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This incredible trio of poets, were not only musicians but Civil Rights Activists, rising up in the early 1960’s. They formed the group whilst in prison where they began performing the “spoken word” to rhythm and percussion. The last poets where born! None of this prolific music has been issued as a 7” before, great music for all good music lovers

A - “It’s a trip” - Vocal Acid Jazz / dance gem!

Killer Track. Percussive vocals; addictive and funky. Acid jazz club classic. Dare you to keep up. Once you start, you can’t stop dancing. Such vibes. Environmental and racism-alerts messages chorused as early as 1977. You gotta listen to the words. Zeitgeist extraordinaire.

B - “Blessed are those who struggle” - Exclusive 7” cut for this vinyl release. The super funky drums of Mr Bernard Purdie, one of the best drummers in the World, if I may say so myself. Stunning

Pressed on 2x 200g

Miles Davis Kind of Blue meets Analogue Productions' UHQR, the pinnacle of high-quality vinyl!
Definitive limited run reissue Ultra High Quality Record!
45 RPM double LP release limited to 25,000 copies
Best-selling album in jazz history; mastered by Bernie Grundman from the original 3-track master tapes
Pressed at Quality Record Pressings using Clarity Vinyl®
Purest possible pressing and most visually stunning presentation and packaging!
Dream team of Davis, Adderley, Coltrane, Evans, Kelly, Chambers, Cobb make history

Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into "Best Of" lists and Halls of Fame, and universally acknowledged as a landmark recording — a five-track masterpiece of melancholy mood and melody.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley with Wyton Kelly playing piano on "Freddy the Freeloader."

Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl with attention paid to every single detail of every single record.

The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer's stylus to play truly perpendicular to the grooves from edge to centre. Clarity Vinyl allows for the purest possible pressing and the most visually stunning presentation. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. Each UHQR will be packaged in a deluxe box and will include a booklet detailing the entire process of making a UHQR along with a hand-signed certificate of inspection. This will be a truly deluxe, collectible product.

For this 45 RPM 2LP edition we've set the bar for excellence higher. Lifelike distinct detail that was palpable enough in 33 1/3 RPM is holographic at 45. Four glorious sides of 200-gram vinyl from QRP, the best presser in the business, reduces distortion and high frequency loss as the wider-spaced grooves let your stereo cartridge track more accurately.

Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. "The music has gotten thick," Davis complained in a 1958 interview for The Jazz Review. "... There will be fewer chords but infinite possibilities as to what to do with them." Kind of Blue is, in a sense, all melody — and atmosphere.

None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

Miles remained proud of the album, performing at least two of its tracks — "So What" and "All Blues" — for years after, until his musical path took him in a different direction.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.

A minor audio complication with Kind of Blue has been addressed with this UHQR edition. The motor on the studio's 3-track master recorder was running slowly the day of the album's first session. This speed issue affected the album's first three tracks, "So What," "Freddie Freeloader" and "Blue in Green," making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late '90s.

Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. As we set out to make our UHQR series the world's best-sounding vinyl records, we have also used Clarity Vinyl, which is free of any carbon black pigment which might introduce surface noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.

Funkiwala Records presents Cubangla - the sixth album by London fusionistas LoKkhi TeRra. Following on from their hugely successful collaboration with UK afro-beat ambassador Dele Sosimi on 2018's "Cubafrobeat"(mixing afrobeat and Cuban Rumba/Timba), this album sees them return to their Bangla-Afro- Latin-Jazz-Roots. 8 tracks of 21st century London groove – from Sufi Samba to Baul Blues to Bengali folk-Son to Bangla Roots Reggae to London Descargas - recorded in between tours, sessions and collaborations – a true celebration of traditions taking on new forms as they travel and co-exist. In these divided times, their collective musical journey has never been so relevant.
Background Kishon Khan's Lokkhi Terra have been blending the musical traditions that surround them in London, for many years now. "Stunning Headliners... A majestic multi-cultural blend of sounds... effortlessly builds bridges between rolling Indian raga rhythms, Afro-Cuban grooves, Acid Jazz/funk and free flowing improvisation" (Timeout London).

The band is composed of musicians who take seriously the different languages of the different genres they mix. Each in their own right play with calibre purist outfits. Members have collaborated with the likes of Hugh Masekela, Tony Allen, Ibrahim Ferrer, Johnny Clarke, Orlando Poleo, Africa Express, Jazz Jamaica, Ska Cubano, Giles Peterson's Havana Cultura, Kyle Eastwood, Bellowhead, Akram Khan to name a very few. The tracks on this album were gigged for a number of years before being recorded, with the exception of the last 2 tracks which were recorded in 2015 just before performing at Womad and Songlines Encounters. With Cubangla the band has come round full circle – a journey that started a decade ago with their debut No Visa Required (2010). An urban London view on the musical world.
Songlines Review
"Acclaimed groovesters Lokkhi Terra continue their creative roll, returning to their Bangla-Afro-Latin-Jazz roots after a wildly successful colaboration with Afrobeat keyboardist Dele Sosimi. Featuring a who's who of London based players from, variously, Bangladesh, Brasil, Cuba, Spain and Nepal, Cubangla offers more sparkling genre crossing. Its eight tracks veer from fresh takes on traditional Bengali folk tunes to unlikely but sophisticated pairing including Baul blues, Sufi Samba and Cubangla funk. Keys player and main man Kishon Khan – here on piano, Fender Rhodes, microKORG and (on root-reggae remake "Bhandari Revisited") wah-wah harmonium – has written and/or arranged a clutch of tunes that respect tradition while forging new pathways. "Badaam"jumps off the Cuban standard "El Manisero" into a suhg conversatio between Cuban sonero Javier Camilo and Bangladeshi songbirds Sohini Alam and Aanon Siddiqua.
The albums title-track is a glorious descarga jam riffing on themes Cuban and Bengali, stoked by piano, percussion, trumpet and Jalal Ahmed's snaking Bansuri (flute). An upbeat variation on a legendary Sufi song, "Lal Mere" finds Alam and Siddiqua in powerful form and Khan deploying a fiery Rhodes solo. Originally performed at a Songlines Encounters festival, "Kon Kole Revisited" features the rough-hewn voice of the late Baul musician Rob Fakir, his lyrics celebrating Bengali philosopher Lalon and his attitude of religious tolerance. Deep, laced with joy and a masterly lightness of touch, Cubangla rewards repeated listening"
John Armstrong review
Despite Latin and Afro-Cuban music's longstanding popularity in the UK, there have been relatively few UK based artists who have pushed the limits of convention, adding novel elements whilst remaining (more or less) 'en clave' . Alex Wilson is one, and another is the formidably talented pianist, keyboardist, arranger and producer Kishon Khan with his band Lokkhi Terra. Kishon can play straight afrobeat, timba and Afro-Cuban descarga with the best, but his musical curiosity leads him in other directions, too- most specifically, to Bangladeshi music. To these ears, Lokkhi Terra's third (fourth?) outing, Cubangla, is their crowning glory to date. Lazy reviewers will call this a 'fusion' album: i don't know about you, but I find the term 'fusion' as meaningless as the term 'world music': all modern music is a fusion of something or other. This is Afro-Cubano-Bangladeshi music, please don't call it 'fusion'.
Khan's real arranging achievements here can be heard immediately in one of the shortest tracks, 'Bhromor' - described as a 'son cubangla'. The melancholy traditional Bangla song is subjected to the strict conventions of the Eastern Cuban son format, but nevertheless finds space and time for the strong improvisational elements in Bangla singing, a space that the singer Aneira Khan fills to perfection. The rest of the album is equally arresting, with a couple of instrumental descargas and more of that beautiful Bangla melody and vocal impro rising above the Afro-Cuban bedrock. Almost thirty musicians and singers...studios in London, Dhaka, Brooklyn..this must have been a helluva logistical feat (well done Kishon!), as well as being one of the outstanding albums of the year so far for me."
Jazzwise Review
London-based collective Lokkhi Terra have been blending sounds from around the globe since 2010. They describe their music as Bangla-Afro-Latin-Jazz, but even that doesn't do justice to the range of traditions that find their way onto Cubangla, which weaves in everything from funk grooves and Afrobeat hornlines to bluesy guitar and the music of the Bauls, a group of musician-mystics from Bengal. Lots of bands mix African and Latin sounds with jazz and it's these Indian influences that really set Lokkhi Terra apart. Among the highlights is 'Bhromor', a traditional Bengali song about the love between Radha and Krishna that drifts over lilting Cuban guitar, fluttering tabla and delicate flutes. 'Lal Mere' sets a traditional Sufi song to breezy samba percussion and 'Badaam' has an easy-going reggae feel with both Spanish and Bengali vocals. Remarkably, the blend of styles always sounds natural, never forced or cluttered, which is testament to the ingenuity of the arrangements and the standard of the playing. Flautist Finn Peters and trumpeter Graeme Flowers are on particularly good form.
John Warr Review (AfroBase)
"Tracks like Como with its Cachao phrasing, hats off to Graeme Flowers and Justin Thurgur for some stunning solos, the Spanish/Bangla tinges, not forgetting your inspiring piano work and arrangements. Love the percussion throughout and especially on Cubangla, the beautiful Banzuri flute solos from Jalal Ahmed, the joyous vocals on Kalare, and not forgetting the very radio friendly Bandari although I really want to play Como!
This album is a true high point in the work of Lokkhi Terra and its worldly mix of influences. I hope I get to see the band play this live whenever that is."

