Search "fettes brot:" 181 Items

Wilfred Trevor Woodley aka Woods (1934 - 2010) is certainly one of the best kept secrets in Caribbean jazz. A pianist composer from Point Fortin, Trinidad & Tobago, Woods was a fascinating man who lived an incredible life traveling to more than 70 countries. Even though he composed hundreds of songs he had never released an official album. Woods was a man who lived a fearless life. Even when faced with life's adversities he dealt with them with such courage and calmness that all who knew him could only remember him with admiration and respect. In july 1990 he was involved in an accident where a truck crushed one os his legs. facing the doctors, he replied with aplomb: "As long as I can play the pinao, everything is fine". This EP is the first project of a series to pay a tribute to his legend and to keep his music alive.

Killer-Funk Compilation voller Highlights aus den Musikarchiven von Josef Weinberger Ltd. in London, mit 16 Tracks von seltenen Library-LPs auf Labels wie JW (Josef Weinberger/ Theme Music), IA (Impress) oder PM (Programme Music). Erste Auswahl unbekannter Titel von Toni Campo, Midas Touch, Trevor Bastow, Sidney Dale oder Vick Flick, zwischen Jazz-Funk, Soul Music, Proto Techno und arabischen Disco-Sounds - mit Open Drum-Breaks, fetten Basslinien und jeder Menge Brass/ Wah-Wah /Orgeln /Vibes /Flöten und elektronischen Effekten.Vergleichbar mit den besten Sounds von KPM, De Wolfe oder Bosworth.

None More Records are very proud to present 'Fictions', the third album, and debut LP for the label from Twospeak. Twospeak are band leader and saxophonist Ronan Perrett's bold and dynamic four-piece that draw inspiration equally from the world of contemporary jazz, bands like The Bad Plus and Adhd, the early 1970's Canterbury Scene of Soft Machine and Caravan, Hot Rats-era Zappa and Deerhoof-esque indie rock, putting this all together in a heady brew and sounding uniquely themselves.
Fictions is a huge step forward for the band, building on Twoism and Reflector, taking the band to new heights. Each song on their new album is based on a piece of non-musical art which include paintings, sculpture, literature and film. Each track is named after and aims to capture the character and mood of its original inspiration.

Japanese promo copy including insert! Cover with yellowing on the back!

180 gram reissue.
Cover slightly dogeared but ciose to NM.

CD comes in a soft case, instead of the original crystal case. All booklets included.

Still sealed. Reissue.

Japanese pressing, no Obi.

Japanese pressing with Obi.

This rare date was cut at Studio des Dames in Paris on June 5, 1958 for French Polydor label and it's a stripped-down trio date with a nicely relaxed feel!

Cover close to VG+

Japanese pressing with obi.

1973 reissue. Japanes pressing. OBI is missing.

Vinyl close to VG+

Cover with cut corner, close to VG+

Punch hole in cover closer to VG+, and vinyl to NM

Cover close to VG+

In 2005, acclaimed Hawaiian singer Teresa Bright —whose recording debut, Catching A Wave, was reissued by Aloha Got Soul in 2020 — recorded a jazz-tinted album with pianist/engineer Kit Ebersbach. The project brought to to life Bright's favorite standard songs alongside tunes that feel expressly written for her sultry voice. The singer's original composition, “Sp-r-ing”, fits right at home in the collection. These recordings patiently sat on Ebersbach’s hard drive for 15 years until 2020, when Aloha Got Soul released the album digitally. The vinyl is scheduled for release on February 25, 2022.

In December 2020, Bright received a Lifetime Achievement Award from the Hawai’i Academy of Recording Arts. The award came following a lifelong career spanning more than a dozen albums, numbers Na Hoku Hanohano awards, countless songwriting, arranging, and producing credits, domestic and international concert performances, plus a long list of Hawaiian language translations for peers near and far. In anticipation of the awards ceremony, Ebersbach approach Aloha Got Soul with the suggestion to finally release Blue Skies, the 2005 jazz record they'd cut with studio veterans Dean Taba, Noel Okimoto, Rocky Holmes, Casey Olsen, and Sam Ahia, Jr. Together with the help of Bright's partner, Derrick C.M. Llanos, we released 'Blue Skies' digitally in December 2020.

“Iʻm so glad we waited,' said Ebersbach of the digital release in 2020. 'There can be no better moment to do this than on this very day, commemorating her lifetime of making beautiful music.”

