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Back in 1980, Weather Report consisted of Wayne Shorter - tenor & soprano sax, Joe Zawinul - keyboards, Jaco Pastorius - bass, Peter Erskine - drums and Bobby Thomas Jr. - percussion. Often considered as one of the best line ups in the band's history, this was a super tight combo playing with the same energy and power of a big band. The 1980 tour, also known as the "Night Passage" tour, is also remembered for the great visual impact, a large scale staging including laser and film projections. The Atlanra Fox Theater show sees the band at its peak, performing great renditions of classic tunes such as Zawinul's "Madagascar" and "Fast City", Pastorius' "Three Views of a Secret" and Shorter's "Port of Entry". This is an important live document from the greatest electric jazz band of all times, period!

A journey - that"s how musicians like to describe working on a new album. In the case of of krajenski"s new LP "B-3 Vol. 2" it really was a journey. Many ideas were born and discarded, several sessions were played for inspiration, plenty of songs were produced in advance - the journey is the journey. Then the decisive missing link: krajenski. was able to find the two musicians and producers Dirk Berger (Peter Fox, Seed, Marteria) and Samon Kawamura (Joy Denalane, Max Herre, Till Brönner) for this project. And suddenly the production took a completely different magical turn - away from a "band album" towards a musical experiment.

"It’s been a long time since I last recorded an album - a break of some 40 years! Passing Clouds now builds on my earlier retrospective work on “Light Patterns” and “Sticklebacks” released in the past few years by the wonderful Smiling C label. I still have a daily obsession of writing tunes and experimenting with sound and was recently inspired to record again. On Passing Clouds, I have tried to capture my love of sky watching and of being in peaceful places. I set about my sessions, as always, alone with my electric/acoustic guitars and bass, playing through simple analog equipment such as valve reverb, tremolo and tape delay. I use a violin bow to get the drone and ambient sounds into a tape looper. Whilst working on the album, I tried hard to get the feel of my favourite ECM artists such as Collin Walcott, Ralph Towner, John Abercrombie and Eberhard Weber - my heroes! They are as inspiring to me now as they were in the 70s." Kevin McCormick

the BIG Tusk is a Franco-Swiss musical collective that stands out with a unique artistic direction, challenging conventions and blurring the boundaries between improvised and electronic music.Since 2017, the quartet has dedicated itself to improvising live the hypnotic and intoxicating atmosphere of an electro music performance, enriched with explosive spontaneity and a passion for sonic experimentation.In the proud tradition of groups like Knower or Cabaret Contemporain, the BIG Tusk draws on diverse influences (Aphex Twin, Mr Oizo, Kurt Cobain) to forge its own identity that completely transcends genre boundaries.The Tuskist ideology roots itself in the absence of a hierarchical organization, placing cooperation at the core of its operation. The group's mythology is inspired by vivid cinematic universes, such as the enigmatic and morbid "Tusk," where a man dreams of finding the walrus residing in every human being...According to their devoted fanatics, what truly sets the BIG Tusk apart is the exceptional harmony that characterizes the relationship among group members. This synergy gives the listener the privileged sensation of observing a mythological creature metamorphosing through various universes. Each concert thus becomes a unique experience, an emotional journey that transcends conventional musical paths.

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

Green Vinyl.The swirling horns and gritty guitars heard on Ebo Taylor JID022 are reminiscent of his seminal seventies recordings that made him one of Africa's most prolific and revolutionary artists of all time. Recorded inside of Younge's Linear Labs studio, this album captures polyrhythmic percussion and twangy, fuzzed out gui...

The swirling horns and gritty guitars heard on Ebo Taylor JID022 are reminiscent of his seminal seventies recordings that made him one of Africa's most prolific and revolutionary artists of all time. Recorded inside of Younge's Linear Labs studio, this album captures polyrhythmic percussion and twangy, fuzzed out guitars that prove...

The core members of Jaubi are true masters of their craft, coming from a rich lineage of accomplished musicians. Kashif Ali Dhani is a classically trained tabla master from the Punjab gharana, and is the accompanist of choice on the local scene for some of Pakistan's great classical vocalists and instrumentalists, as well as in Europe and the USA. Zohaib Hassan Khan is a 7th generation sarangi master, who has performed globally, and is one of only 3 professional sarangi players left in Pakistan. Multi-instrumentalist, composer and Jaubi bandleader Ali Riaz Baqar aka Ila Zair began his musical journey as a hip-hop enthusiast, evolving into a jazz guitarist following the exposure to the genre’s rich sampling culture. He then became a disciple of the Senia-Shahjahanpur gharana, a lineage of musicians specialising in the sarod. His playing now focuses on merging North Indian classical music with modern jazz harmony on a traditional, unaltered 6-string electric guitar.