London Odense Ensemble is a powerhouse quintet that combines forces from the Causa Sui/El Paraiso family tree (Jakob Skott, Jonas Munk, Martin Rude) with the vibrant, experimental London jazz scene (Tamar Osborn, Al MacSween). On two studio full-lengths, released in 2022 and 2023, they have explored the confluence of psychedelia, improvisation and cosmic jazz. On this set, recorded at the 2021 edition of Denmark's Jaiyede Jazz Festival, the energy is cranked up another notch or two. Comprised almost entirely of exclusive material not found on the two studio records these three sonic excursions dive head-on into the fiery side of the group's sound. Taking up the entire A-side "Energy Ascending" starts out as a gently flowing piece of dreamy jazz that wouldn't have sounded out of place on a late 1960s Pharoah Sanders record. As the piece evolves the guitar takes it into rock territory, where it dissolves in a mesmerising breakdown before commencing a build of epic proportions, lead by Tamar Osborn's baritone sax, channelling The Stooges as much as John Coltrane. Heavy. On the B-side things get more electronic and spacy. Here the ensemble uses album track "Sojourner" as a starting point for a new improvisation guided by Al MacSween's virtuoso keyboard work. The rhythm section creates a hypnotic foundation for layers of synths and electric keys to fully blossom and travel into cosmic territory.

5lp+12"+7".

Souffle Continu records presents Byard Lancaster – The Complete Palm Recordings 1973-1974, the definitive package of Philadelphia-born jazz wizard Byard Lancaster including his 4 legendary albums released on Jef Gilson’s Palm Records in the 1970s, Us, Mother Africa, Exactement and Funny Funky Rib Crib, along with the first ever standalone edition of Love Always, a fifteen minute modal jazz beauty plus a 20 page booklet with rare photos and in-depth article about Byard Lancaster’s Parisian years by Pierre Crépon.

At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler.

In 1968, the saxophonist and flutist recorded his first album under his own name: It’s Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson’s label), he would release four albums: Us, Mother Africa, Exactement and Funny Funky Rib Crib.

“Us”, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass (a Fender... Lancaster?) and the evergreen Steve McCall on drums.

On the album, the trio works from the John Coltrane model; free jazz shook up by the timely contributions of the bassist, followed by a mesmerizing atmospheric music. Then, Lancaster delivers a sinuous solo path, which is a reminder of his unique tone. On the album’s companion single, the trio launches into great black music of a different genre which would lead the clairvoyant François Tusques to claim that Byard Lancaster is an “authentic representative of soul/free jazz”, to sum up this is Great Black Music! A few months after recording “Us”, Lancaster recorded “Mother Africa” along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings.

On march 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of “We The Blessed”, they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson’s composition “Mother Africa” begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking... Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims... The jazz played by the association Byard Lancaster / Clint Jackson III is rare: creative AND recreational. “We the blessed”, is apt listening to this again today!

The recording of “Exactement” required two sessions in the studio: February 1st and May 18th 1974 – in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa.

Two names appear on the cover of “Exactement”: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On “Sweet Evil Miss Kisianga”, his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow.

It is Lancaster’s horn-playing which really stands out: on alto (the sound of which is transformed by an octavoice on one track, "Dr. Oliver W. Lancaster") or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities.

Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note... ends up by playing exactement the note he had to play.

“Funny Funky Rib Crib” is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre – notably New Horizons, under the name Sounds Of Liberation which he co-led with Khan Jamal –, this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone)...

Funny Funky Rib Crib’s cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of “Just Test”, “Dogtown” or “Rib Crib” – the two versions of which display leader Lancaster’s art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, “Work And Pray” and “Loving Kindness” are meditative tracks where listeners can lay back and relax before asking for more: Funny Funky Rib Crib!

The magnificent “Love Always” was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions’ share of the place to the horns. This allows us to hear the trumpet of Clint Jackson III and the alto (which sometimes sounds almost flute-like) of Byard Lancaster each staking their claim in a long hallucinatory march which moves from moments of direct exaltation to profoundly sensitive collective playing. And if further proof was required of the confidence that Byard Lancaster and Jef Gilson inspire, “Love Always” provides it on this one sided release exclusive to the box set.

Nucleus's Elastic Rock is undisputedly a milestone in Jazz-Rock. A beautiful and vital debut album, it was first released on Vertigo in 1970. Original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

The very title Elastic Rock could be regarded as the group's MO, describing a melting point between their rock and jazz impulses. Indeed, housed in a memorable gatefold jacket designed by Roger Dean, the die cut molten teardrop shape on the front sleeve opens to reveal a fiery volcanic crater. On the back, Dean's drawing has Carr with saxophonist Brian Smith, guitarist Chris Spedding, drummer John Marshall, bassist Jeff Clyne and sax, oboe and pianist Karl Jenkins in a circle, the central core of a movement and the basis for its activity.

Recorded over four days in January 1970, Elastic Rock didn't sound like any other British jazz album. Exploding out the gate, "1916" opens with Marshall's frantic pounding before melancholic horns enter. The smooth title track, "Elastic Rock" is just a gorgeous electric blues track. Light drums, gentle melodic horns, piano and a solid bassline serve as the perfect bed for Spedding's graceful bluesy guitar melodies. The serene "Striation", a Clyne and Spedding collaboration, is led by bowed bass and is the epitome of calm before the late night laid back vibe of "Taranaki" breezes along sweetly and smoothly with great trumpet and tenor.

The truly emotional "Twisted Track" is elegant with horns, while guitar is gently played with drums and bass. Initially deeply soothing, it gradually builds with various solos and duets. "Crude Blues (Part 1)" features an excellent oboe part by Jenkins with laconic guitar helping out. "Part 2" is livelier, with a heavy backbeat and great wind parts. "1916 (Battle Of Boogaloo)" features a steady bassline and great call and response parts from the horn section.

The highly-charged centrepiece of the record, the mesmeric epic "Torrid Zone" features an hypnotic bassline and hi-hat with some of the ensemble's best soloing. Brilliantly encapsulating the jazz fusion aesthetic so desired by the group, the rhythm section is rock-influenced but magically retains a laid-back jazz vibe. Just perfection. Spacey jazz in the style of In a Silent Way, the semi-ambient "Stonescape" features smooth, muted brass, warm, smokey keys and a barely-there rhythm section. Heavenly.

The bubbling, fragile restraint of "Earth Mother" partially utilises the "Torrid Zone" bassline but takes the energy in a different direction with Marshall's frenetic drumming and Spedding's unpredictable riffing. Next comes the very idiosyncratic drum solo track by Marshall in the appropriately-titled "Speaking for Myself, Personally, in My Own Opinion, I Think." The album closes with the raucous "Persephones Jive", a track that ends the album frantically, riotously, just as it began.

This Be With edition of Elastic Rock has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut gatefold sleeve has been restored in all its molten glory.

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

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

John Coltrane brought a new sound and style to jazz, and he applied it in his own unique way to the standard material of the storehouse of American music gathered from Broadway, Hollywood and Tin Pan Alley. With the excellent rhythm team of Red Garland, Paul Chambers (both of whom had done so many concert, club and recording dates with him) and Jimmy Cobb and the Miles-directed flugelhorn of Wilbur Harden, Trane puts his personal stamp on numbers not done that often like Henry Nemo's "Don't Take Your Love from Me", Fred Ahlert's "I'll Get By" and two more familiar yet still not overdone songs, Richard Rodgers' "Spring Is Here" and Bronislau Kaper's "Invitation."

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

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

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

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

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

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 split between Discos Extendes and the label Lovers & Lollypops, puts side by side two of the most relevant and prolific artists in music made in Portuguese territory: Bruno Silva and his project “Serpente” and João Pais Filipe, Leon Marks and Valentina Magaletti with “czn”. Two projects that developed in parallel, but with a mutual interest in the strength of the rhythm and the textures and timbral richness of percussion sounds. The similarities are undeniable. A mutual admiration, also.

2LP on 180g vinyl. Housed in a deluxe gatefold 'tip on' sleeve with full liner notes (Jeff Mao) and studio photography.

