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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.

Currently at work on new compositions that will give shape to a new album scheduled for the fall of 2024, Gerardo Frisina delights our ears with a 45rpm containing two unreleased tracks representing a brief funk digression within his musical journey without, of course, affecting his unmistakable style. “Mystical Funk” and “Spaced Out” skilfully mix “modern funk” elements with electronic influences, creating a unique sonic experience. In both cases, one of the surprising features is the hypnotic, incessant groove, capable of drawing the listener into a sound universe full of cosmic percussion and atmospheres, enhanced by Dennis Coffey-style guitars and by a Deodato-like Fender piano. Once again Gerardo hits the mark: the production is masterful, with a clear attention to details and those typical arrangements that reflect the overall quality of the sound with delicate power.

**Released at select Portuguese stores in a small initial qty - these are the first copies to reach outside the country**

Life has changed in the eight years since the release of II. In ours, yours and Gala Drop themselves. Most times without noticing it, partly due to those two years of a semi-existence that still resonates and with the ongoing predatory gentrification process changing the landscape and life of Lisbon, home to the band since ever. Close to a decade and a half of existence, with various mutations along the way enacting new perspectives and moments of stillness and reflection to a sound that's been mutating itself to its own internal rhythm and agency under the guiding light of the core duo of Afonso Simões and Nélson Gomes. Now a trio, with Rui Dâmaso transitioning from II after the departure of Jerry the Cat and Guilherme Canhão, Gala Drop sound even more focused as a working band, with their new album title Amizade – friendship in Portuguese – making perfect sense in a celebration of their, by now, patented soundworld of cosmic inspiration: krautrock's endless and hypnotic potential, dub's sense of transient space, the throb of house, balearic dreams, polyrhythms and a communal sense of belonging.

Again, this sprawling sphere of influence opens itself to new shapes and inspirations, but there's a deeper sense of accuracy and direction, with the band channeling those legacies into something we can only grasp as the Gala Drop sound. An organic outcome of working steadily as a trio, made possible by a residency promoted by gnration in Braga, Amizade dwells on the psychedelic nature of the group through seven tracks made up of dreamy synth washes, loads of percussion, echoes, chilled guitars under a radiant aura. Gala Drop have never sounded as openly dubby as on 'Dub da Meia Noite' and 'Areal Dub' or capable of converging different tropes of the hardcore continuum – rave stabs and cut up vocals – on a slow burner as memorable as 'Monte do Ouro'. Or given free reign to electricity as on the narcotic guitars of 'Guitarra Voadora' – excepting the one off with Ben Chasny on 2012's Broda. 'Amizade' points towards all of that with comforting escapism and wrapping things up 'Raio' turns dubstep's original bass weight meditations into a cosmic funk workout. One last hug before we leave. An album that feels like a collective moment of celebration, just when we most need it.

Gala Drop are: Afonso Simões - Drums, percussion and synthesizers Nelson Gomes - Electric guitar and electronics Rui Dâmaso - Electric bass & guitar and synthesizer

Recorded by Budda Guedes at Estúdio Mobydick, Braga Mixed by Gala Drop and Hugo Valverde at Estúdio Cão Andaluz, Lisboa Mastered by Anne Taegert at Dubplates & Mastering, Berlim Cover photo by Sara Graça Design by Nicolai Sarbib

Record Store Day 2023 first release limited to 2000 copies.
Queen Talk: Live at the Left Bank is an official, never-before-released concert recording from one of the greatest female jazz organists of all-time, Shirley Scott, featuring a powerhouse trio with George Coleman on tenor saxophone and Bobby Durham on drums, plus special guest vocalist Ernie Andrews on three tracks. This hand-numbered, limited edition (3000 worldwide), double LP set was transferred from the original tape reels and is pressed on 180g vinyl. It features 100 minutes of music and is packaged in a gatefold sleeve with an extensive booklet with liner notes by acclaimed music writer A. Scott Galloway, rare photos by Don Schlitten and Raymond Ross, and memorabilia from the Left Bank archives plus interviews with jazz organ icon Joey DeFrancesco, former Shirley Scott bandmate, saxophonist Tim Warfield, and pianist Monty reminiscing about drummer Bobby Durham. The set is co-produced by label owner/musician Cory Weeds and renowned archival recording producer Zev Feldman.

