shepp, Marion Brown, John Surman, Paul Bley, Evan Parker just to name a few! Originally recorded as part of a 3 hours session this solo tour-de force expresses the true essence of a genius. A multifaceted, kaleidoscopic journey through a myriad of melodic, rhythmic, fretted and bowed lines. In other words: a true master class and a seminal statement from one of the greatest figures in creative music! ‘...Not just an improviser of the highest order; but a true sound sculptor capable of drawing from his instrument such a vast array of shapes and colours that his creation is almost a form of visual art for the ears.’ Jazzwise

The Psycedelic Freaks is a new alias of Horatio Luna's. The aptly titled debut LP 'Passing Through The Doorways Of Your Mind' is an introspective 70s fusion space odyssey.

An Afrobeat, Psychedelic jazz, funk fusion experience inspired by the Miles Davis's electric era.

Inspired by the genius of Fela Kuti, Miles Davis, Frank Zappa, Dave Holland, Paul Jackson, Carol Kaye, Jimmy Hendrix, James Brown, and Alice Coltrane.

Special thanks to Mandarin Dreams for putting a guitar in my hands and On-Ly for putting a wah pedal in front of it.

‘Earthly Delights’ is a forgotten 1978 free-jazz masterpiece by bass player, composer and improviser David Wertman, alongside his Sun Ensemble.

Born in 1952 and raised in Queens NY, Wertman’s distinctive upright playing style was entirely self-taught. He cut his teeth in the notorious New York Jazz lofts, jamming for hours and hours with the likes of Billy Bang, Arthur Blythe, Marion Brown, Steve Reid, Dave Pike, William Parker, Brandon Ross and Charles Tyler to name but a few.

‘Earthly Delights’ is the first recording by the Sun Ensemble band and features the original line-up of Greg Wall (Baritone Saxophone), Jay Conway (Drums), John Sprague Jr. (Flute and Percussion), David Swerdlove (Soprano/Alto Saxophone), and John Zieman (Synthesizer). John Sprague Jr. financed and produced the album, releasing it on his own label Sweet Earth Records, a short-lived but bountiful imprint, perhaps best known for issuing Sun Ra And His Arkestra’s 1979 album “The Other Side Of The Sun”.

‘Earthly Delights’ is perhaps best described as loosely composed, or highly improvised, depending on where you stand on such subjective matters. Containing just 4 compositions, ‘Earthly Delights’ explores man’s relationship with nature; at times subtle and delicate, at times wide and sweeping in its gestures. The record’s spiritual message is conveyed by heartfelt, virtuoso performances from all six players, drifting together seamlessly from one sonic wave to the next.

Doctor Umezu diva is a japanese sax player Kazutoki Umezu’s one off project which he invited two female artists, one is a legendary marimba player Midori Takada and one more is a vocalist&pianist and half of japanese newwave band colored music in the end of 80’s. This album was one of the best kept secret jazz album from Japan. Dubby from ondas tokyo(he compiled “va/midnight in tokyo vol.2” on studio mule) brought me this record. It was really hard to find as the amount of copies has been very limited. This album is a unique mixture of modern classical sound and avant-garde jazz which is kind of similar with strata east or nimbus.

Dave Tucker says that he brought this disparate group of musicians together for a live performance at London’s Cafe Oto last March on “an educated guess,” predicting that the artists—MARK Sanders (drums & percussion), PAT Thomas (piano & keys), Dave Tucker (guitar) and Thurston Moore (guitar)—would be able to create something extraordinary through improvisation. The condition of their encounter would later become the collective’s name, an Educated Guess and the eponymous title of their first release, the first installment of a two-part volume. The album is another experiment in chance: an eclectic composition of spontaneous performance, layering guitars over complex, sometimes-scattered drum arrangements, and punctuating the noise with distinctive electronic manipulation. Demonstrating their different backgrounds, UK improvised music heroes Thomas and Sanders, already on a few 577 Records’ releases, join forces with UK-based guitarist Tucker (a longtime collaborator with The Fall, Dudu Pukwana, Louis Moholo) and Thurston Moore of Sonic Youth to create something deeply inventive and experimental, pushing the boundary of noise music towards a complicated, dissonant electronica.