On a quest for cosmic grooves of unity, Àbáse is the imagination of Hungarian producer and keyboardist Szabolcs Bognár. Now based in Berlin, he’s become a protagonist of a fast-rising jazz movement in the German capital. Bringing together musicians from Hungary, Germany, Ghana and Australia for moving project with a global outlook - here is his highly anticipated new album ‘Awakening’ released by Analogue Foundation and Oshu Records

Created following a move to Berlin, marriage, new parenthood, and the inevitable interrogation of mortality that takes place when a loved one has transitioned, ‘Awakening’ demonstrates a deep understanding of music’s ability to cross time and geographic boundaries, conveying a message of unity, dialogue and self-reflection. Recorded in four days at Berlin's Brewery Studios, the album coalesces Àbáse’s varied musical influences and reference points (classic Lagos Afrobeat, traditional Hungarian folk, Yoruba rhythms, house and techno, hip-hop et al) with exquisite modalimprovisation à la Coltrane, spurred by Szabolcs’ introspection.

“Awakening was the first working title I gave to the project, and I decided to stick with it as it felt authentic and descriptive of what I wanted to express. The name comes from the concept that babies can hear and remember their parents voices from the belly, they recognise the voices upon birth and can be soothed with them. Being born is to enter an elevated state of existence, transitioning from just sounds and feelings to sight upon birth. I believe the way we experience life on earth and trying to make sense of the universe will shift upon our transition or ‘death’, and its only a pathway to something higher. The imagined moment of rebirth and entering to this new realm of existence is what I call “Awakening”.

Mostly composed of first and second takes with minimal overdubs, a striking level of intimacy is achieved between Szabolcs, Ziggy Zeitgeist (drums), Ori Jacobson (saxophone), Fanni Zahár (flute), Andras Koroknay (bass, synths), Ernö Hock (double bass) and Eric Owusu (vocals, percussion). This intimacy extends to the listening experience, with moments like atmospheric opener ‘Greeting Mother Sea’ and ‘Bloom (Flora)’ welcoming listener’s into Ábàse’s world through trance-inducing, glistening piano motifs, swirling synths and fluttering woodwinds.

Singles ‘Destruction Everywhere’ and ‘Menidaso’, paired with ‘Shango’, perhaps best highlight Szabolcs’ worldview and efforts to bridge creative ideas and cultural viewpoints. All three tracks are a bold fusion of spiritual jazz and afrobeat, with the latter two featuring the Twi vocal and driving percussion of Eric Owusu. Elsewhere, Szabolcs explores his own heritage with a stirring iteration of Hungarian folk song ‘Gyászba Borult Isten Csillagvára (God’s Star Castle Has Fallen To Grief)’, whilst also nodding to musical lineage through J Dilla homage ‘Shining’, and ‘Sunisaway’, a tribute to Sun Ra upon which Sun Ra Arkestra members Cecil Brooks and Knoel Scott are warmly welcomed to contribute.

‘Awakening’ is a new chapter for Àbáse, whose work has already drawn widespread critical acclaim. Debut album ‘Laroyê’, recorded entirely during a five- month trip to Brazil, found global praise from the likes of The Guardian, BBC Radio 6, Soulection, KEXP and Complex. Szabolcs has toured and collaborated as a keyboardist with the likes of Wayne Snow, Dele Sosimi, Pat Thomas and Zeitgeist Freedom Energy Exchange. The new album begins an era of partnership with Analogue Foundation, who are dedicated to preserving and furthering analogue creation via record releases, international events, and activities at its recording studio and hi-fi listening bar. The Foundation is headed up by Grammy-winning New York City recording and mixing engineer Russ Elevado (D’Angelo, Erykah Badu), Audio-Technica, Soundwalk Collective, and Berlin recording and mix engineer Erik Breuer.

Personnel:

Fanni Zahár, Ori Jacobson Szabolcs Bognár, Eric Owusu,
Ernő Hock & Ziggy Zeitgeist, drums

With Special Guests: Flóra Bognár, Youka Snell, Cecil Brooks Knoel Scott, Dumama, Rhea Sodemann, Wayne Snow.

Liner notes by Jeff 'Chairman' Mao and session photos by Dario Raspudic.

"Certainly a producer to watch" -Gilles Peterson
“ Hungarian producer Àbáse blends west African and Brazilian rhythms with a satisfying and uncluttered efficacy on Laroyê” -The Guardian
“We were instantly gripped upon hearing the work of Hungarian jazz collaborative project Àbáse” Stamp The Wax

Intensity marked everything that Booker Ervin played. In his harmonic concept, slashing attack, and broad Texas sound, Ervin demanded attention and constantly built improvisations of searing drama and epic sweep. His primary legacy is a series of albums recorded for Prestige in the 1960s, of which this was his first, a riveting quintet recital where the alto saxophone of Frank Strozier supplies an urgent complement and the rhythm section is piloted by Horace Parlan, Ervin’s longtime compatriot from their days together in the Charles Mingus Jazz Workshop and in a cooperative quartet that worked at "Minton’s Playhouse". In addition to four inspiring originals by Ervin and drummer Walter Perkins, the session features an eloquent reading of Fats Waller’s immortal "Black And Blue" and an exploration of the show tune "Just in Time". Both the latter and "No Land’s Man" are included in two versions, the shorter of which were cut for release as a 45rpm single.

The incomparable trumpeter Clifford Brown recorded two leader sessions for Blue Note in 1953—a co-led quintet date with Lou Donaldson and his own sextet date—that were compiled on the 12" LP Memorial Album (blp 1526) shortly after his tragic death in 1956. Brownie’s star burns bright from the blistering ‘Cherokee’ to the stunning ballad ‘Easy Living’.



This Blue Note Classic Vinyl Edition is mono, all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

South London based producer and multi-instrumentalist Neue Grafik announces his new EP 'Foulden Road Part II' from his Neue Grafik Ensemble band, released 25th March on Total Refreshment Centre. The sequel to their impressive 2019 release 'Foulden Road', Neue Grafik continues to incorporate 100% live takes with the ensemble, as well as solo productions that reflect Neue Grafik's past work with both the Rhythm Section and 22a labels.

Neue Grafik explains, "This EP is a reflection of the social context which surrounds me" – created in a year of much social isolation as well as political unrest, 'Foulden Road II' explores the complex feelings that he found himself battling. He adds "In 2019, we released 'Foulden Road Part I', which was a transitional album, exploring a new culture and navigating between two worlds: Paris and London. 'Part II' is a bit darker, closer to realness with a sprinkle of hope. I couldn't have predicted that I'd finish it encased in my flat, between four walls, in December 2020 after a year of lockdown, Brexit, George Floyd protests, and without London's brilliant culture mesmerising my mind. Everything was sad and closed. Hills were difficult to climb. But it also gave me the time to work hard and deliver this second part of Foulden Road, pushing it forward".

Combining an array of influences — from London, to Paris via New York, Nigeria and Cameroon — with well-measured confidence, ' Foulden Road II' allows you to reflect on the complexities of the last year, whilst braced with energy and hope to move forward positively. Heavy horns and hypnotic poetry form the backbone record, which will ignite any room. 'Foulden Road II' begins with the grounding poetry of MA.MOYO on 'Black Bodies'. The EP is dedicated to Adama Traoré, a black man who died in police custody in Paris. Neue Grafik explains "His name is not well known outside of France. I was shocked, devastated even, to learn that his story didn't cross the Channel". 'Queen Assa' is a heavily percussive dancefloor-hitter which honours French activist Assa Traoré, (Adama's sister) her family, and her struggle to support all families hurt by police brutality. Broken beat elements flow through the horn accompanied 'Officer, Let Me Go To School', while West London rapper Lord Apex offers an unapologetic and poignantly personal perspective on 'Step To It'.

Released on the Total Refreshment Centre label, based out of Stoke Newington's Foulden Road, the EP is a testament to his versatility as an ever-shifting figurehead. Engineered by Capitol K, recorded at Total Refreshment Centre, mixed by Marcus Linon at Greasy Records and mastered by Guy Davie at Electric Mastering – a significant pillar in Neue Grafik's musical career. Having played a DJ set there in 2017, he was convinced by TRC founder Lex Blondin to start a band after he was heard playing some compositions on the communal piano. After spending a couple of sleepless nights on the living room couch, his first gig was booked in the venue space downstairs a week later. The ensemble was established and he has remained in London ever since.

Neue Grafik Ensemble's musicians include; Matt Gedrych, Benjamin 'The Chief' Appiah, Jack Banjo Courtney, Chelsea Carmichael, Dougal Taylor, Yahael Camara-Onono, Xvngo, Rebekah Reid, Dan-Iulian Drutac, Jamie-lee Glinsman and Zara Hudson-Kozdój.

Neue Grafik hosts The Orii Jam Sessions, an energising weekly jam night at Hackney Wick's Colour Factory, which has become a pivotal weekly gathering, inspired by the likes of Unit 31 and Steam Down.