The show was recorded at the Famous Ballroom in Baltimore Maryland on August 20, 1972 and hasn't ever been previously available. Philadelphia-born Scott rose to fame in the late 1950s playing the Hammond B-3 organ influenced by blues and gospel evolving into '60s soul jazz. She recorded numerous albums for Prestige, Impulse!, Atlantic, Cadet and Candid performing with countless jazz legends including Stanley Turrentine, Oliver Nelson, Eddie "Lockjaw" Davis, Clark Terry and Kenny Burrell.

The 10-track set cooks on songs of the day like "By the Time I Get to Phoenix," "You Don't Mess Around With Jim," and "Never Can Say Goodbye," along with standards such as "Smile," "Witchcraft" and John Coltrane's "Impressions."

Bob Thiele is one of the great producers. For his work with John Coltrane alone, where he gave free reign to the saxophone great's wildest musical visions including “A Love Supreme”, ignoring the usual cost consciousness of a major label, he deserves to be lauded. In addition to this, his eight years at Impulse! saw him recording seminal works by scores of musicians including late-blooming masterpieces by Duke Ellington and Johnny Hodges, and a whole wave of 'new thing' jazzers such as Archie Shepp and Pharoah Sanders. He didn't stop there and when he launched his own label, Flying Dutchman in 1969, he continued to innovate and record music that reflected its times, but that also resonates down through the ages. It is to Flying Dutchman that we are paying tribute on this compilation.

Gil Scott-Heron's recordings for the label ran to three records, which sold well but not spectacularly at the time. They have since taken on a resonance that makes the album "Pieces Of A Man" in particular one of the most important recordings of the last century, and its opening track 'The Revolution Will Not Be Televised' an anthem. Pianist Lonnie Liston Smith had been on Thiele's final important Impulse! Recording, Pharoah Sanders’ "Karma", and continued to appear on Flying Dutchman, first as a sideman and then as a leader. His 1975 album "Expansions" was the perfect encapsulation of his 'cosmic jazz' and the title track is a moment of near perfection which has become one of the foundation pieces of modern dance music.

Flying Dutchman's other great discoveries are here. Vocalist Leon Thomas found a new route for jazz vocals in the early 70s, which made him a star and earned him a place in Santana. Gato Barbieri became one of the major saxophone stars of the era, after Thiele enabled him to meld his free jazz leanings to the rhythms of South America. The label also made important recordings with Tom Scott (featured on Thiele's own 'Head Start'), Ornette Coleman and Oliver Nelson, whilst interesting records appeared by Esther Marrow, Harold Alexander and many more.

This is Flying Dutchman is a considered tribute to the label, and features in depth and fully illustrated sleeve notes. In the year when Bob Thiele's son is gearing up to release the first new music on the label since 1976, it is an apt and timely reminder of the power of the music.

Limited to 1000 copies for the European market.

Music by Madlib, arranged by Kieran Hebden, better known as Four Tet. Gil Evans to Miles Davis…. Holger Czukay to the ensemble known as Can….Jean Claude Vannier to Serge Gainsbourg on Histoire de Melody Nelson. That’s the only way to explain the specificity of Four Tet and Madlib’s collaboration, in this special album that showcases a two-decade long friendship that has resulted in an album that follows Madlib’s classics like Quasimoto’s The Unseen, Madvillainy and his Pinata and Bandana albums with Freddie Gibbs. “A few months ago I completed work on an album with my friend Madlib that we’d been making for the last few years. He is always making loads of music in all sorts of styles and I was listening to some of his new beats and studio sessions when I had the idea that it would be great to hear some of these ideas made into a Madlib solo album. Not made into beats for vocalists to use but instead arranged into tracks that could all flow together in an album designed to be listened to start to finish. I put this concept to him when we were hanging out eating some nice food one day and we decided to work on this together with him sending me tracks, loops, ideas and experiments that I would arrange, edit, manipulate and combine. I was sent hundreds of pieces of music over a couple of years stretch and during that time I put together this album with all the parts that fitted with my vision.” - Kieren Hebden AKA Four Tet

As the album title suggests, this work represents a big step forward for Gerardo Frisina, an artist that has always been open to any influence and whose unstoppable creativity has given birth to a 2-LP’s worth of new material! Nu-latin, Afro and electronic beats merge with Afro-Cuban rhythm into a massive dancefloor groove!

Recorded in Oslo’s small and intimate St. Edmund’s Church the 13th of December 2017, this LP features compositions by James Weldon Johnson, Thelonious Monk and Joe McPhee plus two by McPhee and Nilssen-Love.

The album was mixed, edited and mastered by Lasse Marhaug and is vinyl only, no digital. 500 copies made and no re-press. Artwork by Kim Hiorthøy.