Shabaka Hutchings recently announced that he would give his bands Sons Of Kemet, Shabaka And The Ancestors and The Comet Is Coming, as well as his saxophone, a break for an unspecified period of time. His first solo album is a moving suite of primarily instrumental, meditative music that features Shabaka playing a variety of flutes. He invited artists such as Andre 3000, Lianne La Havas, Moses Sumney, Floating Points and others as guests. Shabaka plays Flutes, Clarinet and Shakuhachi.

1. End of Innocence
Jason Moran (Piano) , Nasheet Waits (Drums), Carlos Niño (Percussion)

2. As the Planets and the Stars Collapse
Brandee Younger (Harp), Charles Overton (Harp), Miguel Atwood-Ferguson (Strings)

3. Insecurities
Moses Sumney (Vox), Charles Overton (Harp)

4. Managing my Breath, What Fear Had Become
Saul Williams (Vox), Charles Overton (Harp)

5. The Wounded Need to be Replenished
Nduduzo Makhathini (Piano), Surya Botofasina (Synthesizer), Carlos Niño (Percussion)

6. Body to Inhabit
Elucid (Vox), Brandee Younger (Harp), Charles Overton (Harp), Esperanza Spalding (Bass), Chris Scholar (Electronics)

7. I’ll Do Whatever You Want
Floating Points (Electronics), Laraaji (Vox), Tom Herbert (Bass), Dave Okumu (Guitar), Andre 3000 (Flute), Esperanza Spalding (Bass), Marcus Gilmore (Drums), Carlos Niño (Percussion)

8. Living
Eska (Vox), Miguel Atwood-Ferguson (Strings), Brandee Younger (Harp), Charles Overton (Harp)

9. Breathing
Rajna Swaminathan (Mrudangam)

10. Kiss Me Before I Forget
Lianne La Havas (Vox), Jason Moran (Piano) , Nasheet Waits (Drums) , Carlos Nino (Percussion)

11. Song of the Motherland
Anum Lyapo (Vox), Charles Overton (Harp)

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”.

This was Dave Holland's first album as a full-fledged leader. An album of driving, progressive jazz, it is also of historical significance as the only occasion when Rivers and Braxton, two of the music's most strikingly original saxophonists, recorded together. This summit meeting received raves from the press.

Summit meeting of the two top guitarists Julian Lage and Bill Frisell! Julian Lage ("one of the world's most colorful improvisers" - NY Times) returns with a stunning new album, following his acclaimed 2021 Blue Note debut “Squint”, which Associated Press dubbed “an exuberant, engaging, endlessly inventive exploration of styles”. This time around, Lage expands his eclectic trio of bassist Jorge Roeder and drummer Dave King into a quartet with the addition of none other than guitarist and fellow Blue Note label member Bill Frisell!

Cuckooland is a subtle, eclectic, evocative record of beauty and true originality, deriving its inspiration from jazz, diverse music and cultures from around the world, politics, human relations, hopes and fears. It is a finely-crafted collection of truly modern music and is unmistakeably Robert Wyatt. Also includes guest appearances from Paul Weller, Brian Eno, Dave Gilmour and Phil Manzanera.

Wyatt, on typically modest form in the liner notes to Cuckooland, insisted his voice was now "reduced to a wino's mutter". Possibly as beautiful and assuredly restrained as anything he has done, Cuckooland stands at 75 minutes, Wyatt’s longest work to date. After Brian Eno expressed concern about its length, Wyatt placed a half-minute break in the middle so people could go and put the kettle on. Such sentiments suggest cosiness. But in amongst its light-as-a feather brushstrokes and Wyatt’s own muted trumpet playing, is an ire and barely contained anger both at our inability to be humanitarian and the follies that get carried out in that word’s name.

Now into his fifth decade of recording, Wyatt had done whatever is the polar opposite of mellowing. Hearing Wyatt combine such inspirational common sense thinking, with what was now his trademark intuitively baleful voice and beguiling arrangements, was to hear an artist at the height of their powers.