A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. "Life Waves" is a stunning piece of composed and improvised music, with a brief clarion horn section setting off McBee's chordal strumming and harp bop drive. Trumpeter Tex Allen's brash lines, the incendiary tenor saxophonist George Adams, and more thoughtful alto saxophonist Allen Braufman dig into hefty but contrasting solos, while drummer Jimmy Hopps stokes the coals. The other premier piece, "Mutima", has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but under recognized flutist Art Webb shines on the floaty free "A Feeling", and the atypical but wholly contemporized "Tulsa Black", a portent to the music that would be made later in this time period by Sonny Fortune, and featuring the wah-wah electric bass guitar work of Cecil McBee, Jr. The two-minute "Voice Of The Seventh Angel" sports the disparity of a complex arrangement alongside the beautiful singing of a young Dee Dee Bridgewater, while the marathon "From Within" has McBee performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate Adams. In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. "Mutima" (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player.

We are excited to present Tom Misch and Yussef Dayes’ “What Kinda Music” – an astonishing collaboration between two artists of very different disciplines, and one of the most unique and seamlessly original projects of its ilk to date.

Moving fluidly through sleek electronica, avant-garde jazz, vintage hip hop and so much more, Misch and Dayes take you on a journey that is by turns surprising and spontaneous, heady and head spinning, and nothing less than compelling – a singular vision which fuses the DNA of both musicians with spectacular results, as can be seen in the title track, which comes backed by a gorgeously atmospheric video by XX.

Even though the fundamental bones of this project came together very quickly, its actual provenance stretches back much, much farther back, with the pair not only growing up in the same area of South East London, but Misch actually seeing Dayes play on drums in the school talent show for the first time when he was roughly 8 or 9. They both kept tabs on each other – Misch becoming a fan of Dayes’ act Yussef Kamaal, Dayes clocking his videos in 2014 – but it was only when they met at a launch party for Misch’s debut LP “Geography” in 2018 that the proverbial creative sparks began to fly. “As a musician you’re always looking for contemporaries who can push you and challenge you and make you better”, says Dayes. “I instantly felt that with Tom – he was such a gifted musician, and so prolific”. That summer they decided to go into the studio together, jam a little, and see what happens, with no other expectation placed upon it.

As it turns out, the music came fast and furiously. Two initial tracks were suddenly followed by a handful of others, and the pair found themselves contemplating what to do next. “Pretty soon, we knew that something was gelling”, Dayes says. “It didn’t feel like a one-off collaboration, it felt like a body of work”. What made the pair click, according to Misch and Dayes, were the exact same factors that meant it shouldn’t, by all rights, work. Misch says, “Yussef comes from a more experimental background, and he has a lot of loose, crazy ideas. I know how to write a catchy melody, but with interesting chords and have a good understanding of popular song forms, so I think I streamlined those ideas and made them accessible”. And certainly, in “What Kinda Music” you can sense the DNA of both musicians, but fusing so effortlessly and beautifully that it creates something else entirely, the appropriately named “Lift Off” sending goosebumps with its jazz flecked crescendo, and “Night Rider” hynotising with its deeply mesmeric grooves. “I have a love for harmony and chords”, Misch adds. “Working with someone like Yussef, who has such a gifted sense of rhythm allowed a perfect balance”.

Throughout the record, there is an utterly joyful feel of two musicians at the top of their game sparking off one another, picking up ideas and running with them – zigging where the other zags, ebbing where the other flows, with Misch producing the majority of the record and both having a hand in the overall sound and feel of the record.

“Working with Yussef has actually changed the way I work as a musician”, Misch muses. “He’s pushed me and unlocked a more experimental part of me that I hadn’t really allowed myself to explore before. I think we really did impact each other in a fundamental way”. Dayes is similarly effusive in his praise for Misch. “A musician like him, who’s at the top of his game, he doesn’t need to do this”, he raves. “He can just keep doing the same thing and why not? He’s killing it. The fact that he’s so humble, that he’s so curious about everything and open to collaboration, speaks a lot to him as an artist, because it’s not easy finding musicians who want to collaborate. Something always gets in the way, whether it’s ego or their team or whatever. But with Tom it felt like the intention was purely creative, and that’s what made it exciting”. In fact, Dayes says that the intentions of the record go even deeper than just music. “Both our parents who’d never met each other before, are now best friends as a result of this, they now see each other more than we do! I’d like to think, in some small way, that this album has a similar impact for people too – everything feels so divided these days, it would be nice for people to hear the record and hear two very different musicians coming together and realise it doesn’t have to be that way”.

Favorite Recordings and Charles Maurice proudly present a brand new compilation series: Fusion Global Sounds. 9 rare and hidden tracks produced between 1970 and 1983 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series. This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life. "Buster" is taken from the first and only album of the Swedish band, Sundance. The band from Gothenburg was formed around US trumpet player Stephen Frankevich (notably playing with Mahavishnu Orchestra) after he moved to Sweden. Cosmic, with razor-sharp rhythms, it naturally brings you to the second title, "Hello Mr. Ancuvis" by Renato Anselmi. One of the key players of the Swiss Jazz scene during the sixties and the seventies, Renato also had the chance to play with Harvey Mason or Alphonso Johnson. Funky, jazzy but still a bit breezy, here again sweet vocals nicely blend with uptempo Rhodes part. Also included is another title from Renato Anselmi, "Quiet Fire", a mellow Rhodes-driven ballad with funky accents, wide strings and guitar arrangements. "Tropical Island" by Zane Cronje, a South-African composer and arranger, was initially a track from a music library catalogue: dreamy, soaked in thorough synthesizers, we're only attached to the earth by the Guiro groove. You'll also hear this cosmic vibe in "Astral Dance" by French-American drummer and Jazz musician/composer Daniel Bechet, taken from Songs To My Father LP, dedicated to his father the famous Sax/Clarinet player Sydney Bechet. In this 4 minutes dope jam, keys, guitar and percussion will elevate your mind to another level of consciousness: deep! The 1860 Band was hailing from Wellington, New Zealand, playing mostly in bars, cafes and pubs - their name is taken from a tavern where they had an extended afternoon residency keeping the clients entertained. Their sole LP, now rare and sought-after, was a nice mix of Jazz-Funk and Disco grooves. Their amazing and groovy cover of "Keep That Same Old Feeling" by The Crusaders, brings the best of their playing. Otroshakers was formed around Hugo and Osvaldo Fattoruso, as a tribute project to their former band Los Shakers, some sort of copycat band of The Beatles with great success in Latin America. Listening to "Siempre Tu", you can almost hear The Beatles' psychedelic vocal of Sgt. Pepper's Lonely Hearts Club Band. Later joining Ringo Thielmann in the US, they formed the band OPA together, after having recorded for Airto's seminal album Fingers. Blending Jazz, South-American musical elements and Funk, their fusion quickly gained the respect of the NY musical scene. "Despertar" by Spanish drummer, singer and actor Pedro Ruy-Blas, is taken from Luna Llena, his great first Jazz-Funk album. The track is a funky piece with wah-wah expressive Rhodes, ending with a beautiful flute solo. "Prologue" by Dutch-French pianist Majoie Hajary (sometimes called the "Hindu pianist"), can be found on La Passion Selon Judas, a very unique religious album blending her own style with Psych, Funk and Jazz elements. Surely we could continue detailing stories of all these gems, but we guess that the best way to learn more about them, is to listen to Fusion Global Sounds, fully remastered from originals and whether your preference is for vinyl or CD formats.

We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki’s glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono. Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka’s heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui’s Scenery, has fascinated old and young generations alike.

Catchy melodies and tropical rhythms. CaSSETTE Con-los, the best calypso/Latin band in Japan, is releasing a 7-inch ahead of their long-awaited full-length album, their first in 13 years! CaSSETTE Con-los, which boasts deep-rooted popularity among various fans for its genre-less and borderless musicality and euphoric live shows, has completed its long-awaited full-length album, their first in about 13 years. This album is a precursor single that serves as a greeting to the fans. The release includes two songs, "Eiga Demo Miyou" (Let's watch a movie), a Japanese calypso with a catchy melody and superb vocals, and "4 Mills Brothers," a serious and mellow song that will not be included on the album, but is familiar to the live audience and is a perfect greeting.

Three Trumpets is an album by the Prestige All Stars nominally led by trumpeters Art Farmer, Donald Byrd and Idrees Sulieman, recorded in 1957 and released on the New Jazz label. With a fine rhythm section (comprised of pianist Hod O'Brien, bassist Addison Farmer, and drummer Ed Thigpen), the brassmen perform five originals (one apiece from Farmer, Byrd, and O'Brien, and two from Sulieman). Although none of the songs caught on ("Palm Court Alley" is actually a blues), there are some fireworks during these performances.