With a crunching sound that is as teeth-chatteringly heavy as metal icons like Slayer and Megadeth or ferocious grindcore groups like Napalm Death and Brutal Truth, yet is imbued with the freedom principle of such avant garde jazz icons as saxophonists Marshall Allen, Albert Ayler and Peter Brotzman, the formidable instrumental power trio from Scotland known as Free Nelson Mandoom Jazz debuts on the London-based RareNoise label with a provocative double EP that will confound jazz critics as it challenges the thrashmetalgrindcore community.

Jointly named for the late South African freedom fighter Nelson Mandela and the genre of fuzz-bass-inflected heavy-duty improvisation dubbed oomjazz', this renegade trio of bassist Colin Stewart, drummer Paul Archibald and alto saxophonist Rebecca Sneddon rattles the very grey matter of your brain on their imposing Shape of Doomjazz to Come/Saxophone Giganticus.

From the legendary Deneb series, one of the grooviest Italian library ever. Amedeo Tommasi and Gerardo Iacoucci (alias H. Caiage) at their best. An explosion of heavy organ sounds, jazz & psych-beat, with killer drumming breaks and mellow tunes. Highly recommended for dj! Original Artwork by Luca Barcellona and exclusive liner notes by Gerardo Iacoucci himself.

Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Imp ulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Im pulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

* Rare Jazz Classic From 1988 * Featuring an All-Star Line-up * First ever vinyl reissue * Released for the first time in The UK & North America* 180g Black vinyl limited to 500 copies (w/obi strip)
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting out of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz's great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader John Hicks (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Julliard School. After playing with a number of different artists during the early '60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early '70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary Idris Muhammad (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have Curtis Lundy (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass stokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Tidal Waves Music now proudly presents the First ever vinyl reissue of this classic jazz album (originally released in 1988). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip…also present are the exclusive pictures shot by legendary Dutch photographer Frans Schellekens (known for his work with artists such as Chet Baker, Alice Coltrane, Freddie Hubbard and Sonny Rollins). This will also be the the first time the album is being released in North America and in the UK.

* Rare Jazz Classic From 1988 * Featuring an All-Star Line-up * First ever vinyl reissue * Released for the first time in The UK & North America* 180g Black vinyl limited to 500 copies (w/obi strip)
In the late 1980s, the renowned American jazz pianist, composer, and arranger John Hicks formed one of the most influential ensembles consisting out of musicians that had played music at the highest level all their lives and gained their status as both stand-alone artists and important sidemen. Each of them had participated in many of jazz's great moments and all shared the ability, documented on many albums, to inspire their fellow musicians to even greater heights. The ‘John Hicks Trio’ had several line-up changes over the years that included greats such as Clifford Barbaro (Strata East, Blue Note, Sun Ra Arkestra, Charles Tolliver), Clint Houston (Prestige, Nina Simone, Roy Ayers, Azar Lawrence), Ray Drummond (Freddie Hubbard, Art Blakey, Lalo Schifrin), Marcus McLaurine (Muse, Verve, Weldon Irvine, Kool & The Gang) and Victor Lewis (Steve Grossman, Stan Getz, Charles Mingus, Cedar Walton, Chet Baker).

On the album we are presenting you today (I’ll Give You Something To Remember Me By from 1988) the trio consists out of some of the biggest and best players in the jazz, funk and soul scenes:

On piano we have the Atlanta based trio’s bandleader John Hicks (1941-2006). He served as a leader on more than 30 albums and played as a sideman on more than 300 other recordings. After being taught piano by his mother, Hicks went on to study at Lincoln University of Missouri, Berklee College of Music, and the Julliard School. After playing with a number of different artists during the early '60s (including Oliver Nelson and being part of Pharoah Sanders’s first band) he joined Art Blakey & The Jazz Messengers in 1964. In the early '70s he taught jazz history and improvisation at Southern Illinois University before resuming his career as a recording artist. Next to his many solo recordings for labels such as Strata East and Concord, Hicks would collaborate with all the big names in the scene, including Archie Shepp, Mingus and Alvin Queen. In 2014 & 2015, J Dilla paid homage to John Hicks by sampling two of his songs.

