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Slow Burn: A feeling that grows with a slow but deliberate intensity. That sums up Boney James' music, career and the vibe of his newest album. The iconic 4x Grammy-nominated sax man's 19th album is another deliberate step on his creative journey. Featuring legendary jazz/R&B artists Marcus Miller and Cory Henry, the record also spotlights R&B's next superstar, October London. With 10 songs, 8 originals plus homages to Herbie Hancock and Stanley Turrentine, Slow Burn is Boney James at his best. CD Digipak.

180-Gram Vinyl Limited Edition of 500 copies. Described by Matthew Garbutt on AllMusic as "one of Mexico's national cultural treasures", the award-winning drummer, composer, arranger, and bandleader Tino Contreras (1924-2021) recorded and performed internationally for more than 60 years. Blending Latin American music with jazz, he created his own original and adventurous sound. In 1957, Contreras formed his first quartet, which reflected an almost bewildering range of influences. Some key albums from this period include Jazz Tropical (presented here) and Jazz a Paris (both from 1962), Jazz Ballet (1963), and Misa en Jazz (1966). All throughout his extended career, Contreras remained a champion of the jazz form in Mexico, winning the National Festival of Jazz award each year between 1959 and 1966. THE COMPLETE LP + 2 BONUS TRACKS -180 GRAM VIRGIN VINYL - LIMITED EDITION

Originally released in 1974 on pioneering jazz label Strata-East, ‘The Sojourner’ by the incredible Ensemble al-Salaam would become one of the label’s most sought-after records. A highlight of the spiritual jazz movement, the record sees a band at the height of their powers, perfectly in sync as they express their spirituality through one ethereal groove after another. Album opener “Music is Nothing But a Prayer” sets the tone for the album, as gentle piano arpeggios, warm flute improvisations, and spacy guitar combine with the haunting vocals of Beatrice Parker to create a sonic atmosphere which seems to wash over you with every passing beat. The song picks up as a repeating bass riff emerges, with blaring saxophone improvisations contrasting with Parker’s clear vocals - yet nothing ever clashes. In comparison to the enveloping avant-jazz of “Music is Nothing But a Prayer”, “Malika” takes inspiration from late-career Coltrane, with sheets of sound-esque saxophone solos set to breakneck rhythms. “Peace (Salaam)” sees the group return to warm spiritual tones, complimenting a beautiful melody to bring the album to a close.

For years, the only way to get your hands on this record was to spend your entire life savings, or pray that you stumbled upon it at a yard sale. With our previous two pressings selling out almost immediately, we knew we had to give this legendary record a third pressing. P-vine is proud to be repressing this phenomenal album for the third time, now with a new and improved obi-strip!

Milo MacMahon and Raúl Indipwo, arrived to Portugal in 1959 and, over next three decades, they developed an international career in the music industry.

In addition to Portuguese and the various Angolan languages, the group recorded songs such as “Sylvie”, “La Kwela” and “Le Palmier” in French, among others, and also covered Latin American, Spanish-speaking, Brazilian and even North American repertoires, where on their various tours they came into contact with the struggle for the Civil Rights of the black population.

In 1969 Duo Ouro Negro went on tour to the United States. Their experience there was decisive for what we would come to know three years later. “Don't forget your blackground”, Raul Indipwo would exclaim in 1972, the voice of ‘Blackground’, the Angolan band's landmark album. Awakened to the activism of Black Power, attentive to the jazz that was being created on American soil, combined with an interest in the independence movements of the African colonies, what was then the most international of Portuguese bands recorded an album in Lisbon that was a vibrant cultural statement through music.

In 1981, “Blackground” was revised with new arrangements, including the instrumental “Dança do Robalinho”. Jazz-Funk at its best and now reissued for the first time in 7” format. You can't miss this jazz-funk gem made in Angola.

180-Gram Vinyl Limited Edition of 500 copies. Known as the "Giant of the Keyboards", Carlos Manuel "Charlie" Palmieri (1927-1988) was born in South Bronx, New York, after his parents migrated from Ponce, Puerto Rico, in 1926. During his extended career, Palmieri worked with his brother Eddie, Celia Cruz, Tito Puente, Herbie Mann, Ismael Rivera, Rafael Cortijo, Ismael Quintana, Bobby Capó, Mongo Santamaría, Cal Tjader, and Ray Barretto, among many others. Presented here is the complete album Easy Does It, recorded in 1959 and featuring him as the main soloist in a quartet only including his piano plus bass and percussion. 180-GRAM VIRGIN VINYL LIMITED EDITION OF 500 COPIES

180-Gram Vinyl Limited Edition of 500 copies. The music here marks a fundamental chapter in the evolution of Jesús "Chucho" Valdés' career and development into one of the finest jazz pianists in the world. The concepts that he brought to fruition in the Quinteto Cubano de Jazz, the Orquesta Cubana de Música Moderna, and Irakere, have their roots in the band Chucho formed at the beginning of the 1960's, which due to limited distribution has received little attention from specialists and jazz lovers alike. Chucho's album Jazz Nocturno was recorded in the early 1960's. During the years in which he worked for the Havana Musical Theater Orchestra, he formed his own combo with friend Carlos Emilio Morales on guitar, Paquito D'Rivera on sax and clarinet, Enrique "Kike" Hernández on bass, Emilio del Monte on timbales, Julio Vento on flute, Alberto Valdés on trombone, and Oscar Valdés on congas. It is worth noting Chucho's exclusion of the traditional drum set, considering his intention to play jazz. THE COMPLETE LP + 3 BONUS TRACKS - 180-GRAM VIRGIN VINYL - LIMITED EDITION OF 500 COPIES

Tribe 2000 is a performance featuring Tribe Records founders Phil Ranelin (trombone) and Wendell Harrison (saxophone). The release is a celebration of Ranelin and his accomplished career, with four out of it's five compositions being penned by him. Recorded in 2000, the session reunited the nucleus of the influential Detroit label at the behest of Harrison, while also bringing numerous seasoned side musicians into the fold to flesh out the arrangements. The project underscores the brilliance of one of the most innovative collectives in jazz music.