A kind of hush pervades throughout Standards Vol VI, the latest release by The National Jazz Trio of Scotland, the ironically named project helmed by Falkirk’s musical polymath, Bill Wells, that is neither a trio, nor a jazz band. If this collection of ten covers probably comes closest to the latter in its late night renditions of actual standards, the presence of long-term NJToS member and collaborator Aby Vulliamy as the record’s lone vocalist adds to its solitary air. This follows Standards Vol IV (2018), which featured fellow NJToS co-founder Kate Sugden as primary vocalist, while Gerard Black, a member of the group since 2016, took centre stage in similar fashion on Standards Vol V (2019). Wells has long been a fan of Vulliamy, both of her work as a viola player with numerous collaborators, and as a singer.

Vulliamy played viola on Everything’s Getting Older, Wells’ 2011 collaboration with Arab Strap vocalist Aidan Moffat. Wells went on to play melodica on Vulliamy’s solo record, Spin Cycle, released on Karaoke Kalk in 2018. With the intent of producing the saddest heartbreak record ever made, Wells sourced a back catalogue of miniature epics, reinterpreting each tale of everyday yearning to make a canon of melancholy loungecore designed for nights in alone, if not always lonely. Beyond the concept of isolation behind Standards Vol VI, practical concerns added to the affair, with Wells recording backing tracks at home in Glasgow, while Vulliamy added her voice from her home in Yorkshire. The result on Standards Vol VI is a thing of quiet beauty that sees Wells and Vulliamy reimagine a panoply of pop classics in their own aloof sounding image.

Shades of Margo Guryan and Claudine Longet abound in Vulliamy’s delivery over Wells’ woozy, low-slung guitar and piano, with samples culled from a session with Teenage Fanclub’s Norman Blake. Little electronic percussive clicks and hisses lend things an even more otherworldly air on a record bookended by opener, Donovan’s proto hippy classic, Catch the Wind, and Dixieland miniature, Careless Love. The eight points in between take in a first half led by The Beatles’ normally jaunty We Can Work it Out, flipping the loveable mop-tops’ perky optimism for something more soul searching. This is followed by I Wish You Love, Albert Beach’s English language version of French songwriter Charles Trenet’s evergreen, Que reste-t-il de nos amours. The Bee Gees lost classic, To Love Somebody, is up next, with more impossible to answer questions coming in Why Can’t I?

The latter is a Rodgers and Hart composition that first appeared in the duo’s 1930 Broadway musical, Spring is Here, in which the show’s two heroines commiserate each other over their shared loneliness. Wells stumbled on the song in a tatty Rodgers and Hart songbook, which, like its subjects, had been left on the shelf before he and Vulliamy brought it in from the cold. The second half of Standards Vol VI leads with Matchmaker, Matchmaker, Jerry Bock and Sheldon Harnick’s much covered evocation of a pre dating app era from their 1964 hit musical, Fiddler on the Roof. This is followed by Billy Rose and Dave Dreyer’s showbiz staple (with Al Jolson also taking a credit), Me and My Shadow. While made famous by showbiz double acts ranging from Frank and Sammy to Robbie and Jonathan, here it flies decidedly solo. Johnny Mercer and Hoagy Carmichael’s Skylark comes next, a song inspired by Mercer’s yearning for Judy Garland. We hear ya, bub. The most downbeat take on Bacharach and David’s The Look of Love you’re ever likely to hear comes next, ushering in the short farewell of Careless Love, before the lights are turned out forever. Yeah, well. Whatever gets you through the night…

Strut presents a brand new reissue of Juju"s powerful Afrocentric album "Chapter Two: Nia" from 1974, originally released on Strata East.

Strut presents an exclusive reissue of Oneness Of Juju"s classic 1976 album Space Jungle Luv, an essential addition to the Black Fire Records reissue series.

Strut continue their in-depth work with Oneness Of Juju"s Plunky Branch with the first ever reissue of the powerful 1973 album for Strata-East, "A Message From Mozambique". The roots of JuJu started in San Francisco after Plunky had met his musical mentor, Zulu musician Ndikho Xaba, helping to form his band Ndikho and The Natives. Three members of The Natives (Plunky, bassist Ken Shabala and vibes / flute player Lon Moshe) then joined Marvin X"s theatrical production The Resurrection Of The Dead, joining local musicians Al-Hammel Rasul (keyboards), Babatunde Lea (percussion) and Jalango Ngoma (timbales).