On drums we have the legendary Idris Muhammad (1939-2014) who to this day is still considered as one of the most influential drummers covering a multitude of genre-transcending styles. Born in New Orleans, he showed early talent as a percussionist and began his professional career while still a teenager, playing on Fats Domino’s ‘Blueberry Hill’. He then toured with Sam Cooke and would later go on to work with Curtis Mayfield. Next to his landmark solo recordings for Prestige Records, Idris would collaborate with iconic musicians and acts from the likes of Manu Dibango, Ahmad Jamal, Melvin Sparks, Charles Earland, Walter Bishop, Ceasar Frazier, Roberta Flack, Gato Barbieri, Nathan Davis, Sonny Rollins, Lou Donaldson, Galt MacDermot, Lonnie Smith…and countless others. Idris Muhammad’s work was sampled by renowned performers such as Drake, Beastie Boys and Fatboy Slim.

On bass we have Curtis Lundy (born 1955) who originates from Florida. Lundy is a well-respected bass player (and a master of his instrument), choir director, arranger, composer and producer who was part of performances and recordings of renowned acts and artists such as Pharoah Sanders, Frank Morgan, Cole Porter, Chico Freeman, Khan Jamal… and many others!

On I’ll Give You Something To Remember Me By (recorded at the legendary Dutch Studio 44 in March 1987 and released on Limetree Records in 1988) the listener is treated to eight majestic tracks of the highest caliber (including an excellent Thelonious Monk cover-tune) and features a remarkable outing of advanced musicianship by three jazz-giants in their prime, delivering an inspirational gem of an album.

These recordings sound as successful, young and vibrant as ever! Expect supercharged ragtime Post Bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. The up tempo none stop Latin beat is complimented by the terrific drum solos of Idris Muhammad and the rhythmic bass stokes of Curtis Lundy. This electrifying set of tracks makes this release a bonafide hit and a must have for any self-respecting jazz fan or collector.

Tidal Waves Music now proudly presents the First ever vinyl reissue of this classic jazz album (originally released in 1988). This reissue comes as a deluxe 180g vinyl edition (strictly limited to 500 copies worldwide) with obi strip…also present are the exclusive pictures shot by legendary Dutch photographer Frans Schellekens (known for his work with artists such as Chet Baker, Alice Coltrane, Freddie Hubbard and Sonny Rollins). This will also be the the first time the album is being released in North America and in the UK.

No obi.

Japanese pressing with obi.

Mainly known to DJs for the funk groover "Te Queria", Rota-Mar is the first solo album by the charismatic Zéca do Trombone. During a vertiginous career which started in the late 60s, Zéca was a permanent member of Wilson Simonal's band, toured with Luiz Eça's Sagrada Família (alongside Joyce, Naná Vasconcelos, Nelson Angelo and others), recorded the seminal Brazilian funk "Coluna do Meio" for his joint effort with Roberto Sax, and played and recorded for some of the big names of Brazilian music such as Tim Maia or Martinho da Vila. Particularly for samba artists such as Alcione, Leci Brandão or Moreira da Silva, Zéca do Trombone was the trombonist of choice.

Rota-Mar displays the work of an established musician who has nothing to prove. Impregnated with Zéca's characteristic voice, the songs draw inspiration from the sea, love and bohemian life, and let us all dream of what life in Rio the Janeiro was during that time. "Te Queria", penned by Zéca's childhood friend Elízio de Búzios (known for his highly collectable funk/boogie single "Tamanqueiro") is the obvious highlight, although we believe the real beauty of the album lies in the relaxed sea-side groove and MPB in the rest of the songs, including Zéca's superb take on Martinho da Vila's "Manteiga de Garrafa".

As bonus tracks to this reissue, we include both sides from Zéca's rare 1977 single, featuring the allmighty trio Azymuth.

Comes with an 8-page booklet with bilingual (Portuguese / English) liner notes by Brazilian journalist Marcelo Pinheiro and previously unpublished pictures from the artist's archive.

Freestyle Records reissue a DIY 7" from 1980 by short-lived all-female group Spoilsports. Existing at the intersection of post-punk, jazz-rock and modern soul - these two political yet playful numbers were laid down by a band formed from a range of players active in London's feminist and improvised music scenes at the time, and represent the groups only recordings.

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Spoilsports began in 1979 with the aim of having an all-female band that could be actively feminist and playful at the same time, with an eye toward gaining an appeal beyond that of the wider women's lib movement of the time. The line-up originally consisted of Carole Nelson on keys, Angele Veltmeijer on saxophone, Sheelagh Way on drums, Lesley Shone on bass, Isabel on congas and with Laka Koq providing vocals. After a short while this would become just Carole, Angele & Sheila - with Ruth Bitelli being brought in on bass, and Barbara Stretch topping things off on vocals. The band played at Gay Pride '79 in Hyde Park, a Women's Music Festival in Neimegen, Holland; lots of benefits, and maintained a weekly residency at The Earl of Aberdeen in Mile End (now sadly demolished).