In 2009 Jim Hart first came together with Michael Janisch and Dave Smith to create Cloudmakers Trio. Since then their powerfully original vision has grown and sustained an international touring career, keeping them at the forefront of contemporary instrumental music in an exciting, horizon-spanning space where jazz, European improvisation, rock and global beats co-exist in an ever-shifting skyscape of creativity. Through all their various collaborations, the vibes-bass-drums trio has remained the core of the Cloudmakers sound. Now, fifteen years after their inception, the concept has come full circle with the inclusion of a new collaborator, the Grammy-winning Argentinian piano master Leo Genovese, already a veteran of the bands of Esperanza Spalding, Jack DeJohnette, and Wayne Shorter. The quartet went into the fabled Abbey Road Studio 3 to record with legendary engineer Sam Okel.

London-based keyboardist and composer Greg Foat is back with his new album, 'The Rituals of Infinity'. Greg's first memory with the piano goes all the way back to his Aunt's house at aged 3 - where he fell off the piano stool. Since then, his relationship with the piano has evolved into a fulfilling, and successful career. He began taking an interest in composing at the age of 11, and truly ignited his love for Jazz after attending a workshop with Jeff Clyne, Olaf Vas, Trevor Tomkins and Nick Weldon at the age of 15. He then studied jazz at Middlesex University, followed by 6 months in Sweden on an Erasmus grant which lead to his first professional studio session there at 21. Greg has worked as a professional musician ever since, and has moulded and wonderfully multifaceted career within the Jazz music genre. Greg is planning a debut performance of 'The Rituals of Infinity' at Worthy Earth Festival in late September, in Hampshire.

'The Rituals of Infinity' album is inspired by many of things. Some titles are named after some iconic science fiction books such as The Rituals Of Infinity, A Private Cosmos, The Dark Labyrinth and The World of the Red Sun. Minerva's Owl, on the other hand, is about the Ancient Greek Legend. "The owl of Minerva takes flight only at dusk." so wrote G. W. F. Hegel, the nineteenth century's major philosopher of history. By that he meant that any given phase of history can be understood only in retrospect — after it's over. A beautifully fitting closing of the album. The album features the legendary Art Themen on Soprano and Tenor Saxophones, Trevor Walker on Trumper and Flugel Horn in a fine supportive role harmonising with Katherine Farnden on Cor Anglais. Natcyet Wakili has such a fluid approach to the drums which really makes the album special, alongside Jasper Osbourne on Bass Guitar. Shawn Lee also stopped by the studio with his horror movie classic waterphone - adding some eery atmospheric finishing touches to the album.

Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recordingartists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esquesound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over-dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of textures. Rendered in the stark beauty of Andersen"s bass lines, the nuanced strokes of Sommer"s drums, and capped with the lush, expansive timbres of Luft"s guitar, "As Time Passes" is a testament to the enduring and ever ever-evolving wonder of Jazz.

Why you'll love it...
Phil Ranelin recently suffered a debilitating stroke. His family and friends have started a GoFundMe to support his recovery, which you can donate to here.

He's back, and he's here with a dazzling album that puts his talents right at the forefront. Phil Ranelin's Infinite Expressions is the first album he has released in 10 years. A trombonist and co-founder of Detroit's TRIBE Records, Ranelin is a cornerstone to the jazz community. Throughout his long career, he has worked with artists like Freddie Hubbard, Stevie Wonder, Ella Fitzgerald and more.

Phil Ranelin shared, "In the 1970's, I composed a album entitled 'The Time Is Now', so once again time is the theme, motivation & inspiration...

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He's back, and he's here with a dazzling album that puts his talents right at the forefront. Phil Ranelin's Infinite Expressions is the first album he has released in 10 years. A trombonist and co-founder of Detroit's TRIBE Records, Ranelin is a cornerstone to the jazz community. Throughout his long career, he has worked with artists like Freddie Hubbard, Stevie Wonder, Ella Fitzgerald and more.

Phil Ranelin shared, "In the 1970's, I composed a album entitled 'The Time Is Now', so once again time is the theme, motivation & inspiration..." data-full="

Phil Ranelin recently suffered a debilitating stroke. His family and friends have started a GoFundMe to support his recovery, which you can donate to here.

He's back, and he's here with a dazzling album that puts his talents right at the forefront. Phil Ranelin's Infinite Expressions is the first album he has released in 10 years. A trombonist and co-founder of Detroit's TRIBE Records, Ranelin is a cornerstone to the jazz community. Throughout his long career, he has worked with artists like Freddie Hubbard, Stevie Wonder, Ella Fitzgerald and more.

Phil Ranelin shared, "In the 1970's, I composed a album entitled 'The Time Is Now', so once again time is the theme, motivation & inspiration for a Phil Ranelin project All of the positive flow of energy and love that surrounded me, gave me the courage to precede with the idea of recording a album that would represent a 2020 version of myself; Infinite Expressions is in fact , a true labor of Love!"

" >

There was no doubt in Snorre Kirk's mind when he first heard clarinetist and saxophonist Giacomo Smith in London. He immediately knew he had met a man on the same musical wavelength. Then, on Giacomo's recommendation, pianist Joe Webb joined the party, and the stage was suddenly set for a change in Snorre Kirk's work and celebrated career as drummer, composer, and bandleader. The first meetings took place in 2019. The following year, the coronavirus put the music scene on standby, and it wasn't until 2023 that the quartet, which included Giacomo Smith, Joe Webb, Danish bassist Anders Fjeldsted, and Snorre Kirk himself, came together and became what would be his current and permanent primary project. What A Day! is the first release with the new line-up, and the quartet is complemented on three tracks by Alexander Bouton, who fills the role of rhythm guitarist in the same spirit Freddie Green did with Count Basie's band. People are listening and like what they hear - Snorre Kirk's music has palpable appeal. Over the years, his popularity has grown, and he often sells out concerts on European stages. His last album, Top Dog, was in the top 20 on JazzWeek's chart of the most played jazz releases on American radio stations in the Spring and Summer of 2024. It held the number one spot for four weeks - a rare honor for a European jazz musician. Giacomo Smith - alto & soprano sax; Joe Webb - piano; Anders Fjeldsted - double bass; Snorre Kirk - drums; Alexander Honey Boulton - guitar Side A:1. Opening Night2. Palagio Shout3. Fontainbleau4. HoneySide B:1. A Thing Like That2. One For The Road3. Blues Beat