At last, the vinyl reissue of this masterwork, adding two hitherto unreleased gems recorded solo for Charles Fox’s Radio 3 programme Jazz in Britain, in the same few months of 1980 as the stunning Aida performances.

The phrase ‘in the moment’ is often bandied about with reference to free improvisation, and indeed there’s no better way to describe Derek Bailey’s playing. The acoustic guitar is notoriously lacking in natural reverberation — notes barely hang in the air for a couple of seconds before they disappear — which explains the almost non-stop flow of new material in these stellar performances. Bailey knew from one split-second to the next exactly where to find the same pitch on different strings, either as a stopped tone or a ringing harmonic, and there’s never a note out of place. ‘He who kisses the joy as it flies,’ in the words of William Blake, ‘Lives in eternity’s sunrise’ — and this music is forever in the moment, constantly active but never gabby, kissing the joy.

One of the special pleasures of the BBC set is the guitarist’s own laconic commentary, a deliciously deadpan description of what he’s doing while he’s doing it — “I like to think of it… as a kind of music” — and the interaction between words and music is a particular delight. “You may have noticed a certain lack of variety,” he quips, while unleashing a furiously complex volley. Is it a coincidence that the final seconds recall the famous cycling fifths of the coda to Thelonious Monk’s Round Midnight? Surely not — for Bailey, like Monk, was a note man par excellence. And they’re both still alive and well in eternity’s sunrise.

German guitarist, bandleader and producer JJ Whitefield has been spearheading several musical sub-genres over the last two decades. His bands Poets of Rhythm, Whitefield Brothers and Karl Hector & The Malcouns are almost legendary to fans worldwide.

He has been releasing influencial albums on Ninja Tune, Mo'Wax, Daptone, Strut, Stones Throw and Now-Again and is probably one of the most respected German undergound musicians. Now he is reaching new levels of nastiness with his Kraut-Jazz debut for Kryptox music. The new german label that has been created to show what's happening in the growing german Neo-Jazz underground.

One of the last records made by avant sax legend Albert Ayler – a really mind-expanding album that's unlike anything else he ever did! By the time of the record, Ayler had made a full round trip between the New York and European jazz scenes – leaving important influences wherever he went, and trying desperately to pick up new ones the further he moved on. Here, he's working in a style that's a bit like that of Archie Shepp at the time – still steeped in free jazz and new thing ideals, but infused with a free-thinking approach to the music that allows for bold new styles and sounds. In addition to his own stunning work on tenor, Ayler's also blowing bagpipes and vocalizing a bit next to singer Mary Maria, who does a great recitation on one track of the record. Rhythm is by the two-bass team of Stafford James and Bill Folwell, next to drums by Muhammad Ali – and the whole thing's capped off by guitarist Henry Vestine, who plays in modes that range from bluesy to free. At the time, this one was kind of dismissed as a messed-up mistake that occurred at the end of Ayler's too-short life – but honestly, over the years, this record really really opens itself to us more and more, and we have to say that we think it's one of his most groundbreaking albums!

Fuchs is a band that never was. It vanished as quickly as it appeared in the picture, much like the animal that can be seen on this album and after whom it was named. In 2005, Kante singer and guitarist Peter Thiessen travelled to Weilheim to visit Markus and Micha Acher in their studio, where they were joined, among others, by Notwist-affiliated musicians like Cico Beck, Robert Klinger, Carl Oesterhelt and Stefan Schreiber. Spirits were high, but schedules were full: after a week of improvised sessions, everyone went their own way. The recordings gathered dust until Markus Acher found them again in 2021 while cleaning out his studio. After carefully re-evaluating the rough mixes, the musicians decided to finally release them. The resulting album comprises six tracks that musically draw on jazz, aesthetically lean on dub techniques and ideologically pick up on krautrock: there’s no solos to be heard on this record, just a few equally skilled and open-minded musicians listening to each other carefully, providing each other with space in which to unfold. »Fuchs« is a document of egos dissolving in a collective spirit. Thiessen and the Acher brothers met in the 1990s and bonded not only over their shared background in hardcore music and the DIY ethos in which it was rooted, but also over their love for jazz. »If you look at those two things combined, you will eventually become convinced that you don’t have to be formally trained to make music that at least resembles jazz«, says Thiessen today. He invited Micha Acher to join his band Kante on flügelhorn in 2004 for a tour that saw the expanded group play unusual encores after the official concert was over. »Micha had taught us some dixie pieces, so night after night we would play a freestyle dixieland ska set in front of the remaining audience!« Naturally, the Acher brothers didn’t have to ask twice when they invited him for a visit in Weilheim to further explore their mutual interests in a studio setting. »I got on my way immediately and took two or three loose ideas, a tape echo and a guitar on whose headplate you could create fantastic sounds with me«, says Thiessen. Between immersing themselves in books by the photographer Leonore Mau, cooking together and drinking the occasional fruit schnapps, the trio went into the studio. Says Thiessen, »Micha brought his flügelhorn and some wonderful ideas with him, Markus an Indian harmonium and a plan, Carl Oesterhelt came with a glockenspiel and a Chinese zither and a bunch of amazing jazz musicians joined in, too.« He considers the resulting recording sessions to be a kind of attempt at musically translating their conversations during those days. They discussed different approaches to jazz, whether sampling and musical miscitations can unlock ecstatic potentials and the possible parallels between syncretistic religions and pop music. »There’s traces of glossolalia, it's like a blurry séance«, adds Thiessen in regard to the sessions. It is especially this spirit that managed to live on even though the recordings themselves were abandoned. »What we all liked most when listening back to the recordings is probably their marginal and fragmentary character, the empty spaces—the moments in which the virtuoso solo never comes, in which the centre remains empty.« The six pieces on »Fuchs« are chock-full of exactly these moments. When at one instant, the players seem to disperse and improvise freely, they always meet again on common ground a short time later, continuing on their way together. There are no conventions or even previous agreements that guide them, just a shared will to explore a vast range of curious sounds and unusual rhythms together as a truly unified constellation of very different musicians. Fuchs is a band that never was. Its ideas still reverberate vividly even 17 years later.

Parisian label Chuwanaga is proud to present their latest 12-inch series release from Jéroboam, "Brexit Funk / Peckham Night". The band, also known in the streets of Paris and Montreuil as Echoes Of, is celebrating Britfunk and the rich musical heritage of Greater London, reflecting their deep appreciation for the iconic Britfunk sound. After several successful collaborations celebrating the genre with the label at the infamous New Morning venue in Paris, Jéroboam has crafted two brilliant compositions for this EP.

"Brexit Funk" is an electrifying homage to the classic London Jazz-Funk scene of the late seventies and early eighties. It is a tremendous track, reminiscent of the early sounds of Incognito and Freeez, infused with the energy of Hot Cuisine and Hi-Tension. It features a standout brass section, amazing solo performances, and a strong rhythm section. Having played in London and now across the whole UK, the band decided to ironically name this track as a musical memory of this strange transition.

On the B-side, you’ll find "Peckham Night" and its dub version, an outstanding composition that perfectly emulates the late seventies soul-jazz vibe. Beautiful vocals by singer Agyei blend seamlessly into this perfect composition. All along, you really feel the band coming together, bringing out the best of their soul. It really is the work of passionate and experienced musicians who have built strong confidence playing together for years.

Jéroboam is a group of 10 Parisian funkateers recognized as one of the biggest funk outfits on the current French scene. They already boast extensive live experience and a solid reputation between Paris and London. In addition to their original and popular tributes to American funk cities of the 70s-80s, they have also gained attention as a formidable backing band for Howard Johnson, Junior Giscombe, and Kyoto Jazz Massive. Having also released two highly acclaimed EPs on the Space Grapes label, they continue to work on their own original compositions under the name Jéroboam, with their debut album scheduled for release in 2025.

The next release in the Mr Bongo Cuban Classics series, is one of Juan Pablo Torres' most-known and loved albums, the iconic Super Son from 1977. A wonderful record of tripped-out rumbas, psych-Afro-Latin funk and quirky orchestrated tracks with a big band horn section courtesy of Torres’ band, Algo Nuevo.

As well as being the director of Algo Nuevo and Cuban all-star ensemble Estrellas De Areito, the trombonist, bandleader, arranger and producer also released a wealth of albums under his own name predominately on the state-owned imprint Areito/EGREM.

Post-revolution, there was a contrast in Cuba’s musical world. State censorship was at play, but professional musicians were on the government payroll which gave them an artistic freedom. Experimentation emanated in the ‘70s and ‘80s and Super Son is a prime example of that. ‘Y Que Bien' kicks off the album taking you down a tripped-out, cosmic rabbithole, psych guitars and skat vocals opening up into a joyful funk groove laced with jazzy Afro-Cuban horns stabs. Tracks such as 'Pastel En Descarga' seem to come out of nowhere and are completely unique. Fuzzed-up guitar lines and percussion lay the groundwork, with those jubilant horns adding to the energy of this forever building track.