Unfortunately the group lasted only 18 months or so all in all, and this is their first and last record - in fact, they intentionally laid it down to tape in order to provide a memory of the group before they called it a day, and we are so glad they did! Recorded in Pimlico's Archipelago Studios in the same year that Elvis Costello would record his album Get Happy there, the original 7" gained a review in the NME, whom dubbed it "a cross between Steely Dan and The Joy of Cooking".

Pierre-Alain Dahan & Slim Pezin's Neo Rythmiques is an absolute KILLER Tele Music library classic from 1976. It's absolutely sensational throughout, all scorching, uptempo jazzy soul funk that Mr James Brown himself would've been envious of. This is serious business with breaks for days. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet. With Neo Rhythmiques, he's joined by his eternal guitar colleague Slim Pezin (Voyage, Manu Dibango, Nino Ferrer), so you know this Be With reissue is fundamentally vital.

Opener "Soul Car" is a swaggering, horn-drenched jazz-funk beast whilst the slick JBs funk of "Happy Penalty" is just plain irresistible. Definitely influenced by American funk flavours, it stands alone on its own right as a brilliant piece of music, no question about that. The blazing "Kuzi-Kuza" is again horn-fuelled but has a more exotic, Latino feel, all loose grooves and bastard blues with funky organ and shredding guitars. The stomping, proto-disco of "Mercy Boa" is a guitar-sizzled Bohannon-esque hypno-groove for adventurous dance floors the world over. Outstanding. And if all that wasn't enough from one half of a 70s French library LP, the A side ends with the monumental, stratospheric "Slim Bertha"! I mean, what can you even say about this absolute monster?! Slo-motion, deep drama funk breaks with jazzy guitar and gleaming percussion. Just sensational.

Side B opens with "Country + Country", a rather forgettable slice of piano driven bluegrass funk (?!) Aaaaannyway, "Super Airship" follows and is a driving fuzz-guitar psych-rock workout of the highest order. We're back on track now. The brilliantly titled "Electronic Mutation" is a total highlight, the funk most definitely returning and, indeed, strong in this one with its deep clean breaks (with some particularly ace hi-hats), echoey effects and funky clavs. "Africa Semper" follows, all funky percussion, trippy echo and distorted, psychy guitar licks. To close out the set, "Neo Rythmiques 1 and 2" form a great salvo of top-tier, percussion-heavy synthy-funk-fusion. For our money, the bugged-out echoey space-soul of "N° 2" just about edges it.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member - alongside his partner here, Slim Pezin - in the legendary Arpadys, Disco & Co and Voyage. Dahan also featured in Tumblack (with Wally Badarou, Sauveur Mallia et al) and Jef Gilson Septet (alongside Henri Texier), whilst the CCCP Pezin backed, among others, Manu Dibango and Nino Ferrer. Some pedigree.

The audio for Neo Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

Mandala made only one eponymous album, recorded in 1971 but released only in 1976. A very rare and influential album, featuring future members of Grupo Um (Nazário and Zeca Assumpção who also played with Hermeto and Egberto Gismonti) and Pau Brasil (Nelson Ayres) - two seminal bands from the Brazilian instrumental scene of the 80s. The sound is a mix of Jazz Fusion with a Brazilian footprint - with a dash of psychedelic atmosphere and the spiced influence of oriental music.

Japanese pressing without OBI, and insert. Cover with a couple of small stains.

Part of Tele Music Reissue Campaign, 2023 first time reissue, 140g vinyl

Wow! Pierre-Alain Dahan & Mat Camison's Rythmiques is another iconic release in the hallowed Tele Music catalogue. First appearing in 1973, it features tense funk, blunted jazz and heavy breaks all the way. Considered the rightful sequel to Continental Pop Sound, it's a vital album for producers and DJs; and you can probably guess that RHYTHM is central to the record's presentation. And you can really taste what's rhythm, to borrow a phrase. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Mallia et al!) and Jef Gilson Septet whilst his partner here, Mat Camison, was a pioneering synth LORD. So, you know this Be With reissue is absolutely crucial.