Presenting the genre defining and much hip hop sampled Ambient Jazz Ensemble. AJE’s Colin Baldry has a highly accomplished career in music writing and producing for iconic labels Motown, RCA, Geffen, Virgin and Capitol Records

London Fields describes London energy, vibe, anticipation; ‘fields' of electricity. The phrase conjours some-thing of my own relationship with London. Having moved away after living & working there for 20 years I’ve recently fallen in love with the city again. I've been walking the streets, rediscovering it’s parks, canals, the architecture, the river; … & experiencing new music in London is always a joy. The 'London Fields’ have re-captured my imagination

Ensoul delivers sparse felt piano before Lynsey Ward releases her inner Kate Bush. Locked inspired initially by Tony Robert-Fleury’s 1891 painting ‘Alix Appearing in Mask’. And then the collaboration with singer song-writer Lynsey Ward an inspiration and a joy which comes across in the music

In a career full of bold, genre-blending statements, Wendy Eisenberg’s double album Viewfinder is their boldest yet. Viewfinder is about what happens when you reach clarity and it throws you off-balance, and what it means to love something without understanding why you love it. Eisenberg leads a large band of NYC jazz musicians, including Booker Stardrum (drums) and Chris Williams (trumpet). Together, they push the boundaries of jazz into songcraft, songcraft into art song, and art song into jazz, cementing Eisenberg’s work as a guitarist, improviser, composer - and establishing Eisenberg as a singular talent in 21st-century jazz.

LES Doigts L'homme: 20 Years OF Musical Reinvention AND A Bold NEW ALBUMSince 2003, the year of the release of their first album, the jazz group Les Doigts L'Homme have never stopped reinventing itself, constantly challenging its aesthetic and artistic direction. This emblematic group initially rooted in the gypsy style, has evolved towards an acoustic jazz enriched by a more modernculture, and now has its own unique style.To mark its 20th anniversary, Les Doigts L'Homme is embarking on an ambitious musical project. rather than opt for a retrospective tour of its best-known songs, the band has chosen to create a brand new double album.album. 23 tracks of creative, guitar-driven, colourful and demanding jazz.This project will include an acoustic album reflecting the evolution of the group's musical career and a more electric and jazz album illustrating the evolution of the group's sound.illustrating the path taken towards an ever more original and personal approach.Les Doigts L'Homme, nurtured by years of encounters and sonic discoveries, is ready to unveil without restraint the breadth of its multiple facets, made possible by a partnership based on two decades of musical life together.And in keeping with tradition: with each new album, a new guest instrument! This time it'sdrummer Pierre Rettien joins the team to illustrate this move to electric.Erratic, The Art of Roaming promises to be a landmark work, celebrating the heritage and innovation of this group and innovation.This new opus is produced on the Lamastrock label, with which the group has enjoyed a loyal collaboration for over 20 year

Tip!

Polido has been fantasizing with the idea of free music throughout his artistic career. Free from restraints, logos, musical genres, but also from this modern obsession with narratives, plans, business plans, algorithms and bubble wrapped ideas for comfort of those of you that can’t breathe without everything making sense.
“Hearing Smoke” has nothing of that. It has been four years since Holuzam released the double album “A Casa e os Cães / Sabor a Terra” and for four years I have been daydreaming about what would come next. This is it, eleven new pieces about the future of the future of music. It is the result of years of study, research and sound consolidation. Sound as matter, mutating, transforming, absorbing all around, a shapeshifting entity connecting with the principles of freedom.

"Polido has been researching Portuguese contemporary composition, its very own sounds and ideas. Its origins, the web of repression, tension and censorship before the April 25th revolution in 1974; secondly, as an afterthought, freedom, equality and a unique sense of community and belonging screaming through the music. He absorbed those states of mind and made an album that listens to the current world and presents globalization as a mental trap.
If the music that inspired him somehow comes from a post-colonial world, “Hearing Smoke” questions how we can create something new in this permanent state of cultural colonization, where new trends or forms of music only thrive if they are accepted by the dominant cultures. The physical world has been transformed, but ideas like “world music” or “ghetto music” still show that dominance, the Strange can only be accepted if it incorporates the rules and codes of that dominant force. What I am saying is that it is hard for Portuguese musicians to present themselves as original. They will never have that credit unless the music relates to something that exists in another

realm. Never for their benefit, but for the power of association. I may sound arrogant here, but Polido is unique, original, one of a kind (all those words, all those redundant synonyms). I knew it four years ago when I got lost in the way “A Casa e os Cães” is assembled and how he makes something memorable out of the most commonplace conversations. “Hearing Smoke” continues the flow and puts us in the centre of these ever evolving masses of sound.
Somehow his music finds you, it starts speaking with you until it asks you to be a part of it. Polido’s beats and harmonics are combined in such a tender way that you mellow out while listening to these beats - thinking of the brilliant “Saque”. Even when he exposes you to something more harsh - “Canto D’Amorte” or the closing moments of the last track “Custa A Crer” - there’s still a cradle effect.
But what keeps me returning to this album is how it seems to transform in my ears. Not every time I listen to it, but while I am listening to it. The sound seems to move, embracing me and controlling my inner thoughts. These start to move along at the same pace, with the same feeling of cloudiness. Nothing new here, the thing is how it feels different from time to time, how the music, because of something that changes or moves, comes as a catharsis/revelation. It drives me nuts how the beats come and go in tracks like “Fogo Firme (Encomendação)” or “The More I Think, The Less I Can Speak“, leaving everything suspended and, simultaneously, relieved. When dramatic - ”Prova De Existência“ - it is sad af and gorgeously epic.

Trap, bass music, dubstep, ambient, hauntology and contemporary music flow side by side here, no pushing around, free of interpretation, and you are free to feel or listen to whatever you want in “Hearing Smoke”. That’s free music for you. Not a hard concept, something for you to enjoy, feel, reflect about. This is what the future will sound like."