Elsewhere, there’s the ‘70s TV theme-tune feeling of 'Con Aji Guaguao', a playful funk number that boils and bubbles with blistering trombone playing by Torres. Or ‘Son A Propulsión' and ‘Son Riendo’, two more brilliant examples of psychedelic funk, wrapped up in a blanket of Afro-Cuban rhythms. The former sweeping you up in rushes of wind as trumpets, trombones and distorted guitars trade off, the latter, an intergalactic fiesta of tradition and exploration.

Super Son is up there as one of the funkiest Cuban records around, a playful fusion of ideas from a producer, player and group on fine form and, for us, one of our favourite gems to come out of Cuba in this period. A sheer masterpiece.

Standard version on 2LP black vinyl in gatefold sleeve. ‘Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent.

'Lefto presents Jazz Cats' is back with volume 3 and still doing what it does best: putting you in the front row of what the thriving Belgian jazz scene currently has to offer and revealing a melting pot of the musical talent coming out one of the smallest countries in Europe. Never change a winning team they say, so we're happy to have Belgian DJ and eclectic connoisseur Lefto on board again.

Although you expect thecompilation to be talking jazz, volume 3 explores a broader array of styles, genres, and sounds than ever before, arriving at a point where the 'young cats' of today don't bother no more. It may focus on the Belgian scene, but let's face it, seeing the influences, this one could be compiled from all over the world. From the empowering and bittersweet voices of Oriana Ikomo and Adja, over the more acoustic-electronic productions of Moodprint, Ciao Kennedy, Kassius and echofarmer. It's even expanding the Jazz Cats universe to dub and bass-heavy tracks with Kin Gajo and Le Ministère, Ethio-jazz from Azmari, while sending you back to earth with bodies' swirling sax and drums. That saxophone still rings in your ears when you end up in the orbit of the march-like drums of Bodem, Orson Claeys' piano testing your ability to follow him, slamming the breaks to go smooth cruisin' with Honey (Morricone meets Khruangbin, anyone?), to crashing in a raging tempo on that last track of Bruno x Soet x Moene. And there you are, back with us.

2018's 'Lefto presents Jazz Cats' included tracks from some of Belgium's biggest hitters, including Black Flower, Stuff. De Beren Gieren and Glass Museum who have all gone on to receive global acclaim. The album was given the accolade of 'Album of the Week' on Worldwide FM and also received further radio support from Jazz FM in addition to numerous glowing reviews. The 2022 follow-up 'Jazz Cats volume 2' paved the way for a new generation inspired by its peers, entering another era of very talented individuals and collectives. Maybe even more so than 4 years before. It uncovered a beautiful balance of more established but also obscure musicians and artists. Opening up to electronics and dance, enter bands like Echt!, Stellar Legions and Tukan. Thrilling innovative soundscape grooves and jazz fusion with Bandler Ching and L?p?GangGang, not to forget about the weaving musical odyssey that is M.CHUZI. In addition, there's the balanced unease of One Frame Movement, the laidback 'acoustic electronica' of Boombox Experiments, the classic funky jazz stylings of Cargo Mas and cinematic The Brums, all of these have set volume 2 on the map as an essential release for any jazzhead with a passion for new sounds.

Tastemaker, selector, curator, DJ and producer, these words often get mentioned when Lefto's name pops up in discussions. And rightly so. If you've ever had the pleasure to listen to one of his incredible Boiler Room sets or one of his many radio shows, you'll know why. Famed for his gloriously eclectic taste on the decks, he switches effortlessly between hip hop, funk, breaks, neck-snapping beats, future bass, South-American influences, bruk riddims, some wild African rhythms and of course, jazz.

Growing up as a child, his father would have the sounds of jazz flowing through the speakers. Which led him to bars around town to hear the latest jazz ensembles. Falling in love with the genre, he would later refine his knack for record digging and fine ear for music working at Belgium's legendary Music Mania record store in his hometown Brussels. Which makes that Lefto is consistently a couple steps ahead. He doesn't wait for the next thing to land in his lap, but actively seeking it out.

Lefto on Jazz Cats volume 3: "Another release in less than two years! I am very impressed by the amount of creative "jazz" talent we've managed to compile over the last couple of years. Thanks to the internet, young musicians find inspiration from around the globe and incorporate diverse influences into their work. Given the history and heritage of jazz in this country, it has managed to create a healthy jazz scene supported by festivals, venues, press, and labels. Therefore, I am very proud to present to you the thirdinstallment of Jazz Cats. This compilation is dedicated to the young and hardworking musicians who are the present and the future of Belgium's jazz scene."

Proudly presenting a new series of Mr Bongo reissues exploring the incredible back catalogue of Sonny Lester’s iconic Groove Merchant record label. First up, the spellbinding funk-fuelled, soul jazz album ‘Simba’, by guitar maestro O'Donel Levy.

Baltimore-born, Levy was already well regarded as one of the best up-and-coming jazz guitarists at the time of Simba’s release. Having toured with George Benson and Jimmy McGriff, as well as featuring on McGriff’s Black Pearl album on Blue Note, he went on to sign with Sonny Lester’s Groove Merchant. Produced by Lester himself and recorded over two back-to-back days of sessions in 1973, Simba features a who's who of ‘70s session players. The album features the legendary studio drummer Steve Gadd, Cecil Bridgewater on Flugelhorn, bass by Tony Levin and arrangements by Manny Albam.

A masterclass in tight yet effortlessly funk-driven rhythms, the tracks showcase these musicians at their zenith. Album opener 'Bad, Bad, Simba' wouldn’t have been out of place on a Lalo Schifrin ‘70s car chase soundtrack. Levy's playing is brilliant, bright and slick, with an infectiously exuberant energy that is complimented perfectly by Gadd's supreme drumming. ‘Playhouse' serves up another vibrant offering, Wah Wah guitars, horns and flutes duelling it out in a fast-paced fashion.

The cinematic thread continues throughout, yet with the tempo taken down a notch. 'Sierra Lonely' and ‘Sad, Sad, Simba’ head into lush ballad territory, with superb arrangements by Albam and beautiful playing by Collins and Bridgewater on Flugelhorn. Here Levy shines without taking any limelight, as the players synergize to a relaxed perfection. ‘Nigerian Knights’ closes the album flawlessly, showcasing once more Levy’s understated yet magnetic flow on the guitar.

Every track on ‘Simba’ is a winner. As with CTI Recordings of the same era, the feel and textures of Sonny Lester's productions have that pre-emptive, hip-hop aesthetic, which later producers would rework and reimagine. This album is expertly balanced, deftly arranged and magically executed, ebbing and flowing with a cool buoyancy that just grooves and grooves.

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

“A place between the two of us, the people who are listening, the people who contributed, and the people who inspired us...”

Finally, almost three years after the well-received Orange Wine EP, and three international tours, Okvsho is back with their fourth project “A place between us”. Georg and Christoph Kiss, the two brothers behind Okvsho, are showcasing a project that is more intimate and bolder than ever, offering an insight into their thoughts, feelings, and experiences during the last two years. The unique style Okvsho has become known for in recent years has once again evolved, combining organic and electronic elements with beautiful harmonies and expressive rhythms.

Okvsho's second LP will also be the first full-length project to be released on the newly founded Zurich-based label Current Moves, with which the Okvsho-brothers aim to shape the young European jazz scene they are inspired by and also an established part of.

“A place between us is the first step into a new era for us – We’re very grateful for the

love and support we received during the past six years and we’ll continue to strive for

the better. Thanks for becoming part of our journey.”

Fully licensed, ltd to 500 copies. Released on cultish London based label Mushroom in 1972, this album brought together the anarchic genius of saxophone player Lol Coxhill, with the pure magic of a dutch rhythm section: Pierre Curbois on the drums and keyboard player Jasper Van’t Hof. A clash of the titans as a matter of fact, with the more classical and impro sounding lines of Coxhill and the straight – almost jazz-rock – harmonies of the other two players. A fascinating record comparable to Keith Tippett small groups and the rise of the most peculiar impro-jazz scene.

Mr Bongo proudly presents the debut album from Tasmania-born, Melbourne-based, Finn Rees. Gliding across a swirling palette of saturated hues, Dawn Is A Melody feels vintage yet vibrant, new but familiar at the same time. A spiritual, deep and textured jazz record, tipping its hat to greats from the past, capturing memories and reformulating them into new ideas with the help of some of Melbourne’s finest talent.

Expert keys player for the likes of 30/70 and Elle Shimada, alongside one-half of Close Counters, this debut LP was Finn’s conscious departure from the realm of groove-based jazz. Instead, Dawn Is A Melody places the piano and arrangements centre stage, giving Finn and his fellow Melbourne crew freedom to explore the spaces in between, new emotions and alternate soundscapes.