The album picks up from where Continental Pop Sound left us, opening with the tense, stabbing thriller-funk of "Rythmiques N° 4". The dubbier "Rythmiques N° 5" is no less electric and definitely has a spacey air of wonky funk about it with the slightly off-kilter rolling piano. "Rythmiques N° 6" is more percussive-focussed with a brilliantly hypnotic opening that really stretches the drama out. “Rythmique N° 7” alternates between fast-paced, skipping drums and slo-mo funk, always with the clavinet high up in the mix. Wicked. The dope jazz of “Rythmique N° 8” truly mesmerises with licks of electric piano, funky bass flourishes and varied percussion. “Rythmique N° 9” has great, sloppy-yet-hard intro drums which sound like something Daft Punk could've pilfered circa Human After All, punctuated by a guitar rock refrain that repeats til the end but is never overdone. The A-Side closes with the beautiful, melancholic "Piano + Piano", a reflective jazzy piano track which could easily open a wide-ranging set this autumn and many after it. Stunning.

Opening Side B, "Auto Rythmiques" is a hectic yet compelling funk workout but it's all about the frankly devastating breakbeats on “Rythmiques N° 10 & N° 11” with effortlessly twisted funk bass lines over open drum breaks and enough tension and rhythmic switch-ups to keep your neck-snapping and your mind lifted. Downright essential. Taking leave from the heavy funk break action, the pastoral "Océan Horizon" is perhaps an unfairly overlooked highlight. A gorgeous, softly-aquatic, ambient gem, it's gently percussive with warm, floaty keys decorating the mellow rhythmic bed. The mercifully brief "Super Carrousel" is harmless fun-fair-funk but perhaps best skipped over whilst the intriguingly titled "Gay Shopping" is another throwaway exercise in inexcusable jaunt whilst. To close out this memorable set, thankfully, we're left with "Suspense N° 1" to get us back on course with its unsurprisingly tense mix of urgent stringed instruments that flirt with rhythm and melody yet the longer the track goes on. Deep.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Rythmiques has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

A Tele Music CLASSIC from 1972, Pierre-Alain Dahan's Continental Pop Sound is of those library albums with something for everyone. Breaks? Check. Fuzz guitar? Check. Slower, jazzy stuff? Double check. It's a stunning collection of psychedelic rock, soulful funk and retro pop stylings that's currently going for over £200 on Discogs. And with good reason. French drummer, percussionist and composer Pierre-Alain Dahan was a key member of the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou and Sauveur Mallia) and Jef Gilson Septet. So, you know this Be With reissue is nailed on essential.

Skip the by-numbers opener "Rock Extra" and head straight to the deeeeeep, minimalist groove of "Slowrama", a humid masterclass in low-slung, creeping crime funk with weighty breaks and beefy bass complimented by hypnotic wah-wah and warm electric piano. Sensational. It was sampled by Prince Po in 2004 for his "Love Thang" track. The galloping "Latin Pop Sound" is a percussive, Santana-esque tour de force featuring fantastic guitar shreds over a bassline to die for. "Morning Melody" is a lightweight amble whereas the brief but deliciously psych-rock heavy "Islam Blues" is a must for your mixes when requiring short segue tracks. The A-Side closes out with "Phasing Drums N° 1, 2 & 3", all completely ace. For us, N° 3 is the pick of the bunch, with particularly slooooow and deliberate drums underpinned by a droning, sinister organ. Hip-hop, before hip-hop, no less.

The genuine monster "Pacific Rock" blasts out the gate to usher in Side B, a thrilling and unrelenting pop-rock instrumental that really drives. "Quasimodo Pop" contains great slow mo funk breaks and scratchy guitars that alternate with pretty heavy riffing to create a compelling base track. "Carmel Beach" is as beautiful as the location it's named after, as insouciant guitars glide over super slo-mo beats and dramatic organ before it breaks down to a laconic, reflective electric piano showcase. Sumptuous. "Auto Moto Rallye" is a brief driving funk gem, as you might expect, complete with revved up guitars tuned and played to emulate the irresistible sound of growling race cars.

The upbeat, piano-led rock stomper "V.S.O.P Rock" is all well and good but, what you might really be here for is the trio of tracks that ensure the LP ends on an almighty high. The three most famous tracks “Rythmiques 1, 2 & 3” all come complete with *ultra*-dope breaks. N° 2 is probably our favourite, with the shuffling bassline and breaks combo augmented by the wonderful cowbell. Though on any other day, it could be N° 3! This album is often considered as the “baby brother” to Tele Music's Rythmiques, and this triptych is all the proof you need. Outstanding.

One of the very best French drummers ever, Pierre-Alain Dahan began his career at the Blue Note in Paris with Sonny Stitt, Dexter Gordon and Daniel Humair. Some start, eh?! He also participated in the recording of Serge Gainsbourg's cult album 'La Ballade de Melody Nelson' before going on to make countless KILLER library funk records and be a key member in the legendary Arpadys, Disco & Co, Voyage, Tumblack (with Wally Badarou, Sauveur Mallia et al), Jef Gilson Septet (alongside Henri Texier) and many more. Some pedigree.