The collaborative relationship between the core group and wider collaborators dates back to April 2019, when 22a label founder and multi-instrumentalist Tenderlonious and EABS/Bloto keyboard and synth maestro Marek ‘Latarnik’ Pędziwiatr travelled to Lahore, Pakistan to take part in some improvised recording sessions with Jaubi. Nothing whatsoever was written down during the recording sessions – no sheet music, no song titles. It was sincere, bottled lightning. All egos were left behind, with hearts and souls being opened and poured into the music. The result has been described as spiritual jazz-fusion meets psychedelic Hindustani classical with nods to golden era hip hop.

An adventurous and absorbing record ‘A Sound Heart’ is the next chapter for Jaubi, both sonically and spiritually. The title is inspired from a verse in the Holy Qu’ran (26:89), where one comes to God with a spiritual or sound heart (Qalb) which is sincere, without doubts and free of materialistic attachments. Importantly it refers to a state where the heart is spiritually healthy and content with only God. A Sound Heart’s basis is goodness, rooted in love. In this case, it is the love for one’s creator. The album also acts as a tribute to fallen heroes, paying respect to the greatness that has come before, casting new light via cross-cultural collaboration and improvisation.

Throughout this incredible journey, meditative ragas blend with Herbie Hancock-esque motifs, joined by lament-filled contemporary melodies intertwining with the intricate sounds of the sarangi and earthy layering of the tabla. A true masterpiece of composition from start to finish.

The Miles Davis historical second quintet with Wayne Shorter - tenor sax, Herbie Hancock - piano Ron Carter, bass and Tony Williams - drums. A perfect coalition of young, creative individuals under Miles' direction. A turning point in the whole history of American Jazz. Recorded live in Germany in October 1964 this double album features hiper- adventurous renditions of classic tunes including Davis originals like "All Blues". "Milestones" and "Walking" and standards like Rollins' "Oleo" and Cole Porter's "All of You. A highly recommended document from one of the key groups in modern Jazz.

Coloured Vinyl edition!

Remember that period at the turn of the century when people were talking about Lounge, Exotica and Easy Listening? It was the so-called Cocktail Generation phenomenon, of which VIP 200, a quartet formed in Italy in 1999, was the ultimate expression as a band. The most important input came from the reissues and compilations of Italian soundtracks that debuted with great success at the time, and VIP 200's interpretations of them were genuine, rustic and rich in atmospheres that led back precisely to music for the image. Even cinema, like Quentin Tarantino, has been fascinated and inspired by that sound by quoting it several times. The comparison and real meeting of VIP 200 with the Marc 4 as well as Alessandro Alessandroni and the legendary Piero Umiliani was fundamental. Soon after, they were also called from abroad by cult figures who wanted to interact with them such as German composer Peter Thomas with whom they recorded in Saint Tropez, DJ Maxwell Implosion and sessions in Capri with Miss Maki Nomiya of the Pizzicato Five for her solo record. It was a period of transition, the word "easy" that started from the Adriatic Riviera via Rome and Milan had made its way to Berlin, London and Tokyo. Their live shows, as well as their first and only record re-released for the first time on double gatefold vinyl by Cinedelic with many outtakes, alternated between danceable moments with fast rhythms such as shake, beat and soul funk, to more ethereal and psychedelic, to softer and more ironic ones. They loosely and spontaneously re-presented songs that before then no one had ever performed live with a band; 10 years later Calibro 35 would get there. All strictly from Italian composers or their own.Strong was the "fetishist" component that pushed them to research original instruments of the vintage, design, sound and atmosphere to be created. An iconographic record of the period, a must-have for those who lived through it and for those who want to understand its essence. Limited editions on double vinyl with gatefold cover

The magical encounter of three skillful players, right before their self titled debut on ECM. On September 1, 1978, the musical trio Codona performed live in Willisau, Switzerland. This Swiss FM broadcast captured Codona in full flight, with Collin Walcott on sitar, Don Cherry on trumpet, and Nana Vasconcelos on percussion. Their performance weaved a magical web of sound. The opening track, “New Light,” is a 16-minute journey of pure joy

Remember that period at the turn of the century when people were talking about Lounge, Exotica and Easy Listening? It was the so-called Cocktail Generation phenomenon, of which VIP 200, a quartet formed in Italy in 1999, was the ultimate expression as a band. The most important input came from the reissues and compilations of Italian soundtracks that debuted with great success at the time, and VIP 200's interpretations of them were genuine, rustic and rich in atmospheres that led back precisely to music for the image. Even cinema, like Quentin Tarantino, has been fascinated and inspired by that sound by quoting it several times. The comparison and real meeting of VIP 200 with the Marc 4 as well as Alessandro Alessandroni and the legendary Piero Umiliani was fundamental. Soon after, they were also called from abroad by cult figures who wanted to interact with them such as German composer Peter Thomas with whom they recorded in Saint Tropez, DJ Maxwell Implosion and sessions in Capri with Miss Maki Nomiya of the Pizzicato Five for her solo record. It was a period of transition, the word "easy" that started from the Adriatic Riviera via Rome and Milan had made its way to Berlin, London and Tokyo. Their live shows, as well as their first and only record re-released for the first time on double gatefold vinyl by Cinedelic with many outtakes, alternated between danceable moments with fast rhythms such as shake, beat and soul funk, to more ethereal and psychedelic, to softer and more ironic ones. They loosely and spontaneously re-presented songs that before then no one had ever performed live with a band; 10 years later Calibro 35 would get there. All strictly from Italian composers or their own.Strong was the "fetishist" component that pushed them to research original instruments of the vintage, design, sound and atmosphere to be created. An iconographic record of the period, a must-have for those who lived through it and for those who want to understand its essence. Limited editions on double vinyl with gatefold cover