André Santos // Holuzam

A decade into his recording career, pianist Horace Silver made the album that would endure as the crown jewel of a catalog that boasts numerous hard bop classics. Song for My Father captured the transition of his quintet with two tracks taken from an October 1963 session with Blue Mitchell, Junior Cook, Gene Taylor, and Roy Brooks. A year later Silver entered Van Gelder Studio again with a new band featuring Carmell Jones, Joe Henderson, Teddy Smith, and Roger Humphries for a session that yielded four more cuts including what would become his signature tune, “Song for My Father,” a dedication to his father that was inspired by both his Cape Verdean heritage and the music Silver had heard on a recent trip to Brazil.

Merope's most experimental and open-minded full length to date, Vėjula is a celebration of collaboration and playfulness, and features appearances from Shahzad Ismaily, Laraaji and Bill Frisell. Like its predecessors, the duo's fifth album still roots itself in Lithuanian folk forms, but sprouts out spiritedly from that point into unfamiliar landscapes, muddling ancient themes with contemporary philosophies, concepts and technology. Delicate instrumental sequences and ethereal vocals are woven into a rich tapestry of subtle synth work and evocative field recordings. On 'Kouma lil', Indrė Jurgelevičiūtė and Bert Cools experiment with digital images of the kanklės (a traditional Lithuanian chordophone), and Jurgelevičiūtė's voice, blurring the boundary between the organic and the artificial, while on 'Suiakmo, French percussionist Toma Gouband adds percussion from his custom-made sounding stones to Jurgelevičiūtė's gentle words and Cools' surreal, sensuous electronics. 'Vėjula' is an album that reaches into the unknown without loosing its tight grip on the past. Merope are in a new creative phase of their career, and they've never sounded quite so universal, or so vital.

A luminous soul with an indefatigable love for music, few artists have had careers as varied and successful as Izumi ‘Mimi’ Kobayashi. One of Japan’s leading jazz-funk pianists, she wrote and recorded cult albums with fusion legends at home and abroad. Obsessed with new electronic instruments, she penned some of the country’s most well-known TV themes and pioneered the use of drum machines in anime soundtracks.

A star in Japan, she moved to Europe to record global hits with Depeche Mode and Swing Out Sister, toured the world with the Reggae Philharmonic Orchestra and made beats with Attica Blues’ Tony Nwachukwu. Now based in London, Mimi currently fronts Tokyo Riddim Band - the intergenerational live Japanese Reggae outfit born from Time Capsule’s acclaimed 2023 compilation of the same name - playing live shows and releasing a trio of recordings made at Prince Fatty’s studio.

Choice Cuts 1978-1983 collects eight recordings from four of Mimi’s first five albums – Sea Flight (1978) recorded with her group Flying Mimi Band, and Coconuts High (1981), Nuts Nuts Nuts (1982) and Tropicana (1983) under her own name.

The compilation opens with a syncopated electro-funk cover of Sergio Mendes’ iconic ‘Mas Que Nada’ (Tropicana) and the crisp and stripped back techno-pop of ‘Coffee Rumba’ (Nuts Nuts Nuts) with a keyboard bass line that would have made Stevie Wonder weep.

Alongside the off-beat synth jam ‘Quiet Explosion’ (Nuts Nuts Nuts) and piano samba of ‘Espresso’ (Tropicana), there’s space for two low slung soul-jazz numbers, ‘Naze’ and ‘Angel Sky’, from Sea Flight (1978) that recall the collaborations between Herbie Hancock and Kimiko Kasai. But it is around the two tracks from Mimi’s 1981 album Coconuts High that this compilation revolves (and from whose cover shoot it borrows).

Released on legendary guitarist Takanaka’s Kitty Records label, Coconuts High was recorded in LA with a backing band of jazz fusion icons, including Alex Acuña, Abraham Laborial, Harvey Mason and the Tower of Power horns. A riot of playful Latin-tinged jazz, funk and fusion with the off-beat spirit of Kid Creole & and the Coconuts, the album became a cult hit, attracting huge sums on the resale market. Here it’s the sultry, Minnie Riperton-esque ‘Crazy Love’, with its addictive groove and bittersweet melodies that makes the cut, alongside the steel drum-infused carnivalesque bounce of ‘Palm St’.

Capturing a highly creative and prolific moment in Mimi’s career, Choice Cuts 1978-1983 will introduce the idiosyncratic energy and playful verve of this under-the-radar pioneer to a wider audience for the first time. Welcome to the world of Izumi ‘Mimi’ Kobayashi. Once you enter, you won’t want to leave.

Why you'll love it...
With 1975’s Trident, McCoy Tynerfinally achieved his true vision for the piano trio. In an era that finally — and firmly — established Tyner in the upper echelon of jazz masters, adored by critics, set at the top of festival bills and heartily supported by the record-buying public, Trident stands at the pinnacle of his brilliant album run from that decade.

Trident might not seem as ambitious as Tyner’s other ’70s outings, but don’t let its near-monochromatic gray and silver cover of McCoy by the ocean fool you; just beneath its surface is the heaviest, most vivid and deep music of his career. Trident finds him coming full circle, realizing his — and just about any fantasy jazz fan’s — dream piano trio. Call it Money Jungle for the new decade, only one featuring cogent and telepathic alignment rather than clashing intergenerational conflict. Three titans, three defining masters of their instrument, with thousands of recording dates between them.

Why you'll love it...
The phrase “standards album” was unheard of in 1973, yet within 20 years it had become common parlance in the careers of artists going back to the basics to underscore their vocal prowess. With A Little Touch of Schmilsson in the Night, Nilsson created the template of the solo contemporary singer accompanied by a live orchestra, which set the bar for what followed from Rod Stewart, Linda Ronstadt, Bryan Ferry, and countless others. The decision to make an album like this one would have been unusual for any contemporary artist around at that time, but it was especially strange for Nilsson. His two most recent rock albums had been incredibly successful, and RCA was surely clawing for another guaranteed hit, but, for Nilsson, this was just another twist and turn in his career.



It is mind-boggling how far ahead Harry Nilsson was in recording A Little Touch. But where other musicians have turned to a standards album as a way to extend or even resurrect their career, Nilsson made one at his absolute artistic peak. No one has had the guts to do it like he did, before or since — and Nilsson knew it.