The audio for Continental Pop Sound has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

The title of Thomas’s third album for Bob Thiele’s Flying Dutchman referenced Oliver Nelson’s classic 1961 LP “The Blues and the Abstract Truth”. Released in 1972, “Blues And The Soulful Truth” featured an expansive all-star band that included Pretty Purdie (drums), Stanley Clarke (bass), Cecil Payne (Baritone sax) and the unsung Neal Creque (keyboards). It’s a soul meets jazz meets the blues masterpiece with arrangements from ex-James Brown horn-man Pee Wee Ellis.

This astounding album features the extraordinary ‘Shape Your Mind To Die’, ‘l-o-v-e’, a captivating vocal version of Gabor Szabo’s ‘Gypsy Queen’, the compelling ‘Love Each Other’, the plaintive ‘China Doll’ and a driving version of John Lee Hooker’s ‘Boom-Boom-Boom’.

Pressed on 180gm vinyl we have remained faithful to the original pressing, replicating the Flying Dutchman label style and gatefold sleeve.

Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

Charles Tolliver began his professional career and simultaneously his recording debut with the saxophone giant Jackie McLean on Blue Note Records in 1964. Since then he has become one of the all-time preeminent trumpeters in Jazz as well as one of its most gifted composer/arranger bandleaders. He is also a Grammy nominated recipient for his Blue Note Records recording "With Love".

With a career that has spanned five decades he has recorded and/or performed with such renowned artists as Roy Haynes, Hank Mobley, Willie Bobo, Horace Silver, McCoy Tyner, Sonny Rollins, Booker Ervin, Gary Bartz, Gerald Wilson Orchestra, Oliver Nelson, Stanley Cowell, Herbie Hancock, Andrew Hill, Louis Hayes, Roy Ayers, Art Blakey & the Jazz Messengers, and owned the trumpet chair with the great Max Roach for some years. https://charlestolliver.com/

This LP is jazz of high energy and high sincerity. Jazz at it's best. One of Tolliver's (and jazz's) masterpieces. It is a live recording from 1972. On another occasion, Tolliver recorded with another quartet with Stanley Cowell on piano, and some critics prefer that quartet. However, this quartet is the equal of that one. I think John Hicks did a masterful job of piano playing here. Hicks equalled Charles in energy. The bass playing of Reggie Workman (who was John Coltrane's bassist) is equally smouldering. Drummer Alvin Queen is a perfect match for the other three.
Passionate Jazz Fan.

Tolliver's music (which holds on to one's attention throughout the live set) has its connections to the bebop tradition but also forges ahead and can be quite passionate. Recommended. By Scott Yanow/AMG Personnel: Roberto Miranda - Bass
Everett Brown Jr. - Drums
Aubrey Hart - Flute
Adele Sebastian - Flute, Vocals
Fundi Legohn (tracks: B1) – French horn
Virjilio Figueroa - Percussion
Linda Hill - Piano, Vocals
Sabir Matteen* - Tenor Saxophone, Clarinet
Jugegr Juan Grey - Vocals

Produced by Tom Albach

Recorded & mixed by Dennis Moody in 1981

The best and most valued volume of GLP series featuring the fantastic modal madness of "André", "Peroche", "Suoni Distorti" and the milestone “Alfio” feat the flute by Alfio Galigani. The music goes from insane Psychedelic tunes to Jazz, Funk and more Bossa and Lounge tracks with plenty of Fuzz guitars, amazing Hammond job, and totally catching drum Breaks. An insane trip into early gold Italian Psychedelic and Underground vibes with loads of laden beats and grooves with the mark of the legendary Italian quartet. Simply essential!

Sharps and Flats, led by Nobuo Hara, has been a driving force in Japan's big band jazz scene with its diverse activities and distinctive musicality. Among the many works produced throughout their long career, 'Little Giant' stands out as one of their most iconic albums. Originally released in 1970 as part of Victor's Japanese Jazz series, this album is notable for the participation of renowned composers and arrangers such as Masao Yagi, Kiyoshi Yamaya, Norio Maeda, and Masahiko Sato. In addition to their original compositions, the album features unique arrangements of pieces by Oliver Nelson, who had a close connection with Sharps and Flats.