For the next Blue Hour Music chapter, a special friend of the label’s family is stepping in. Hailing from the city of Delft, Dutch composer Spekki Webu delivers ‘Tenzan’, a forceful 4-track EP which might be the producer’s most ambitious project to date. Spawned from a place of personal reflection, Tenzan is the result of the ongoing cycle of life that has been influencing Webu since his early years. This philosophy was heightened after a fascination for mountains and a series of dreams about enlightenment on top of a sacred hill. These dreams later became reality after witnessing a ‘Tenzan’ (translated as ‘heavenly mountain’) during a trip in the Japanese wilderness. The cycle of life as represented by the heavenly mountain formed the spiritual direction to complete the narrative for this long-running Blue Hour project - as the leaves fell into place a new cycle began. Aligned in force and vigor, the A-side takes off with ‘Okada’, a grooving tension builder led by ominous melodies that drift off into the depths of the forests. Entering a state of empyrean elevation, ‘Horizon’ is a dub-induced peak-time roller of monumental grandeur. On the B side, the gears shift as ‘Solaris’ unveils a contemporary reinterpretation of 90s acid trance, fusing psyche-warping panned drones and minimalistic drum programming set to make blood pressures rise. Coming full circle, ‘Eion’ delivers euphoric salvation with a pulsating bassline guided by dreamy, repetitive soundscapes that reach for atmospheric heights. Vertigo-induced and wisdom-fueled, Spekki Webu opens the portal to the next cycle of sonic exploration marking the 25th release on Blue Hour Music.

Jun Miyake and Ichiko Aoba's live sessions held in Tokyo in November 2016 and the following February 2017, valuable recordings that had only been released in high-resolution format for distribution, will finally be released in vinyl format as well.The first performance in January featured Tatsuhisa Yamamoto on drums, and the second performance in February featured a quartet formation with the addition of bassist Hitoshi Watanabe. The two talented musicians will give us a glimpse of how the music of Jun Miyake and Ichiko Aoba is being breathed into a new life.

●Ichiko Aoba : Vocal, Guitar ●Jun Miyake : Electric Piano, Flugelhorn ●Tatsuhisa Yamamoto : Drums ●Hitoshi Watanabe : Bass, Cello ●zAk : Recording & Mixing

Records are slightly warped but still enjoyable.
Cover as new with slightly dented corners.

The meeting between Terry Riley the father of American Minimalism and free jazz pioneer Don Cherry. Two contemporary luminaries who always shared an ear for non Western music and philosophies. Joined here by Stein Claeson on violin and el. bass, and Bengt Berger on percussion, these two giants give us an example of deep organic music based on the full integration of various materials. A beautiful example of true extended sonic democracy.

This is the one and only Rahsaan Roland Kirk caught Live in Paris in 1970 with one of his best lineups ever. A distinctive quintet featuring Ron Burton on piano, bassist Vernon Martin, drummer great Jerome Cooper, mostly known as member of the mythical Revolutionary Ensemble, and the colourful percussion work of Joe Habao Texidor. Rahsan displays a fine set list including original compositions like the anthemic "Voluntary Slavery" and a wide selection of standards, from Cole Porter to Stevie Wonder, as inspirational material for infectious, groovy improvisations in front of a very receptive Parisian audience, all this at the very dawn of the Seventies.

With their fifth album WEB MAX II, WEB WEB continue the collaboration with Max Herre that began on WEB MAX (2021). With this new album, they have succeeded in doing much more than simply continuing a series. WEB MAX II is musically and emotionally probably the most diverse distillation of what the German jazz supergroup, originally rooted in spiritual jazz, has produced in the seven years of its existence.

An amazing performance that captures the Queen of Soul in her prime. This was her last live appearance with King Curtis and the Kingpins, an amazing fourteen piece band (the same appearing on her famous "Live At The Fillmore West” album) featuring heavyweights such as guitarist Cornell Dupree, drummer Bernard Purdie and King Curtis himself on tenor sax, as well as the super tight Memphis Horns section and the invaluable Sweethearts Of Soul's backing vocals. Just have a look at the track list, a breathtaking sequence of her finest material performed at maximum energy and inspiration! How can you go wrong with all that?