Paddan's Sigtryggur Baldursson and Birgir Mogensen are lifelong friends from Kópavogur, Iceland, who started as mates on the local football team, then graduated to making music together as teenagers, and even later as young men doing time in the experimental punk collective Kukl, from 1983 - 1986.

Kukl was populated by survivors of the post-punk scene in Iceland in the early 80s, which is well documented in the film Rock in Reykjavik from 1982. The band was released by the Crass collective in London and featured members, apart from Birgir and Sigtryggur, like Guðlaugur Óttarsson, Einar Melax, Björk and Einar Örn, some of whom would become better known later in outfits like the Sugarcubes and their respective solo work and other collaborations.

Sigtryggur has a long career in music, having worked with among others, Emiliana Torrini, Howie B, Les Negresses Vertes, Tomas R. Einarsson, Petur Ben, KK, Kaktus Einarsson, and many many others. He also produces an award-winning documentary music show for RUV called Hljómskálinn.

Birgir Mogensen is a classically trained classical guitarist and bass player who has worked through the years with artists ranging from Kukl to Killing Joke to Spilafifl and Inferno5.

Birgir and Sigtryggur formed Paddan during the 2010s, and are now preparing to release their EP Fluid Time, which has been inspired by their perception of time and space. Birgir Mogensen says, "As a duo, we trusted our musical intuition and were guided by allowing the first idea to remain unchanged during the recording process"Recorded, produced, and arranged by the pair, Sigtryggur and Birgir play basses and drums along with various other instruments.

All recordings are played on live instruments except a modular synth which is

programmed in the background of two tracks The duo is joined by the great harmonica and lap steel player Gaukur Davidsson on "Vaguely" and "Bug," and trumpet player Eirikur Orri Ólafsson on "Splash," not to mention the mixing expertise of Vaccines bassist Arni Hjörvar Árnason on "Bug," "Splash," and "Kokka," and sound-mixer Albert Finnbogason on "Vaguely."

Pascal Gaigne, born in France in 1958 and installed in San Sebastian since 1985, is a musician with a vast trajectory composing music for films. He has composed for more than 50 movies, won 16 awards (including a Goya award, Spanish Oscar equivalent) and had 15 nominations. He has worked with some of the most interesting new directors in Spanish cinema (Víctor Erice, Icíar Bolláin, Salvador García Ruíz, Daniel Sánchez Arévalo, Montxo Armendáriz), and foreign directors like France (Le cou de la girafe), Finland (Matka Edeniin) or Cuba (Omerta).

Early in his career, before working in cinema, he collaborated with some of the most interesting artists and voices in the short history of Basque folk music, including well known Amaia Zubiria (check the two records he made with her “Egun Argi Hartan” & “Kolorez eta Ametsez”), as well as Basque traditional chant avant-gardist Beñat Achiary. It is together with Amaia & Beñat that he paired himself up to create “music pour le ballet du Iguzki Hauskara”, an entire album of compositions made for the 80’s French Basque Ballet group “Ekarle”. Originally released on cassette only in 1984, it is now reissued by Hegoa including three unreleased pieces taken from a second album that was never published.

Limited edition of 250 black vinyl LP’s housed in a coloured reverse board cover recreating the original hand painted artwork.

Music that connects to "someday, somewhere." Percussionist and singer-songwriter Mami Kakudo returns with a new album after four years. In addition to her solo career, Kakudo is known for her work supporting cero and as a member of Shun Ishiwaka's Songbook Project. This highly anticipated new album is her first since the critically acclaimed "oar" in 2020. The recording features her current band, including Mugi Furukawa (guitar, chorus), Goldman Akita (bass), Wataru Mitsunaga (drums), and Yumiko Iwao (cello), along with a variety of guest musicians. This album showcases Kakudo's beautiful and ephemeral whispering voice, her unique lyrical world that evokes nostalgic yet unfamiliar landscapes, and her playful sound production, further blooming her immense talent. The album cover is an original artwork by Mexican artist Gerardo Vargas, with whom Kakudo has a long-standing relationship.

Pressed on a triple 180-gram CLEAR vinyl! This album features the Mahavishnu Orchestra, a jazz fusion band led by English guitarist John McLaughlin. Formed in New York City in 1971, the group underwent lineup changes during its active periods from 1971 to 1976 and 1984 to 1987. Known for their complex blend of Indian classical music, jazz, and psychedelic rock, the band received acclaim for dynamic live performances. Many former members have pursued successful careers in jazz and jazz fusion.

Limpe Fuchs – Amor
When asked about the title of her new record, “Amor”, Limpe bluntly responded, “because it’s everything”. Being a Beatles fan from the very beginning, she’s well aware that “all you need is love”, but there’s more to her sentiment than a corny pun. On the one hand, she’s more than half a century into her musical career, and describes the relationship towards her instruments in terms of an ongoing and deepening love affair. “Be it my piano, my viola or my percussion instruments, they’re all far more than just wooden caskets, they’re living entities, they need to be tended and cared for, they’re resonating with me and when engaging with them while playing I respond to their momentary being – and they alter my body and soul all the same.” So, it’s about time for a love letter to her percussion instruments and the act of drumming and listening to her drums, which can be heard as “Trommeln” on the second to last track on “Amor”. We also get to learn about “Verliebte Autos im Wald” – a poem by Augusta Laar, Limpe recites during the closing track to “Amor”. What may come across as a goofy nursery rhyme at first is indeed testament to Limpe’s longstanding animistic beliefs, her imagination towards everything around her. “It may sound wonky, but it’s as simple as it’s true and it’s important to love yourself and everything around you – at least I try to do so the best I can, and sometimes I fail, sure.” And, again, if you think about it, it’s not much of a surprise, she’s singing about cars, the vehicles that since decades get her and her instruments from gig to gig, all across Europe. But it’s not all just about the material world around her, of course. So, on the other hand and for the most part, “Amor” reflects on love as an interpersonal and spiritual experience. Drawing inspiration from such different authors as Giordano Bruno, Hilde Domin and Serge Kahili King, “Amor” is a record of compositions one could almost call “songs” although they’re far from being performed in a conventional way. It is also Limpe Fuchs’ most openly insightful and vulnerable record to date. As curious as ever, in her light-hearted yet thoughtful manner she explores the upsides and downsides of what it means to be loved or not loved: “At times it’s also sad, that love is the only way, but it is – at least it’s what I experienced and experience to this day.” (Holger Adam)

Multi-Grammy winner, internationally celebrated pianist, vocalist, composer and arranger Eliane Elias returns to her signature style of Brazilian jazz with TIME AND AGAIN. Recorded in Sao Paulo, TIME AND AGAIN showcases Elias’ exceptional songwriting with eight new songs including three newly revisited and revised from across her storied career. Four of the songs were co-written with her partner and renowned bass player Marc Johnson. Joining her are section of noted Brazilian musicians along with special guests virtuoso guitarist Bill Frisell, and the legendary Brazilian singer Djavan. Produced by Eliane Elias, Marc Johnson and Steve Rodby.