In Finn’s own words: “My intention with Dawn Is A Melody was to create a world; a microcosm of colour. Something rich and beautiful that allowed the melodies and compositions to reach their full potential. It was driven by hope, curiosity and the search for beauty and reassurance in this ever-changing world. The emotion behind the music is really about the journey of life, growing up and changing, as well as my relationship with Tasmania’s natural landscapes where I grew up, a part of the world that is incredibly unique and beautiful.”

The album arcs between opening, middle and end. Beginning with the optimism of ‘Looking Up’ and ‘Lagoon’, the former a celestial, string and harp marbled slice of positivity, the latter a spiritual journey of exuberance and hope, Finn’s fingers dancing across the ‘70s Yamaha grand piano. From there the songs blossom outwards with the cinematic soulful journey of ‘It’s Behind Me Now’ and Brazilian-inspired ‘Expansion’, as the divine ‘Crossing’ signals a transition to a new realm. The energy is transformed from the rich cosmic textures to a more intimate and personal feeling with ‘Ablaze’, ‘Between Spaces’ and ‘As It Passes’ which blissfully fades down to simply piano and strings to close out the record.

Recorded at Rolling Stock in Collingwood, Melbourne, Henry Jenkins was drafted in as recording and mix engineer, his minimal vintage mic setups giving a live aesthetic and warmth to the arrangements. Lucky Pereira and Blakely McLean Davies form the rock-solid rhythm section, with a hand-picked line-up of other Melbourne talent on display, including Cheryl Durongpitikul on tenor sax, Siwei Wong on harp, Audrey Powne on trumpet and Allysha Joy on vocals to name only a few.

Plotting a course from Alice Coltrane, through Herbie Hancock, to Arthur Verocai, this is a debut nourished by the past but firmly made in the present. A record unable to be age-stamped, casting ambiguity as to when, what era and by whom it has been crafted. Like a vintage lens capturing a current scene, Dawn Is A Melody is warm and familiar yet focused on the here now.

A Brief History OF THE Drums Jazz Drums as we know them today are a complex group of percussive instruments that reveal the inventive genius of the first jazz-band players of New Orleans, on Mississippi show-boats and later, in Chicago. In their actual form (which is substantially the same as that used in the first New Orleans groups ) they are none other than the como ination into one single instrument of all the percussive units used by the Southern blacks. Let us examine the drums in their single parts: the bass drum is a percussion instrument without definite pitch, normally beaten by a stick that has a large, felt-covered knob on one end, while the other end is attached to a pedal played by the right foot. It is the same instrument used in parades with brass bands, when it is worn around the neck and can also be played with regular drumsticks if a drum roll is required. Also a descendant of the traditional New Orleans brass bands are the Charlestons, two superimposed metal plates which are also played by pedal. Drumsticks or brushes are used to play one or two cymbals, large, slightly cupped disks of brass which when struck together loudly, also produce a crashing, dramatic effect. Drumsticks are also used to play the snare drum, of military origin, and the tom tom, of African descent, which can also be played by beating the drum-head with the fingers and the heel of the hand to accompany dancing. Other supplementary instruments such as the castanets, cow-bells, etc., are also played with drumsticks. In early jazz formations and in all New Orleans jazz, drums were used to rhythmically sustain the group, in other words, to furnish the beat, particularly with the bass drum playing the strong beats; the Charlestons would follow on the weak beats and the other parts would more or less ‘fill in’ depending on the player’s ability, by playing syncopation and off-beats. Rarely were the drums used as a solo instrument in New Orleans or traditional jazz bands; at the most, the drums would perform during a break, that is, a brief solo that filled in a pause left by the other melodic instruments between two stanzas or refrains. In jazz history the most important representatives of this ‘archaic’ jazz style are considered to be Warren ‘Baby’ Dodds (brother of the famous clarinet player Johnny Dodds ) and Zutty Singleton; both can be heard on the historical recordings of the Hot Five and the Hot Seven where they played under Louis Armstrong. During the swing era the drums were somewhat modified and perfected (it was during the ’30s that they assumed their standard and present form), thus requiring players to develop a more refined, sophisticated playing technique. In fact, during the swing era the small groups that had made up the backbone of New Orleans and Chicago jazz moved momentarily into the background and attention was focused on the first big, commercial dance bands, then to small, experimental groups that consisted of trios and quartets. But while the New Orleans drummer had been accustomed to playing with musicians he knew personally and with them performed music with which he was completely familiar and could therefore easily provide rhythmic support to, during the ’30s the drummer found himself in the new situation of having to play with a large number of musicians who played written music that had been selected for commercial reasons and part of complicated, orchestral arrangements. In addition, because of continuous changes in orchestral personnel, he seldom had time to familiarize himself with his fellow musicians; he was forced, by necessity, to adapt himself to the needs of the group at a short time notice and it was not unusual for the band leader to expect an exceptionally long break during which the drummer had to demonstrate his particular virtuosity. Naturally the technical superiority of this generation of musicians found supremacy in small groups in which the drums sustained first place together with the melodic instruments. An example of two such outstanding drummers of the swing era were Chick Webb and Gene Krupa. Around and immediately following World War II there took place, gradually and not as suddenly as one is led to believe, a so-called ‘revolution’ that initiated what was the ‘modern jazz’ trend, to which the preceding jazz style was superimposed and defined as ‘traditional’ jazz. While it would be impossible to analyze here all the melodic, harmonic, rhythmic and timbric innovations created by modern jazz musicians, two considerations can be made about the drums. The first is that in modern jazz there is no longer any distinction between ‘melodic’ and ‘accompanying’ instruments, thus leveling all instruments of the group to equal importance, all with solo possibilities (just think of what a classic accompanying instrument like the guitar becomes, in the hands of Charlie Christian!). The second is that while in traditional jazz the beat, i.e., the basic rhythmic scansion of a piece, offered the possibility of rhythmic balance, in swing, rhythm became explicitly an element of sound, while in modern jazz the beat is implicit and despite its prominence throughout an entire piece, whether solo or group playing, no instrument has the specific job of sustaining the others. It is clear therefore, that when the drums have been given equal value to the other instruments, they are freed from the obligation they once had to sustain rhythmically an orchestra or group and in modern jazz find enormous expressive possibilities. The musician most responsible in giving the drums their prominence in this era was Kenny Clarke, and among his many followers two of completely different styles but both with supreme technical skills, were Shelley Manne and Max Roach.

THE Drums AND POP Music The introduction of drums in European pop music occurred at the same time as the transformation of dance bands and was conditioned by the popularity of jazz. In the first dance orchestras that offered American dance music in Europe (the fox trot, one-step, and later the Charleston), the drummer often gave his name to the entire group, which was called a ‘jazz band’. The pop music drummer, in general, was not just a pale image of his jazz colleagues. If he performed any virtuoso passages they were certainly not the result of an expressive need, but rather, well-calculated effects created by an arranger for purely commercial reasons. The drums in pop music were also liberated from their secondary role, however, in another change similar to that brought on by the modern jazz revolution: it was with rock ‘n’ roll and the experiments of the new American groups that followed the Beatles and the Rolling Stones that re-evaluated the possibilities of the drums in new forms of instrumental ‘sounds’ and added to the wealth of technical capacity and the actual physical make-up of the instrument, adding other percussive instruments from both Afro-Cuban origin (bongos) and classical music (tympani), as well as oriental instruments like the gong, Chinese bells, Korean blocks, etc. For those who are fascinated by the virtuosity of some jazz or pop musician and have undertaken the study of the drums with the intention of imitating them, it is well to remember that it is no longer possible to do so with just a good sense of rhythm, musical sensitivity and the physical capacity to play. The modern drummer must also have a thorough theoretical background and a good teacher to guide him. Sightreading is of course indispensable particularly for playing the drums and a music school diploma certainly helps. This record, therefore, does not pretend to offer more than a series of modern rhythms that anyone with a good musical background can learn from and have fun with. The rest is up to you!

Available on vinyl for the first time since it's original CD-only release in 2007. On black or limited edition forest green with gold double LP, in gatefold jacket with download card. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic setclosing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways.