- First time reissue, remastered by Stephan Mathieu- New liner notes by Clifford Allen- Download code included- For Fans of Philip Glass, Barre Philips, ECM//4 Cuts Placed In "A First Quarter", the companion piece to Solos,is the sonic result of a collaboration with artist Lawrence Weiner.As Landry remembers, "I was working for Keith Sonnier at CastelliGallery and met Lawrence. He asked `can you make a video forme?' So we did "To and Fro..." At some point he was working on"A First Quarter" (1973) and wanted me to do the music. I said `Ialready have the music.' He said `what do you mean?' I hadrecorded several pieces with Kurt Munkcasi and walked around theset playing the music on a boom box."The set features one solo each by Landry and contrabassist RustyGilder, a duo for the tenor saxophones of Landry and RichardPeck, and an ensemble piece for Landry, Peck, Gilder, trumpeterRobert Prado, and drummer David Lee, Jr. Starting the record offis "Requiem for Some," inspired by Gil Evans' long, placid tones.The anchor is Lee's dry cymbal attack and fancy footwork,dancing around overlapping and recombining horns, chords heldjust shy of splintering. "4th Register" is a grainy delayed solotenor piece, presaging "Kitchen Solos" from Fifteen Saxophones byseveral years. "Piece for So" was, according to Landry, "a chanceto give Rusty a solo". Mostly known as an ensemble bassist,Gilder bounced between Lafayette, Charlotte, and New York,leaving a slim recorded legacy. Here, he stretches out for twelveminutes and change - with keen upper register detail and meatyup-tempo walk, he could have been mentioned in the same breathas players like Dave Holland and Barre Phillips. The closing "DuoVivace" finds Landry and Peck sparring on tenors, the latterholding a melodic line while Landry leans into explosive glossolalia,until both become birds in flight.

Keyboardist, bandleader and composer Dave Brubeck is the man the New York Times credited with 'helping make jazz popular again in the Fifties and Sixties. He did not always please the critics (but) the oppositional push and- pull between his piano and Paul Desmond's alto saxophone make the Brubeck Quartet's best work still sound original.' In Britain, the Daily Telegraph called Brubeck 'one of the most famous jazz musicians of the 20th century', adding that 'his recording of "Take Five" remains one of the few jazz records instantly recognised by members of the general public.' But, as fans know, there was more to Dave Brubeck's music than one composition or album. Dave Brubeck left a legacy of material that outlives the time and place it first came into being.

A Willed and Conscious Balance is the first album of material arranged for an ensemble by multi-instrumentalist composer Tomin Perea-Chamblee.The bulk of the album was recorded in one day at The Bunker in Brooklyn, NY by IARC house engineers Dave Vettraino and David Allen, and features a truly incredible lineup that includes members of Irreversible Entanglements and jaimie branch"s FLY or DIE. Tomin"s work with this group of veteran musicians is singular though, instantly setting this material apart from the discographies of its contributors.

Missori is an instrumental, library music concept album dedicated to the city of Milan by Alberto Bazzoli, musician and composer. Graduated at the Frescobaldi Conservatory of Ferrara, he has collaborated in recent years with Alessandro Ristori & the Portofinos, Superpop (of which he is co-founder with Gianni D'Amato) and the Baustelle, with whom he recorded the latest album "Elvis."

Missori, produced by Jolly Mare, is the new album, released with the artist's independent label, "Icaro Musica." The album explores vintage sounds typical of Italian melodic soundtracks of the 1970s, through a variety of synthesizers and electronic keyboards. Listening goes by together with a track by track photos, made by Dave Masotti, that can be found inside the vinyl.

In 1972, trumpeter Baikida Carroll and some of his colleagues from the Black Artists Group took the advice of their friends in the Art Ensemble Of Chicago and left Missouri to discover the bright lights of Paris. The following year they would even get the chance to record their only album which would rapidly attain mythical status and a collector’s item: »In Paris, Aries 1973«, an essential album if you are a fan of free-wheeling avant-garde music from the Art Ensemble of Chicago to Sonic Youth and including Shabaka Hutchings and Rob Mazurek

TSF Jazz présents 100% Jazz, the Nd1 collection of Jazz on vinyl !Rediscover the most iconic artists of the genre with tracks sélected by David Koperhant (head of music at the TSF Jazz Rasio).From Dave Brubeck to Herbie Hancock or Miles Davies, 20 of the best jazz track ever recorded!!