Ags-057 is a wonderful addition to the catalog of beautiful sounds that Bright has been singing since the beginning of her career, from Catching A Wave through today.

Includes one bonus track.

When Charlie Byrd toured South America in 1961, Bossa Nova—a melding of Brazilian samba rhythms with the harmonic structures and cool sound of West Coast jazz—was booming. He brought back records for Stan Getz to hear and they planned a session. The result was Jazz Samba—the first album of Bossa Nova music by jazz artists and the one that created the Bossa Nova wave.



VERVE ACOUSTIC SOUNDS SERIES: Stereo, mastered fully analogue from the original tapes by Ryan K. Smith at Sterling Sound, QPR pressing (180 g), firm tip-on gatefold (Stoughton Printing), padded inner sleeve.

Siema Ziemia hail from Poland and come together as an electronic-inspired quartet, which draws an energy from collective improvisation. The band has a reputation for genre-defying experimentation, fusing free jazz improvisation with breakbeat, IDM, and influences from underground music scenes.

Pastime Paradise, first released by Stevie Wonder in 1976 got a new lease of life when sampled by Coolio on his Grammy Award winning Gangsta’s Paradise. It has also over the years been covered by Patti Smith as well as our fave version, courtesy of Latin percussionist Ray Barretto. First released on CTI in 1981, to this day it remains a staple for both the jazz and soul rooms. Never before released on a 12 inch, Major Keys continue their fine form with this extended floor filler that will appeal to DJ’s and collectors alike. It also flips it with La Cuna and Mambotango taken from the same 1981 LP. This is a special EP and one that you will want for your collection.

Following the success and widespread critical acclaim of his 2020 releaseWhereabouts "", Danish guitarist/composer Rasmus Oppenhagen Krogh proudly presents his third record, Until Then The first singleHow U Look "", released on May 12th, has already garnered media attention and was placed on Danish Radio DR P8 Jazz s A rotation list. Grounded in the contemporary nordic noir sound, Until Then is dark, spacious, and meditative. Created in close collaboration with Danish producer, drummer and sound designer Rasmus Juncker, the album s 12 tracks are a sonic exploration of the coming together of jazz musicianship and contemporary pop/rock production techniques. Compositionally, Krogh works in the intersection between strict rhythmic progressions and open rubato passages, as well as the meeting between the through through-composed and the improvised. Led by his lush Frisell/Bro Bro-esque guitar sounds, the ensemble navigates through a wealth of cavernous soundscapes and rich harmonic planes. As on Krogh"s previous releases, he once again finds himself surrounded by some of the finest musicians that Denmark has to offer; Anders AC " Christensen on bass (Paul Motian, Jakob Bro), Simon Toldam on keys (Simon Toldam Trio, Efterklang), Jakob Hoyer on drums (The Raveonetes, Jakob Bro), Lars Greve on reeds (Bon Iver, Girls in Airports) and Victor Dybbroe on percussion (Girls in Airports). In addition to his own work on his personal projects, Krogh is in high demand as a guitar player and works with a great diversity of names including top singer singer-songwriter Guldimund, pop sensation Takykardia and has played with Kentaur as well as Danish master saxophonist and improviser Jesper Zeuthen.

Proto Moro is a Psychedelic Melbourne Jazz outfit comprising of Harry Leggatt aka Uno Lizard on Guitar, Jack Eden aka Madayana on Bass, Gene du Vergier aka Pearl E. Gates on Drums and Nikodimos aka Nikodimos on Woodwind.
After being first introduced to the world via Colour Club Records pandemic produced Va001, their contribution Club X received great attention from radio presenters in Melbourne and around the globe (see feedback notes for more info). Local stations Triple R and PBS championed it and Worldwide FM and dublab further solidified the track's success.
Protosynthesis is their debut LP and touches on, jazz, funk, hip-hop, psychedelia and beyond. After a successful sold-out residency at Melbourne's Colour Club, the band now present their opus to the masses. Taking inspiration from other Melbourne acts such as Mildlife, Zfex, Horatio Luna and 30/70, the band now carves their own space in the cities flourishing scene.
Out July 23rd digitally and physically via all good platforms.