"Step into the enigmatic realm of ‘Funest Human Nature’, an audacious collaboration between avant-garde luminaries Jac Berrocal, Pascal Comelade, and Vincent Epplay. In this mesmerizing sonic odyssey, the boundaries of experimental music are shattered as Berrocal's haunting trumpet, Comelade's whimsical piano, and Epplay's immersive soundscapes converge to create a kaleidoscope of textures and emotions. A journey through the depths of the human psyche, where surrealism meets primal instincts and the absurd dances with the profound. The trio's fearless exploration of sound, inviting listeners to unravel the mysteries of the human condition through an eclectic tapestry of sonic experimentation. From the eerie whispers of forgotten dreams to the jubilant cacophony of uninhibited joy, 'Funest Human Nature' is a testament to the boundless possibilities of artistic collaboration. Embrace the unexpected, embrace the sublime, and immerse yourself in the haunting beauty of this extraordinary musical venture." Pascal Comelade, born in Montpellier, France in 1955, is a prolific Catalan musician and composer known for his distinctive blend of minimalism, surrealism, and musical primitivism. He started his music career in the mid-1970s and has since created a unique sound using toy instruments, pianos, and traditional ensembles. Comelade's work is characterized by its eclectic influences, ranging from rock and folk to classical and avant-garde. He has collaborated with various artists, including PJ Harvey and Robert Wyatt. Over the decades, Comelade has built a cult following with his unconventional approach to music and his impressive discography that spans numerous albums and soundtracks. Jac Berrocal, born in 1946 in Saint-Jean d'Angély, France, is a pioneering avant-garde trumpeter and composer known for his fusion of jazz, rock, and experimental music. His career, which began in the early 1970s, is marked by innovative albums like "Musiq Musik" and extensive collaborations with artists from Nurse With Wound to Vince Taylor. Berrocal is celebrated for his theatrical live performances, which often incorporate elements of poetry and drama. His work continues to defy conventional music boundaries, maintaining a cult following and influencing diverse musical genres. Through his distinctive approach, Berrocal has carved out a niche in the avant-garde music scene, continuously exploring the intersections of sound, performance, and art. Vincent Epplay, born in 1964 in France, is an innovative sound artist and musician known for his work in creating immersive audiovisual environments. His artistic approach often involves the manipulation of sound to explore its interaction with space and audience perception. Epplay's works are characterized by a keen interest in the experimental music tradition, incorporating elements of chance and the use of unconventional sound sources. He has collaborated extensively with other artists, including Jac Berrocal and David Fenech, contributing to a dynamic and exploratory sound art scene. Through installations, performances, and recordings, Epplay continually challenges and expands the boundaries of auditory and visual experiences.

Saxophonist John O"Gallagher has carved out a formidable reputation as a musician and composer who seeks to expand beyond the frontiers of jazz and into new territories of improvisational concepts. His list of collaborators is a who"s-who of adventurous improvised music. Recently he"s extended into an actual new territory, moving to Lisbon, Portugal in 2021. This new record Beast captures him playing in front of a live audience with a new multi-generational ensemble of musicians from the fertile European improv scene. Rhythm section duties are handled by the Portuguese team of Ze Almeida on bass and drummer Joao Lencastre. Joining the band on piano is the German musical polymath Samuel Gapp, so that this recording marks the first time in John"s prodigious and storied career that he has recorded as a leader with the classic piano quartet line-up.

Weather Report’s long and illustrious career had many twists, turns and revelations. Live In London draws on the best moments of performances delivered at the Hammersmith Odeon in June 1983, with former Chic percussionist Jose Rossy, plus a take of ‘Corner Pocket’ as played at the Dominion Theatre one year later with Mino Cinelu. Mainstay Joe Zawinul mans the ship alongside saxophonist Wayne Shorter, this edition of WR driven by the frantic beats of Omar Hakim and the bass of Victor Bailey, less showy than Jaco yet just as engaging. Initially cut for radio broadcast, fans of late-era Weather Report will love every moment.

Back to the roots of one of the most influential south-american songwriter and composer. A pioneer of the musical genre of bossa nova in the late 1950s, Joao was often called "father of bossa ", while in his native Brazil he was referred to as "O Mito" ("The Legend"). This compilation investigates his early career, showing the many sides of his sophisticated art.

ENC
'surreal Estate'
Limited Edition Gatefold 180gm Double Vinyl edition of 250
All profits from the release are donated to mind.org.uk
The third Emperors New Clothes album recorded and produced in 1996 by Trevor 'Underdog' Jackson, rejected and ridiculed by the bands original label, the album sat unheard for decades and unreleased in its original intended format anywhere till now.

A gloriously twisted mix of jazz, post-rock, dub, no wave, noise & abstract beats played by a live five piece, the album sounds as strangely relevant today as it was wildly ahead of its time in 96.

In founder member Luke Hannam's own words.

"Just two months before the recording took place at the chapel studios in Lincolnshire ENC went through a major line up change with Leo Taylor recruited on drums and David Bateman added on guitar & additional programming, Ian Girdlestone on decks & tape looping and the two founding members Andy Knight- Sax, electronics, flutes, programming, keys & percussion and Luke Hannam on Bass.

The band had come along way from its earliest days as a three piece in the late 80s based in the northeast . ENC were always an unusual band formed around Andy's deep musicality and knowledge of free jazz and experimental music and Luke's love of intense groove and dark post punk. They were an unlikely pairing in someways but they lived closely and supported each other for years.