'Loukoumades' is the latest album from the Dave De Rose led international improvisation project Agile Experiments, released in full on November 15th on None More Records.
The title 'Loukoumades', which is the Greek word for doughnut, was inspired by J Dilla's album "Donuts", tipping the hat at the connection between the Greek location of the sessions, the musical style of Penka's hip-hop/funk drumming and the Agile Experiments avant-garde sonics the project was founded on. The record is built on breaks and beats layered with eerie loops and effects, calling on hip hop, post-punk, psychedelia, dub and further out-there experimental textures. 'Loukoumades' brings to mind the textures of El-P's production work for the likes of Cannibal Ox or DJ Shadow in his Endtroducing era, whilst the live drums and bass guitar give the album a real energy and tightness reminiscent of Portishead's Third or Can at their funkiest.

Lonnie Smith’s 1970 album 'Drives' was a showcase of the organist’s sense of adventure and indomitable groove. With Dave Hubbard on tenor sax, Ronnie Cuber on bari sax, Larry McGee on guitar, and Joe Dukes on drums, Smith delivers funky takes on hits 'Twenty-Five Miles' and 'Spinning Wheel', plus a fleet version of Miles Davis’ 'Seven Steps to Heaven'.
This Blue Note Classic Vinyl Edition is stereo, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

A deep dive into the one of most collectable jazz catalogues in the world, a selection of some of the rarest and most sought-after recordings from the 60s and 70s, a time when British jazz began to find its own identity. Drawn from the iconic labels of Decca, Deram, Argo, EMI Columbia/Lansdowne Series, Fontana, Mercury, & Philips. If one were asked to pick an album that represented the best of British jazz in the 1960s, Le Déjeuner Sur l’Herbe by the New Jazz Orchestra would be a serious contender. Recorded in September 1968, it draws together many of the key streams that had developed in British jazz in the preceding years, and also presages much of what was to come. Notwithstanding the line-up, which includes some of the very best British jazz musicians directed by an inventive and ingenious leader in Neil Ardley, the session features pieces written by the most distinctive jazz composers active in Britain at that time alongside idiosyncratic interpretations of works by John Coltrane and Miles Davis. And it’s all captured beautifully by engineer Howard Barrow and producer Tony Reeves and it features a stella cast of some of the greatest musicians, not just from that era or genre but beyond; Jack Bruce, who would become one of the founding members of Cream, Barbara Thompson, Ian Carr, Michael Gibbs, Dave Gelly, Dick Heckstall-Smith and Jon Hiseman, who went on to form one of the greatest jazz/progressive/rock bands – Colosseum.

On March 8 2023, nine-time Grammy winning singer, songwriter, and pianist Norah Jones will release her ninth solo studio album "Visions", a collaboration with producer and multi-instrumentalist Leon Michels with Norah on vocals, piano and keyboard, guitar and bass and Leon playing drums, bass, guitar and baritone saxophone (featuring Brian Blade/Drums, Dave Guy/Trumpet and Jesse Murphy/Bass on some tracks).



Visions is a vibrant and joyous 12-song set that finds Jones singing about feeling free, wanting to dance, making it right, and acceptance of what life brings. It’s the yang to the yin that was "Pick Me Up Off The Floor", Jones’ last album of new original songs which was released early in the pandemic lockdown of 2020 and foreshadowed many of the dark emotions of that period.

• SLEEVE PRINTED ON HEAVY CARDBOARD WITH LINEN LAMINATE FINISH
• INCLUDES COMPOSITIONS FROM ROGIER VAN OTTERLO, ANTONIO CARLOS JOBIM, DAVE BRUBECK AND PAUL SIMON
• LIMITED EDITION OF 500 INDIVIDUALLY NUMBERED COPIES ON WHITE COLOURED VINYL

Toots Thielemans was a jazz harmonica virtuoso from Belgium. Together with pianist Karel Boehlee, bassplayer Hein Van De Geyn and Hans van Oosterhout on drums Toots recorded, as the European Quartet, the album 90 in 2012. The album features two compositions from Antonio Carlos Jobim, "Wave" and "One Note Samba", "Dat Mistige Rooie Beest" from Rogier van Otterloo, "In Your Own Sweet Way" from Dave Brubeck and 7 more tracks.

90 is available as a limited edition of 500 individually numbered copies on white coloured vinyl.