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

Max Roach, the father of modern jazz drumming, caught in action in Paris - France in 1964. This is one of the few live documents in his 1960's dense activity. Here Roach is at the head of a strong quintet featuring the deep voice of Mrs Abbey Lincoln and tenor sax giant Clifford Jordan. Starting from an almost all standard repertoire (including gems like Duke Jordan's "Jordu" and Ellington's "Sophisticated Lady") Roach along with Eddie Khan drive the music with their solid hard swinging pulse.

The late Abbey Lincoln was one of the greats in jazz singing and composition. 65 at the time of this recording, the singer performs a fiery musical statement and maintains her own distinctive manner of delivering a lyric. This 1998 Verve release mostly emphasizes slow tempos and melancholy moods. Seven of the nine tracks on Who Used To Dance are ballads that serve to demonstrate the graininess in Lincoln's voice, with highlights such as the nostalgic "Who Used to Dance" (featuring Savion Glover's tapdancing) "Street of Dreams" and an exceptionally charming "Mr. Tambourine Man". Alto saxophonists Frank Morgan, Steve Coleman, Oliver Lake, Justin Robinson, and Riley Bandy III provide feature work and several insightful solos, and the rhythm team of pianist Marc Cary, bassist Michael Bowie, and drummer Aaron Walker provide finest ballad accompaniment.



This 140-gram vinyl is the first international vinyl reissue, pressed at Optimal, and is presented in a wide-spine, single-sleeve jacket.

“Why would I sing in French? I have Breton culture, I speak Breton, I live in Brittany, and the Breton language is the language of this country...” So explained Kristen Noguès, of whom this is the first of the (rare) albums that she recorded Marc’h Gouez, is a fabulous voyage in space on each listening.

Noguès learned the Breton language as a child, at the same time as the Celtic harp, – taking lessons with Denise Mégevand, who would go on to teach others, notably Alan Stivell. At the beginning of the 1970s, she discovered the Breton song tradition (soniou and gwerziou) through Yann Poëns and became involved in Névénoé, a cooperative of traditional expression founded by Gérard Delahaye and Patrick Ewen. It was under this label that her first album Marc’h Gouez, was released in 1976.

With a dozen friends playing guitar, piano, violins, flutes..., Noguès composed not Breton music, but music from Brittany: a type of shared folklore in which imagination is married to the reality of the moment, that of social demands and companionship. At the very beginning of the record, we can hear her drawing up a chair, before the plucked notes of the harp become a cascade: “Enez Rouz”, is an invitation to listen up close.

We are reminded here of the Meredith Monk of “Greensleeves”, there of the early albums of Brigitte Fontaine / Areski, elsewhere of Emmanuelle Parrenin, Pascal Comelade... Noguès rhyming pattern is ever changing: airy (“Hunvre”), cosmopolitain (“Pinvidik Eo Va C'hemener”), enigmatic (“Ar Bugel Koar”), profound (“Ar Gemenerez”) or enchanting (“Hirness An Devezhiou”). And then there is the track from which the album takes its’ name: Marc’h Gouez which, between nursery rhyme and chamber music, weaves a fabulous web in which the auditor is obliged to be caught. “Brittany equals poetry”: so said André... Breton; and Kristen Noguès proves it to be true.'

Carefully remastered from the master tapes by Gilles Laujol. Graphic design by Stefan Thanneur. 8 page booklet. Heavyweight 180 gr. LP. 425 gsm brownboard outer sleeve. Licensed from Katell Branellec.

Hijaz is a multicultural sextet that combines Eastern melodies with improvised jazz. Their music is based on the dialogue between oud and piano. ‘Hijaz’ refers to the Arabic musical scale but also holds a clear reference to jazz. More than ten years already, the band is weaving an intriguing web of Mediterranean warmth, polyrhythmic structures and musical virtuosity. In a tight formation of fore core musicians, Hijaz captures the magic of the moment during their concerts. For this album the band aligned with a cello and two violins and arranged for strings by bass player Ben Faes.

Since the release of the highly acclaimed album Mamari (2021), the Muito Kaballa project has continued to develop.

The new album Little Child (2022) starts with a cracker called Inside Outside. The song addresses the hypocrisy and double standards of the European Union when it comes to refugee policy. The group works together with the renowned German/Nigerian musician Ade Bantu and the Angolan guitarist Juresse Amie Tieti Ndombasi and picks up their listeners where they were parked with Mamari. Fat grooves with clearly recognizable Afrobeat influences.

However, the musical journey leads step by step away from the usual sounds of the band. Already the second track Dansez! Dansez! shows that. The sound leads to Angola, Congo and a bit of Mali. The band stacks so many rhythms on top of each other that the word poly appears in a whole new light. It becomes clear that the nine deal intensively with the music that is the source of their inspiration. The gifted guitarist Juresse Amie Tieti Ndombasi puts the icing on the cake with his sound.

Let's continue with No = No. Here at last it becomes clear: Muito Kaballa has escaped from his drawer and is now in free flight, somewhere between jazz, fusion, afrobeat and whatever. But who cares? The sound is convincing, the feet shake to the beat and cannot be calmed down even with great effort and the message "Don't protect your daughter, educate your son" can't be said often enough.