The album's intricate and adventurous arrangements, combined with the band's high-level performance quality, are truly remarkable. You'll be captivated by the hipness of "Little Giant," the strength of "Dark Horse," the cutting-edge sound of "Orbit 8:11," and the sophistication of "Flexibility." This dynamic performance, marked by a perfect balance of tension and relaxation, showcases the full potential and allure of Sharps and Flats. This album is a masterpiece that brings out the best in the band.

The first and best out of just two collaborative albums by organist Jimmy Smith and guitarist Wes Montgomery, Jimmy & Wes: The Dynamic Duo was recorded in 1966 and features arrangements by Oliver Nelson. It is frequently listed among Jimmy Smith's best albums. The duo's follow-up record, Further Adventures of Jimmy and Wes, was taped during the same sessions and released in 1968. Al/Music critic Richard S. Ginell gave The Dynamic Duo the maximum * * * * * rating, stating that "Creed Taylor matched two of his most famous artists, Wes Montgomery and Jimmy Smith, on this session (Montgomery's last for Verve), and the results are incendiary- a near-ideal meeting of yin a.nd yang. Smith comes at your throat with his big attacks and blues runs while Montgomery responds with rounder, smoother octaves and single notes that still convey much heat. They are an amazing pair."

Mono All Disc Pressing.

All of You is a live album by American jazz pianist Ahmad Jamal featuring performances recorded at Jamal's own club in Chicago in 1961 and released originally on the Argo label. Jamal's group had a personal sound of its own, often playing quietly and leaving space but never losing the passion. These versions of "Time on My Hands," "Star Eyes" and "All of You" in particular are well worth hearing. On the cover, photographed by Don Bronstein, one of the first staff photographers for Playboy magazine, Jamal sits in an MAA chair, designed by George Nelson.

Canadian composer Bruce Haack one of the true pioneers in the field of electronic and children's music. Originally released in 1962 "Dance, Sing & Listen" was Haack's debut album. Following instructions from children dance teacher Esther Nelson the album comes as a hyper-eclectic work based on a great variety of sound material. A hybrid soup of medieval, country, classical, and pop styles including tons of electronic effects, guitars, banjos and other acoustic string instruments and bongos!!! This is open minded music for children at its best.

Why you'll love it...
Straight Ahead, featuring saxophonists Oliver Nelson and Eric Dolphy, is the VMP Classics Record of the Month for April 2024. It's pressed on 180g black vinyl, with lacquers cut from master tapes (AAA) by Ryan Smith at Sterling Sound.

Vinyl is close to NM. Sticker on cover. UK reissue.

Limited Clear Vinyl edition, 500 copies! Originally released in 1961 by Prestige/New Jazz label, "Straight Ahead" marks the last Dolphy's appearance within a series of fortunate collaborations with saxophonist Oliver Nelson. This is a great modern jazz album taking shape from a quintet studio session (all first takes) engineered and supervised by master Rudy Van Gelder and featuring: Oliver Nelson - alto and tenor saxes, clarinet - Eric Dolphy - alto sax, bass clarinet, flute - Richard Wyands - piano - George Duvivier - double bass and Roy Haynes on drums. A serious bunch of jazz stylists all caught in fine form and concentration. Needless to add that the Nelson-Dolphy sax tandem shines throughout the whole album while Duvivier and Haynes inject their angular yet hard swinging groove. The track list consists of five Nelson's originals plus Milt Jackson's "Ralph's new blues".

Deliberately presented as a dance music release, this brilliant Quincy Jones album - first released on Mercury label in 1961 - comprises material from two marvelous big band performances recorded the year before in Paris and New York. Here the great composer and arranger leads a first class "dance organization", a top-flight big band featuring the cream of NY Jazz musicians, among them: Clark Terry and Freddie Hubbard - trumpets, Curtis Fuller and Melba Liston - trombones, Phil Woods, Oliver Nelson and Sahib Shihab - saxes, Stu Martin - drums. An exquisite platter of highly swinging and danceable grooves signed by the genius of Quincy Jones

Blues And The Abstract Truth is Oliver Nelson’s triumph. Featuring his all-time classic ‘Stolen Moments’, Nelson assembled one of the most potent modern jazz sextets ever. Lead trumpeter Freddie Hubbard is at his peak of performance, while alto saxophonists Nelson and Eric Dolphy (Nelson doubling on tenor) team to form an unlikely union that was simmered to perfection. Bill Evans (piano), Paul Chambers (bass) and Roy Haynes (drums) can do no wrong as a rhythm section.

Verve’s Acoustic Sounds Series features transfers from analog tapes and remastered 180-gram vinyl in deluxe gatefold packaging.

Japanese pressing without OBI!