3x LP - Live in Sharjah Box Set + Booklet. designed by Lorenzo Mason Studio. If you’ve ever travelled to Egypt and wandered through its crowded streets, you probably ended up buying a cassette or a CDR of popular synth based music heard in most cabs, cabarets, or alleys around town: the almighty Shaabi.Raed Yassin and Paed Conca based their project Praed on research between Shaabi and Mouled (traditional trance music from Egypt) and the hypnotic structures of both these genres. Repetitive beats, loud Mizmar and loads of energy, with a strong influence from psychedelic rock, free jazz and electronica. During the years in which the duo produced 4 albums and performed on an endless number of stages around the globe, Praed started working on anambitious expansive project: an orchestra that could transpose this study of rural and popular culture into an immense, iconic work. In autumn 2018, supported by the Sharjah Art Foundation, Praed Orchestra! premiered “Live in Sharjah”, interpreting new material merged with some of the band’s iconic pieces. The composition process started with the choice of musicians: the line-up consisted of some of the most innovative artists coming from a wide spectrum of musical practices. Each musician was chosen for a defined role, and the common denominator was their capacity to interpret written material, and their ability to improvise effortlessly. Each role was clearly set to work in unison with the rest of the group, while simultaneously sustaining a centrality in the choir. Solo parts masterfully drawn over the structure as a fil rouge connecting every piece of the entire concert; massive and powerful orchestral sections leading to a breathtaking trance-like state of mind; all of this material ultimately coalescing into an Egyptian Operette that narrates the sorrow, love, and deeply rooted culture of this urban music called Shaabi.

Paed Conca: Clarinet, Electric Bass, Electronics Raed Yassin: Synthesizers, Vocals, Electronics Alan Bishop: Alto Saxophone, Vocals Nadah El Shazly: Vocals, keyboard, Electronics Christine Kazarian: Electric Harp Hans Koch: Bass Clarinet, Soprano Sax Martin Kuchen: Tenor Saxophone, Baritone Sax Maurice Louca: Keyboard, Organ Radwan Ghazi Moumneh: Buzuk, Vocals, Modular Synthesizer Sam Shalabi: Electric Guitar, Oud Ute Wassermann: Vocals, Mouth Harp, Whistles Khaled Yassine: Drums, Percussion, Darbuka Michael Zerang: Drums, Percussion

Recorded at the Philharmonie Berlin, November 1, 1974. Source: Master tape from the private archive of Jasper van ’t Hof
Master digitized at Studio JDM Amsterdam by Frank Jochemsen
Edited & mastered by Marc Broer at Live Concert Recording Monnickendam
Release initiated by P-Dog & Zembie and produced by Frank Jochemsen (Gallio producties), Jasper van ’t Hof & Sander Huibers for 678 Records
Succesfully distributed by Sander Huibers for Painted Dog Records
Grafische verzorging: Piet Schreuders

Japanese pressing. OBI is missing. Japanese pressing. With insert. Vinyl is close to NM. 1981 reissue.

Copy close to VG+

Reissue from 1972.
Promo strip on front cover.

When he first came on the scene, Phil Woods was often referred to as “The New Bird,” in a nod to the legendary Charlie Parker. A testament to his genius on the saxophone to be sure. But while obviously indebted to Parker - as all modern jazz saxophonists of a certain era were - there is no question that Phil Woods was an original. After earning a degree in music from Juilliard in the early 1950’s, Woods found himself in the orbit of the great Quincy Jones. At Jones’ invitation Woods joined Dizzy Gillespie’s infamous Jazz Ambassadors - a tour sponsored by the US State Department as part of a global cultural diplomacy initiative - and subsequently became a member of Jones’ own touring band. This recording, his 9th album as a band leader, consists entirely of Woods’ five-part Rights of Swing Suite. An ambitious large-scale composition based solidly on jazz traditions. A culmination of the influences the then 30 year artist had absorbed. Arguably considered one of Woods finest recordings, the record features a stellar section made up of Wood’s fellow Quincy Jones band members. (It should be noted that these same musicians, for the most part, are also the section on Benny Bailey’s Candid Records recording, Big Brass, recorded a a few months prior in November of 1960). Recorded at the Nola Penthouse Studios in New Your City on two dates in January and February of 1961, and conducted by Quincy Jones. The LP includes extraordinary liner notes by Candid A&R man and producer Nat Hentoff, and in-depth commentary from Woods himself, giving a context and insight that adds to the experience of hearing these extraordinary performances.