The next song, Memories, reveals completely different sides of the band. While the sound is suddenly much more relaxed and, let's call it jazzy, the lyrics also become much more intimate and poetic. "Keep in mind, it makes you blind, starring in the sun". We don't find out what memories Niklas Mündemann, composer of the song, has in mind here but that shouldn't bother us. We just put on our sunglasses and let ourselves be carried away by the almost epic track, which with its ten minutes of playing time leaves nothing to be desired in terms of diversity. Sophisticated listeners will wonder if Niklas Mündemann listened to a bit of Kamasi Washington while composing. Maybe even a lot? Be that as it may - a special treat in the piece: the trombonist Saskia-Marleen Dahms, who makes a guest appearance on this song, rounds off the sound of the brass section again.

Last but not least, we come to the namesake of the album: the song Little Child builds on the mood of the previous track and rounds off the musical odyssey with a good portion of goosebumps. But the song doesn't just leave its mark on the surface, no, it also gets under your skin. While the melody has considerable catchy tune potential, it is above all the lyrics and the message that grab you here. Niklas Mündemann wrote the song during a phase of mental depression. Above all, psychotherapy helped him to think more positively again and to comfort his own inner child. We've all heard about that child in us. But when was the last time we hugged it? The song Little Child is the perfect accompaniment for this, because when you hear it, you immediately feel hugged, pressed and safe. Another highlight are the incredibly beautiful solos, played by Benjamin Schneider on guitar and Saskia-Marleen Dahms on trombone.

That's the end of the album and, to be perfectly honest, you don't feel left out in the rain, but you do feel left out in a (warm) shower. Time flies when you hear Muito Kaballa's new album and in the end you want more. 4 remixes for the dancefloor are delivered by French producer Kuna Maze, Polish/Angolan duo Lua Preta, French producer La Dame and Brazilian producer Badsista, tipping the remix balance into more female input.

This is Nina Simone in her famous live performance at the Antibes Jazz Festival (France) in July 1977. Backed by her long time collaborator Al Shackman on guitar, vibes and percussion, the "High Priestess of Soul" builds a perfect set-list full of beautiful songs chosen from various repertoires, among them: Jacque Brel's "Ne Me Quitte Pas", Gershwin's "I Loves You Porgy" and Brecht/Weil's "Alabama Songs", last but not least, some Pop tunes from the likes of Robin and Barry Gibb and Lennon / McCartney, A stellar programme interpreted with her unique intensity!

A marvelous double album as document of the historical collaboration between Don Cherry and Swiss pianist, composer George Gruntz, a central figure in European Jazz who always showed a special interest in extending his solid post bop skills through other languages such as ethnic or even baroque music. This is North- African deep flavoured Jazz recorded live in Tunisia and Germany in May and September 1969, with Cherry (cornet, flute) and Gruntz (piano, celeste) leading a highly mixed line-up featuring multi reeds player Sahib Shihab, bassists Henry Texier and Eberhard Weber and Swiss dummer extraordinaire Daniel Humair, plus four North African musicians on traditional instruments like bendir, ney, bagpipes, tabla and darbouka. A trance inducing Jazz ritual.

These are the Adderley brothers, Cannonball and Nat, respectively on alto sax and cornet, and both at the head of a top flight quintet featuring Mr. George Duke on piano (acoustic and electric), Walter Booker - bass and Roy McCurdy - drums. Recorded live in Vienna in November 1972, this is a fine example of pure electric Jazz-Funk of the era. The album opens with an ecstatic twenty minutes long version of George Duke's "Black Messiah" and it goes on with equal intensity throughout five other tracks including three Joe Zawinul classic gems, "Directions", "Mercy, Mercy, Mercy" and "the Scene".

This is tenor sax giant Pharoah Sanders caught live in France in summer 1971, when the man was still in full post-Coltrane mood. At the head of a strong quintet featuring: Lonnie Liston Smith - piano, Cecil McBee - bass, Jimmy Hopps - drums, and Lawrence Killian - congas, Pharoah delivers two very intense yet serene versions of his milestone piece "The Creator Has A Master Plan" and "Let Us Go In The House Of The Lord", a traditional gospel hymn arranged by Lonnie Liston Smith. This is deep spiritual music kissed by the sun of a splendid southern France summer.

Still sealed. Slighty bent corner.

"Cutting edge live jazz and beat-inspired debut EP by Dutch bass player Joop de Graaf (Brintex Collective). Resonates with the current UK jazz sound and artists such as Yussef Kamaal and Moses Boyd."

Active during the prime years of New York jazz label Strata-East, The Descendants of Mike and Phoebe was one of the various projects on the label spearheaded by bassist Bill Lee. Together with siblings Cliff Lee on the flugelhorn and A. Grace Lee Mims adding enchanting soprano vocals to four of these tracks, the group composed hypnotic works of socially astute spiritual jazz on their only record A Spirit Speaks. P-vine is delighted to present the 1974 classic as a limited edition LP with an iconic Japanese obi strip attached.