The 'Surreal Estate' project began as the third album loomed into view. Trevor Jackson who had contributed some fantastic remixes on previous material was hired as producer with Corrine 'The Sea' Pennington as an engineer. The band headed to their Brixton arch and set about making the most adventurous music of their career. The tracks that's you hear on this album were mostly recorded during extensive sessions at The Chapel residential studios in Lincolnshire followed by various additional session in London and also at Trevor's home studio. Recording sessions are funny things, stuff works, stuff fails, bands implode, and sometimes great albums get made, stability never makes the best music and this album probably proves both are true.

My memories of these sessions are pretty vivid, we worked through the night creating our own private universe playing music as freely and intensely as we could. Andy provided, as he always did a sense of otherworldly concentration, I always found him like a man in the centre of a storm building circles and cycles, spinning patterns of sound rhythm and melody. Leo was a relative newcomer at the time but as afar as I was concerned produced beats so intense, so perfect, they pulled my bass into line … visceral and exact. David Bateman listened and carefully spun delicious guitar parts finding space where others thought there was none to be found … it was beautiful to watch and when I listen I can see him in the shadows immersed in the music. Ian's loops and analogue textures found their perfect embrace with Andy's subsonic samples and electronic depth charging …. The whole thing lurched like an obscure On U sound recording colliding with Sun Ra in Trevor's hip hop universe".

Japanese Obi-strip Pressed on Black Vinyl Originally released in 1974 Note: Artwork to be updated "An American jazz drummer Roy Brooks started his career in the 1950s, and he had joined the Horace Silver Combo the early 1960s. Subsequently, he became a part of the bands led by notable artists like Stanley Turrentine, Yusef Lateef, and Charles Mingus. He was also a significant influence on the legendary Tribe label, which was based in his hometown of Detroit, and he spent his career at the forefront of the American jazz scene until his passing in 2005.



As a bandleader with Roy Brooks And The Artistic Truth, he pursued spiritual jazz guided by a refined sense of spirituality. Among his discography, the live recording "The Sahel Concert" from 1974 stands out as one of the most expressive showcases of his artistry, much like his previous work, "Ethnic Expressions."

A few words for the album Moment’s Aeternity: a 12/8 composition celebrating the raw power of the “moment”, marked by whirling improvised moments between drums, bass clarinet and Harris P’s Armenian duduk.

Pajko, fire in the forest on the mountain: in Sokratis own words: “I have a really vivid memory as a child. I was staring at the Djena mountain from my window in Archangellos which sits on the Pajko mountain. A little beam of light shone far in the horizon; it was a fire that in my little eyes looked as if the giants of Almopia were trying to communicate with each other using phryktoria (a way of contacting through fire in Ancient Greece).”

Footprints of some Giant Steps: While the classic compositions of two true Jazz Giants- Wayne Shorter and John Coltrane- are certainly different, they do both connect in a mystical way. Rearranged in 5/8 combining half of each melody and half of each one’s chord progression, keeping the form of the piece for improvisation, still in 5.

Oson Zeis Fainou (Seikilo’s Epitaph): found in a tomb stone in the Northeast of Greece, this is the only melody saved from the ancient times. It is accompanied by lyrics contemplating the meaning of life: Ὅσον ζῇς φαίνου μηδὲν ὅλως σὺ λυποῦ πρὸς ὀλίγον ἐστὶ τὸ ζῆν τὸ τέλος ὁ xρόνος ἀπαιτεῖ. ‘’While you live, shine don’t feel blue for anything because our life is short and time demands an end.’’

Here is to Oghene K: ’’Hey man, where is the groove?’’, he would say, just to trigger another wave of inspiration for Sokratis. Oghene was a true force of nature, a well of kindness, a masterful artist that left this world too early. This one is for him.

Balkan Riff (for Milcho Leviev): Milcho Leviev (1936-2019), was a long-time friend and collaborator and a true inspiration for expression, creativity and colorfulness. Expressing the deep sentiments evoked by the Balkan sound and history, this is a sorrowful dialogue between bass clarinet and contrabass.

Spirits of Djena: one of the most esoteric and personal moments of the album. Composed and recorded during the challenging times of the COVID-era, you can hear the baritone and tenor saxophone firmly grounded on a crispy, hypnotizing contrabass groove.

Sokratis Votskos Quartet Kostas Anastasiadis / Giorgos Klountzos - Chrysidis: Drums Leandros Pasias: Piano Vaggelis Vrachnos: Contrabass Sokratis Votskos: Soprano Saxophone, Bass Clarinet and Compositions

Sokratis Votskos is a jazz saxophonist, clarinetist, composer, educator, and bandleader from Greece. Deeply invested in unearthing the folk sounds and heritage music of Greece and Eastern Europe, he weaves these into modern jazz compositions though the use of melodies, polyrhythms, and his reedy, timeless tone. He leads the Sokratis Votskos Quartet, he is one half of Kolida Babo and member of the Reggetiko Project. A highly regarded sideman and ensemble player, he has worked extensively with renowned jazz musicians with several highly acclaimed releases (MiC, Jazzman, Walt Disney and now Fair Weather Friends Records).

He has performed his music in numerous venues and festivals worldwide from Vinterjazz in Copenhagen, to the EFG London Jazz Festival where he performed at the legendary Ronnie Scott’s alongside Greg Foat.

He is also an archaeoacoustics researcher and enthusiast, having completed his Master studies on the field of ancient ritualistic caves of Greece research.

Leandros Pasias was born in Thessaloniki, Greece. At age 10 was introduced to piano, continuing his studies at the Modern Conservatory of Thessaloniki and later at the Conservatorium van Amsterdam in the department of jazz piano.Ηe holds a classical harmony diploma and a BA at the Department of Music Studies at the Aristotle University of Thessaloniki. In 2020 he received jazz improvisation lessons from Aaron Parks.

With a series of appearances in multiple international jazz festivals, Leandros has collaborated with a wide range of musicians from Nicolas Masson and James Wylie to Marina Osk, Ivo Papasov and Haris Lambrakis, among others.