Copy closer to VG+

Cover close to VG+

Beginning seam splits.

Japanese pressing. OBI is missing. Vinyl is close to NM. Die cut cover.

Japanese pressing with Obi.

Japanese pressing. close to NM.

Pantaleon Perez Prado is the younger brother of the “King Of The Manbo” who came in Europe in the 50s and recorded some albums with Unifunk. Taken from “Escandalo” (sceb919lp) “Circle” was written by Mario Rusca and has been performed by some amazing musicians such has Tullio De Piscopo, Hugo Heredia and Pino Presti. “Circle” is a strong track with a killer groove – on the B side we have an unique version edited by Gerardo Frisina

Founded by the pianist Robin Notte (from the former electro-jazz band Wise) Panam Panic is one of the best Jazz-Groove french band. Influenced by Musician like Yussef Dayes, Robert Glasper, Roy Hargrove or Christian Scott, Panam Panic mix up Jazz with groove, Hip hop and electronic textures. Love Of Humanity is their last album. Robin Notte's gamble is to create a Jazz which is sufficiently sophisticated to delight the most demanding experts, yet also accessible enough to initiate neophytes. As such, Panam Panic defends a resolutely actual Jazz, open with no borders or blinders, combining powerful organic grooves with tidy melodies, delicate harmonies and frenzied solos.

LP on blue marbled vinyl in printed innersleeve.This talented jazz trio stands out, not only for excellence in musicianship but also for its unique blend of effected vibraphone leading the beast from jazz funk to hiphop punk.

By 1991, the world’s most celebrated trumpeter could look back on five decades of musical evolution – his own, and that of the world around him. Miles Davis had found ways of marrying jazz with classical ideas, then later R&B, rock and funk, producing hybrid offspring that shaped the course of popular music and had come to define his legend. In 1985, he’d left Columbia after thirty years to sign to Warner Bros. Records, a label riding high with best-selling artists like Madonna, Van Halen and Prince, with whom he had a mutual admiration and friendship.



Miles Davis’s lifelong love for France is well-documented, and in July 1991, he became a Knight of their Legion of Honour. Davis received the award from French culture minister Jack Lang, who described him as: "The Picasso of jazz." A few days before, he played this electrifying set at the Vienne Jazz Festival with the Miles Davis Group. He passed away two months later in September 1991.



Miles Davis’ performance at Jazz a Vienne on July 1, 1991 became one of his final live performances before he passed away on September 28, 1991, and this previously unreleased set includes two songs written by Prince, “Penetration” and “Jailbait”. The package features liner notes from music historian, journalist, and producer Ashley Kahn, with art designed by Bruno Tilley.

Mike Pride Was Not A Fan Of Legendary Punk Band Mdc - A Straight-Edge Hardcore Devotee, You Could Even Say He Had A Chip On His Shoulder About This More Mainstream, Less Disciplined Form Of Punk - When He Suddenly Found Himself On A Tour Of Europe As Their Drummer Sometime In The Early '00s. Twenty Years Later, Now A Longtime Fan And Friend Of The Band, Pride Unexpectedly Turns To The Band's Raucous Catalogue As A Source For Jazz Standards On His Warped New Album, I Hate Work. I Hate Work Draws Its Material Exclusively From Mdc's Iconic 1982 Debut Album, Millions Of Dead Cops. Despite His Long Established Passion For Bringing The Extremes Of Hardcore And Heavy Rock Into The Jazz And Improvised Music Realm (And Vice Versa), Pride Instead Does The Unexpected, Transforming Mdc's Pummeling Punk Into Swinging Acoustic Jazz. For The Occasion He Enlisted Pianist Jamie Saft And Bassist Bradley Christopher Jones, Both Master Re-Interpreters Of A Wide Swath Of Pop And Rock Music, As Well As Special Guests Mick Barr (Ocrilim, Krallice), Jg Thirlwell (Foetus), Sam Mickens (The Dead Science) And Mdc Frontman Dave Dictor.Tracklist (Vinyl) : Side A: 1. Corporate Deathburger 2. Business On Parade 3. America's So Straight Side B: 4. And So You Know 5. Dick For Brains 6. Greedy And Pathetic 7. Annie Olivia Side C: 8. Dead Cops 9. She Wants A Partner With A Lust For Life 10. I Hate Work