Stunning european live performance from Miles with his early quintet featuring the magic of a young & talented Trane. Miles Davis (trumpet), John Coltrane (Tenor Saxophone), Wynton Kelly (Piano), Paul Chambers (Bass), Jimmy Cobb (Drums)

When you drop the needle on Vocal Patterns, you are entering a world that is equal parts suave, smooth, cool, nostalgic, and kitsch. With haunting and beautiful vocals, upbeat numbers, and smooth sounds made for a late 60’s summer holiday, let this cult classic transport you back to a simpler time. Originally released in 1971, Vocal Patterns features compositions by Roger Webb and vocal performances by Barbara Moore. This powerhouse duo has their own recognition outside of library music. Roger Webb worked as a musical director alongside the likes of Rex Harrison and Bette Davis and wrote songs for Shirley Bassey and Johnny Mathis. Barbara Moore, composer of the de Wolfe cult classic “Vocal Shades and Tones”, collaborated with the likes of J imi Hendrix, Elton John, Dusty Springfield, and Tom Jones.

This is Sly and the Family Stone caught live in the Netherlands in 1970. A dream set list including big hits such as "Stand!", "Dance to the Music" and "I want to take you Higher", and a marvelous band at the peak of their game featuring Sly Stone - vocals, keyboards, guitar, Freddie Stone - vocals, guitar Rose Stone - vocals, keyboards, Cynthia Robinson - trumpet, vocals, Jerry Martini - sax and the great rhythm tandem of Larry Graham - bass and Gregg Errico - drums.

From the same continental cosmic egg that hatched Marc Moulin, Marc Hollander and Belgian synth fusion combo Placebo comes your favourite new Franco-Flemmish pop discovery. COS, where have you been all my life? Compact in name but wide-eyed in nature, it’s understandable how the 70’s band known simply as COS has remained trapped in the tight cracks between pop stardom and prog indulgence where other like minded names like CAN, Zao, Neu! And Egg have managed to squeeze into gaps of your record collection. In presenting one of the band’s most infectious and potentially crossover legible tracks on this exclusive user-friendly 45, COS mastermind Daniel Schell not only breaks an unlikely new format for this lesser-known femme-fronted, electro/jazz fusion/prog pop opera/would-be disco cinematic six-piece but also sends a sonic telegram to a new generation of futurist pop aficionados ready to explore the deep realms of his band’s dense, expansive and consistently rewarding catalogue. Placing the microscope over the central motif of the band’s onomatopoeic 1978 triptych known as Mein Maschine Ist Schön (My Machine Is Beautiful) this very rare proposed single edit from the group’s third album combines the type of warm, brooding, discoid funk and nymphish Morse code vocals that unite fans of Stereolab, Curved Air, Jan Hammer, Emerald Web and Ursula Dudziak not to mention Schell’s own close friends, the aforementioned, Hollander, Moulin and Placebo. A prog rock 45 might sound like a contradiction in terms but with a band like COS you can only expect them to defy convention. Backed here with another deeply conceptual sliced of deep orchestral symphonic psych from Schell’s short-lived FF Boom project from the previous year this suitably compact introduction to your new favourite COSmonauts provide digestible versions of some of Schell’s finest moments and clears the decks for future explorations of a wider musical universe waiting to be explored. Turn on this beautiful machine and let yourself melt into the COSmix.

JAUBI continue the Nafs journey, which commenced with the single “Satanic Nafs” (featuring the remix by legendary LA producers The Gaslamp Killer & Mophono) released in March 2021. Now JAUBI draw on the elements of North Indian classical music, Hip-Hop and modal/spiritual jazz in their debut LP entitled “Nafs At Peace”.

The journey officially began back in April 2019 when London’s multi- instrumentalist and 22a Record label boss Ed “Tenderlonious” Cawthorne and Polish pianist/composer Marek “Latarnik” Pędziwiatr of EABS/Błoto, visited the group to record in Lahore.

Together they channelled their personal struggles at that time into the two recording sessions allowing the musicians to find a spiritual path to transcendence through this musical purge.

Nothing whatsoever was written down during the recording sessions - no sheet music and no song titles, which allowed the six musicians to forget about their worldly issues. In many ways, the journey represents a struggle for purity, an expression of gratitude, and an acknowledgement that the musician's inspiration comes from a higher power.

The album cover portrays the mother of JAUBI’s bandleader, tearfully praying to God to get her son through that dark period of his life, which is what the mothers of the other musicians also did for their children.
The first step of the journey can be heard on “Satanic Nafs” which refers to the lowest level of the Self which was released 26th March 2021 through Astigmatic Records.

The album title ‘Nafs At Peace’ refers to the last purification step the self has been through. At this level, the Self no longer struggles because one has complete love of God, by becoming at peace and tranquil with God’s will. We hope all can achieve the stage of “Nafs At Peace” … Inshallah.