A member of the Yako Trio, he released “OdesSea” on Fair Weather Friends Records (2021).

Vangelis Vrachnos was born in Thessaloniki, Greece, in 1989. While he started playing the bass at the age of 12, alongside his brother, his studies would commence a few years later. Introduced to double bass at the age of 23, he undertook jazz double bass studies at the Codarts Αcademy of Rotterdam. He has participated in several festivals such as the Technopolis and Odessa international jazz festivals. Since returning to his hometown, in 2015, he has been a founding member of Mordana and Yako Trio and has collaborated with a series of musicians like James Wyllie, Sokrates Votskos and Dimitis Agelakis, among others.

Kostas Anastasiadis is a tireless researcher, that has been diligently studying Tradition and its evolution, creating a fresh amalgam of sound moods. His mature improvisational virtuosity highlights a uniquely individual artistic expression and was recognized with the ̈Unique Individual Stylist" award by the PIT (Percussion Institute of Technology) in Los Angeles, California. He has been associated with various ensembles that have garnered significant interest in the global music scene. As an educator, he is the founder of "The Harmony of Rhythm" musical method, which aims to explore and establish the elements that constitute the concept of rhythm.

Giorgos Klountzos-Chrysidis was born in Thessaloniki in 1991. Following studies at the Modern Conservatory of Thessaloniki, he moved to France and the Conservatoire de Nice. With performances at well-known festivals like Nice Jazz Festival, Nuits du Sud and Jazz à Vienne, he had the opportunity to meet the American drummer Leon Parker, who encouraged him to move to Paris, where he spent the next two years under his tutoring and guidance.

In 2016, came a defining moment in his career as he traveled to New York for the first time. He participated in the quartet of saxophonist Diego Rivera for a series of performances and attended lessons by Rodney Whitaker and Randy "Uncle G" Gelispie at Michigan's State University.

Collaborations include Xavier Davis, Ricky Ford, Nicolas Masson, Diego Rivera, Craig Bailey, Baptiste Herbin, Marc Abrams, Pantelis Stoikos, Antonis Anissegos, David Lynch, Ziad Rajab and Ivo Papasov, among others

A leading Norwegian bassist for over 30 years, ECM legend Arild Andersen forges promising relation-ships with two rising stars - Daniel Sommer (drums) and Rob Luft (guitar) in an expansive, playful exploration of song and collective improvisation. As Time Passes " is set to release on April 26th on April Records. Led by Sommer, the release signifies the first chapter of the drummers much much-anticipated Nordic trilogy on April Records, aiming to capture and document Nordic improvisation and composition across three carefully curated ensembles. Bassist Arild Andersens storied career stretches back to the 1970"s as one of ECM s first recording artists, collaborating with household names of the genre including Jan Garbarek, Don Cherry, Bill Frisell, John Taylor, Sonny Rollins, Chick Corea, and the list goes on. Welcoming the opportunity to work with and nurture younger artists, the ensemble was born when Daniel Sommer selected Andersen for a project during his studies at the Danish National Academy of Music. Later, impressed by Luft s performances in Ireland and Norway, Andersen suggested expanding the pair into a trio. A transcendent musical voyage, As Time Passes " blurs the lines of conventional trio roles, and celebrates the evolution of jazz as a fluid, versatile form of expression. By providing each musician the freedom of becoming a key contributor in the melodic discourse, the trio channels the spirit of jazz veterans such as the Bill Evans Trio and free free-jazz ensemble Air, while echoing the sounds and innovations of pan pan-European contemporary jazz. Mixing pensive rubato ambience with energetic grooves, instrumental dexterity, a modern ECM ECM-esque sound and folk undertones, the record s compositional clarity combined with the spontaneity of a live performance flows across and between genres, borders and generations alike. Luft s intricately over-dubbed layers of acoustic guitars, vast reverbs, and contrapuntal melodies expand the sound of the three piece into an immersive world of texture...

"Long sought-after by those in know, this essential Irish jazz album finally gets a vinyl reissue on Outernational Sounds! Fully licensed from producer John D’Ardis, remastered at Abbey Road from the original tapes, and with lacquers cut at Dubplates and Mastering, the Noel Kelehan Quintet’s stunning 1979 Ozone is presented with unseen photographs of the band and commentary from original band members.

Featuring moody, modal jazz of the first order, subtle and original composing and world- class playing, Ozone was the creation of Ireland’s most respected jazz composer and musician, pianist Noel Kelehan (1935-2012). The only small-group album under his name, and arguably the first ever Irish jazz LP, Ozone was a landmark recording, but it was far from Kelehan’s only achievement. Born in Dublin, Kelehan had studied music from an early age. From the mid-1950s he worked at state-broadcaster Radio Éireann (RÉ, later RTÉ – Radio Telefis Éireann), and from the early 1960s he fronted Dublin’s first be-bop unit, the Jazz Heralds. A busy professional career saw him compose for numerous Irish pop stars, arrange and conduct many of Ireland’s Eurovision entries, and even contribute string arrangements to U2’s Unforgettable Fire LP.

But jazz was Kelehan’s first passion, and he never stopped playing in both small modernist units and composing for his own big band. The late 1970s saw him fronting the Noel Kelehan Quintet, alongside drummer John Wadham, saxophonist Keith Donald, bassist Frank Hess and trumpeter Mick Nolan. Playing weekly in Dublin for several years, they opened for visiting stars including Dollar Brand and the Ronnie Scott Orchestra, and eventually played a two-week residency at Ronnie Scotts in London. Though Kelehan had recorded a big-band LP of traditional Irish songs arranged as easy jazz in 1970, Ozone was his first album of modern jazz. Released on John D’Ardis’s independent Cargo imprint and press on blue vinyl, it featured original compositions such as the deep collectors cut ‘Spon Song’, subtle Latin flavours on ‘Spacer’s Delight’ and a beautiful modal arrangement of the traditional Irish air ‘Castle of Dromore’. A legendary recording in Ireland, Ozone reflected Kelehan’s keen appreciation of classic quintet-era Miles, with touches of the cerebral fusion of Ian Carr and the arranging genius of Neil Ardley. Not just a landmark Irish jazz set, Ozone is a lost classic of European jazz more widely."