After releasing their aptly titled first three LPs (I, II & Iii) Godtet concluded their
triptych with the idea of a 'clean slate'. To allow the universe of Godtet to grow
the band hit reset somewhat. Returning to their original conception of the band;
Hitting record in the studio without preconceived thought or discussion on the
outcome.

After recording Meditations Godtet were asked to pay homage to the great John
Coltrane at The Sydney Opera House during their lockdown web series in 2020. To
celebrate the 50 year anniversary of 'Giant Steps' Godtet reimagined the seminal
body of work into one long set. The band collaborated with local artists Chris Cooper
& Sam Whickham who designed the audio visual aspect of the show. And after an
astounding reception, decided to utilise the two artists to build upon Meditations.
The 'Suite' EP (which features on the B side of 'Meditations') is the amalgamation of the earlier Godtet LP sounds and Godriguez's produced albums, through-composed as a 15 minute suite. To be true to the long-form, through-composed piece, the band recorded this release live; one take, no over-dubs and straight to
tape much like the 'Meditations' sessions, but composed.
The cathartic opening of 'Suite' awakens the gods with a sombre Welsh men's choir.
Their vibrato ripples across the ocean as the second movement lands the listener in
the Solomon Islands where bamboo sticks are tapped against rock. As the band
nods to 'Struck Bamboo Pipes' from their last LP. Dub Horns blaze out of the
calming movements, fractured polyrhythmic, post-dub-step energy takes hold. 'The
sounds bleed into a neighbouring Trinidadian street festival as they march across
the Atlantic. The end is nigh, Moroccan percussion and vocals dance as Godriguez's
roots shine bright. What it all a dream? A Ghanian 'Women's Choir' lulls back
consciousness. The 5-piece bids us farewell, sounds of the forked harp and Baoule
men singing is all that remains. And just like that, the trip is over.

8-Infinities represents Discos Transgénero’s first contemporary release after several reissues and archival projects. Stepping away from customary North-American guitar traditions, Ameel Brecht (core member of Razen) presents an utterly singular take on early European music with an album which evokes the inner conflicts of growing up and their connection to the concerns of fatherhood.

A classically trained musician, Brecht resorts once again to the use of resophonic guitars and mandolins as a way of finding a middle ground between the virtues of being a schooled musician and the ability to escape pre-established tendencies in pursuit of what he has referred to as ‘metaphysical freeform string music’.

Additionally, the album features a series of fascinating and subtly merged contributions by label associates Marnie Weber and Jabir, along with Bob Rutman’s distinguished steel cello and Walter Hus’ automated glockenspiel. Echoing the likes of Renaissance and Baroque music on plucked instruments, Brecht assembles here a collection of timeless compositions.

A Mesmerising Performance!Christof Kurzmann: Lloopp, Vocalssofia Jernberg: Vocalsmartin Brandlmayr: Drumsjoe Williamson: Double Bassdisquiet Is A Special Quartet That Came Together On The Stage Of The Konfrontationen Festival In 2018. Initially Formed And Lead By Austrian Electronic Musician Christof Kurzmann, The Project Is Reflecting The Difficult Political Situation Of The Refugee Movements To Europe - And How Politicians Deal With It In A Selfish And Unhumanitarian Way. Christof Kurzmann, Sofia Jernberg, Martin Brandlmayr (Radian) And Joe Williamson Reinterpret And Process In Quiet Waves Of Emotions And Thoughtful Lyrics - Concentrated Music Between Serenity And Sheer Beauty, Esp When Kurzmann And Jernberg Sing A Duet With Joe Mcphees Lyrics"A Concert Is Also An Artistic Polyphony Of Voices And Temperaments, And There Is Something Special Going On Here. It Is In The Way These Musicians Balance Abstraction With Direction. It Is In The Way Martin Brandlmayr Carefully Uses Those Thin Sticks And That Extended Drum Kit, And Joe Williamson Thatbow, The Strings And Body Of The Bass, To Create T His Ever Transforming, Detailed Rhythmical And Texturalflow. It Is In The Way Sofia Jernberg Uses Her Voice In The Subtlest Of Ways, Her Breath, Soft Moans And Occasionally Voluminous Siren Call Joining The Four-Way Discussion. Or In The Way Christof Kurzmann Guides This Quartet With His Lloopp Software, A Restless Web Of Textures, Mirror And Echo Effects, Sonar Pulses, Discreet And Alienating Hums. Even In Its Quietest Moments, There Is A Tangible Tension At Work, A Disquiet Perhaps, But One Affected By An Untamable Beauty And Iridescent Poetry." Guy Peters, 2020

Yellow-Black-Transparent-Splatter vinyl. Still in shrink, but opened, with hype sticker

close to NM

2020. Full On Lockdown: Musician Laurence Mason puts together this off the wall idea meshing together two of his biggest musical heroes, Dave Greenfield of the tough 1970's proto-punk band The Stranglers with the oh so cool 1960's jazz of Dave Brubeck. He puts up his demo on Youtube not really expecting much in the way of feedback. And gets ONE Million hits. And hundreds of requests for a release. Jazz Room Records Head Honcho Paul Murphy says "Do you wanna record that and release it?"."Affirmative!" The result is this grooving Soulful and Funky Jazz version of "Golden Brown".
On the "B" side is a languid and super cool version of "Walking On The Moon", originally by 80's Supergroup The Police.
The first release sold 3000 (!) 7-inch singles and got into the Official Vinyl Singles Top 30. (Yes, there's still such a thing!).
The latest version of the best selling Jazz Room Release. Now in Blue Splatter Vinyl.

More buried treasure from Company Week 1982: seven previously unissued Epiphanies by lineups involving Derek Bailey, Ursula Oppens, Julie Tippetts, Keith Tippett, Philipp Wachsmann, Fred Frith, George Lewis, Anne LeBaron, Motoharu Yoshizawa and Akio Suzuki.

Fred Frith is a stellar improviser — 1974’s Guitar Solos is still a seminal album of free improv — and he has three opportunities here to showcase his considerable talents. Eleventh is a tour de force of extended technique, with George Lewis working slowly but surely through a variety of trombone mouthpieces, while Frith’s guitar, strummed, bowed or prepared, could be a theremin, a koto, a mouse trapped inside a grandfather clock or a lion cub inside a shoebox. Bookending the album, on Seventh he swaps Webernian shards with Lewis and harpist Anne LeBaron and on Thirteenth, with pianist Keith Tippett, he condenses a whole lifetime of musical exploration into a mere twelve minutes. When it’s over both musicians are so amazed they burst out laughing.

Elsewhere, on Eighth, Wachsmann reveals his understated mastery of both his violin and the electronics he’s devised to extend its range, and pianist Ursula Oppens proves she’s as adept as conjuring forth magic from inside her instrument as she is at the keyboard. Major and minor triads too!

Ninth is spikier, with Lewis quacking, spitting and wheezing like a flock of geese let loose in a fairground, while Derek Bailey and Motoharu Yoshisawa patiently explore the outer limits of acoustic guitar and double bass. Bailey and Lewis team up again on Twelfth to take on Oppens — and everybody wins. Voice is more to the fore on Tenth, with Julie Tippetts’ coloratura and flute and Akio Suzuki’s analapos and spring gong flying high, while LeBaron, Wachsmann and Yoshizawa weave intricate webs of pizzicati, spiccati and glissandi beneath.

Incredibly unique modernized adaptations of traditional rhythms of the diverse regions of Sudan, recorded in Kuwait 1980. The “holy grail” album from Sudan.
I heard about Seif Abu Bakr and The Scorpions maybe 3-4 years ago. Their album “Jazz, Jazz Jazz” ended up on my radar because of an eBay auction with the bids eventually rising daily up to a staggering 1000$. The music is a unique combination of incredible horn arrangements powerfully performed, a vigorous drummer contributing a funky backbone and Seif's vocals uniting those elements. The results range from instrumental tracks awaking memories of 1970s crime thriller soundtracks to more Sudanese-rooted tracks, a lot of them modernized versions traditional rhythms of the diverse regions of Sudan and even an excursion into Colgolese Soukouss.
I went for my second trip to Sudan in December 2018 and after doing some research on the first trip my local colleagues Larissa and Yassir had managed to reach Amir, The Scorpions band leader and he was happy to meet. We got together with him in a Cafe right at the Nile in Omdurman. It was a happy occasion for everyone. He told us stories about him meeting Jimmy Cliff and Lewis Armstrong when they visited Sudan and how he and his band mates from The Scorpions played extensively in Kuwait, both in club residencies as well as for television. Amir brought tons of incredible photos illustrating not only the bands history but the vivid cultural live in the many music clubs in Khartoum of the 1970s. During this decade up until 1983 the capital was home to a huge number of clubs, bards and concert halls. This scene started to perish after president Nimeiry's turn away from his socialist policies, that he was widely associated with in the first decade of his rule, towards the implementation of Sharia law in 1983. During the first decade of his rule he had actively supported various artists of the Jazz scene, taking some of them on trips throughout Africa. The 1989 coup of Bashir and his generals then caused the final blow to a once thriving scene. Both of these political events within 6 years lead to significant drawbacks for the Sudanese jazz scene resulting into hardly no gig opportunities left and parties and concerts being critically observed. A number of musicians faced prosecution, most of the time for their political views, some left Sudan for good. Music never completely vanished from public life and even the regime kept selected artists close, but for a majority of those bands affiliated to the jazz scene life and making ends became a lot harder. The Scorpions dissolved as a group around the same time.

The re-release was produced with a clean copy of the vinyl version as a source. The original reel tape of the album stayed with Saif Abu Bakr along with another reel with other recordings that were never released. Unfortunately it was lost when Saif Abu Bakr had to flee to Kuwait temporarily during the second gulf war when Iraq raided Kuwait. Both the CD and vinyl version come with extensive booklets with photos, interviews, liner notes. The vinyl version also has a DLL code.