This is essential. We don't just refer to the album title: this new record by multi-instrumentalist and producer Thysenterprise is essential material for lovers of spiritual jazz with a hip-hop edge. As described in the liner notes: "The spirit of Pharoah Sanders, Archie Shepp, and Coltrane permeate the music here. At times, Thysenterprise and his guests meld the influence of the great jazz cannon with the rhythms of hip-hop." Essential moves with ease from spiritual sounds to hip-hop-infused head nods. The liner notes by writer John Morrison perfectly encapsulate the type of sonic trip you're in for: "While the improvisational heights that Thysenterprise and crew reach throughout the album owe a debt to hardbop and the avant-garde, there are beats and textures here akin to the work of Karriem Riggins or A Tribe Called Quest. The result is a truly contemporary sound that plays freely within the depths of human feeling." Essential is by far Thysenterprise's most personal album to date. From beginning to end, he pays a heartfelt tribute to his late father. The artist revisits and rearranges melodies from iconic jazz records that formed a profound connection between the two of them. Throughout the album, there are nods to songs that were essential for Reinier's musical upbringing. It shows that the saxophonist plays with heart and doesn't shy away from expressing grief and loss. Or as stated in the liner notes: "We play for pleasure, we play to understand ourselves and the world around us, we play to celebrate and remember our loved ones." Renowned Dutch alto saxophonist Benjamin Herman joins Thysenterprise for intimate call-and-response on "Feedback of Silence." Next to that, Michael Moore graces "Happiness Is a Memory" with a heartfelt bass clarinet solo. Moore is part of the Han Bennink-founded ICP Orchestra. It's safe to say that Thysenterprise builds on that rich lineage of improvisation, playfulness, and distinct originality. On Essential he takes that to new heights. The album comes beautifully packaged as a gatefold 2LP with vinyl-exclusive alternate takes on the D-side.

“Listen as if you were being told a secret” - Federico Fellini

A companion piece to 2018’s Listening To Pictures, this second volume in the pentimento series presents eight new tracks by the music visionary, continuing his lifelong exploration of the possibilities of recombination and musical gene-splicing. Pentimento is defined as the “reappearance in a painting of earlier images, forms, or strokes that have been changed and painted over” and this is evident in the innovative production style that ‘paints with sound’ using overlapping nuances to create an undefinable and intoxicating new palette.

In classic Hassell fashion, the title can be interpreted in a myriad of ways, but perhaps the most pertinent at the moment is the human instinct to sing and play through a rain of difficulties. A future blues of indeterminate and ever-shifting shape. The album is buffered by two 8-minute plus epics at the beginning and the end - the hypnotic “Fearless” with it’s metronomic, almost Can-like rhythm, and blurry, noir-ish texture of sound emerging like car headlights from the fog; mirrored at the end of the record by the beautiful sci-fi lullaby of “Timeless”, a track with a gaseous, billowing quality as electronic clicks and bubbles float over a landscape of shimmering, glacially paced complexity. The bridge between those two worlds is no less compelling, from the frantic, spidery IDM sketch of “Reykjavik” to the collapsed-time ballad of “Unknown Wish”. Whilst containing seeds of classic ‘fourth world’ fusion, this record finds the artist still questing to create new forms and mutations of music, a thrilling window into what music could sound like in a world to come.

After his great success as a new discovery through playing on tour and in the studio with Art Blakey’s creative and inspirational group, the Jazz Messengers, Freddie Hubbard made a dozen LPs over 16 years for Blue Note and Impulse under his own direction.
It was no wonder then that a big record company made him a lucrative offer in autumn 1966. All in all, Atlantic Records released six LPs and the very first, entitled "Backlash", is still until today the best of the bunch.
Three numbers by Freddie Hubbard, one by Bob Cunningham, and two by friends, provide the basis for a successful transition between hard bop and soul beat. Hubbard made high demands on his fellow musicians James Spaulding, Albert Dailey and especially the bass player Bob Cunningham and the drummer Ray Appleton because they had to cope with the ever-changing beat. Right from the very first note, it is obvious that Freddie Hubbard had Fats Navarro and Clifford Brown in his heart and fingers. All the titles are excellent. Of special note, however, is "Little Sunflower". The sound colouring of the flute harmonizes particularly well with Hubbard’s brass, and Ray Barretto’s contribution is more than mere decoration. You’re certainly on the right track with this LP, no matter whether it’s the beginning of a Freddie Hubbard collection or a further contribution to a large jazz collection.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Recording: 1967 by Tom Dowd, Phil Jehle and Adrian Barber
Production: Arif Mardin

Owning both this disc and "Live at Slugs', Volume 1" is essential for hardcore Jazz fans. Part two of the Slugs' date is just as impressive and again feature three originals all penned by the group. Here we get a better example of Tolliver's compositional work with the touching Coltrane tribute "Our Second Father". Again Tolliver's trumpet is simply stunning. The rhythm section of Cecil McBee and Jimmy Hopps also deserve mention as these two really drive the quartet along in a similar fashion to Garrison and Jones did with Coltrane. The McBee original Wilpan's also highlights the strength of McBee's writing and is probably the pick of the tunes here.

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

When Ellington went into the studio in 1950 to record the longer tracks on this LP, his orchestra was a bridge between its late-1940's configuration (the 5-man trumpet section) and its mid-1950's personnel. The sax section had settled into the form it would have for most of the ensuing two decades (old-timers Hodges and Carney and newcomers Procope, Hamilton and Gonsalves); the trombone section had long-timer Lawrence Brown as well as Tyree Glenn and newcomer Quentin Jackson; and the drummer was still Sonny Greer, who had anchored the rhythm section since the beginning.
The arrangements and orchestrations all bear the hallmarks of Ellington's collaboration with Billy Strayhorn in the late 1940's: they are lush, symphonic, impressionistic, and densely (and adventurously) harmonic. "Mood Indigo", in particular, is a 15-minute tone-poem with shifting colors and key relationships as Ellington and Strayhorn bring the melody through a wide variety of guises, from Glenn's wah-wah trombone solo to Shorty Baker's lyrical waltz to orchestral and piano passages which do homage to the influence which Ravel and Stravinsky had on both of them.
"The Tattooed Bride" is the only new piece from the original "Masterpieces by Ellington" LP, and it is a beauty. The others of the original tracks -- "Sophistocated Lady" and "Solitude" -- are not laid out as inventively in their harmonics or structure. Of the group, "Solitude" is perhaps the weakest, but this is a relative term. Ellington would go on to pen many more extended, symphonic works, but none would have quite the multicolored, impressionistic tone-pallate that these do. And Strayhorn's presence would not be as pronounced in those future works as it is here: the orchestration and harmonies in particular bear his mark. These are masterpieces indeed: great works of art by two of our greatest composers/orchestrators, and played by one of the greatest orchestras in Afro-American music. Andrew R. Weiss

SOURCED FROM THE ORIGINAL MASTER TAPES: MOBILE FIDELITY 180G 33RPM SUPERVINYL LP
REVEALS MULTIPLE LAYERS OF RHYTHM, VISCERAL BASS, AND PIONEERING PRODUCTION TECHNIQUES
1/4" / 15 IPS analogue master to DSD 256 to analogue console to lathe

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes and pressed on MoFi SuperVinyl, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analogue noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of side-men for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

MoFi SuperVinyl

Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analogue lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are virtually indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Announcing the debut album from one of London’s most electrifying acts, New Regency Orchestra. An 18-piece Afro-Cuban big band, inspired by the musical melting pot of NYC in the 1950s, but with the punch and power of a whole host of London’s best Latin and jazz musicians. Blowing new life into these compositions, the album is a reimagining of some of the finest music from that golden era. From early 1950s René Hernandez and Tito Puente, through to the 1970s salsa of Rafael Labasta and Orlando Marin, produced and performed with fresh fire.

NRO is the brainchild of its artistic director, and the man behind Total Refreshment Centre and co-founder of Church of Sound, Lex Blondin. Through a long-held passion for jazz, Lex discovered the explosive Afro-Cuban rhythms of mid-1940s NYC via the godfather of Afro-Cuban jazz, Mario Bauzá. A time when two musical worlds collided in a fusion of creativity and energy, jazz luminaries like Dizzy Gillespie and Charlie Parker joining forces with Cuban greats like Machito and Chano Pozo. This vibrant sound was music to dance to and found a home at The New York Palladium, a formative space of freedom and expression that was key to the scene’s development.

Although dance-focussed in their makeup, those early recordings are not often heard in modern club environments and Lex dreamt of retelling their story with a contemporary dynamism. A slice of serendipity followed, as a slot at a new festival opened up and Lex jumped at the chance to make this idea a reality, an 18-piece big band breathing new life into these beloved songs.

Enlisting the expertise of some of the capital’s finest talent, Lex and co-captain Andy Wood, of Como No fame, put together a world-class line-up of talent. Bringing in Eliane Correa as musical director and bandleader, a fluid and interchanging 18-piece band was formed.

The album itself is a hand-picked selection of timeless Afro-Cuban jazz classics, reimagined with NRO’s unbridled energy. It contains ten incredible instrumental tracks including 'Pregon' with its anthemic horn stabs and the addictive head nod bounce of 'Mambo Rama', alongside two scorching vocal numbers in 'Papa Boco' and 'Labasta Llego'. Coupling a heavyweight rhythm section with a wall of horns, they provide a fresh spin on songs from Tito Puente and Chico O'Farrill, René Hernandez through to Rafael Labasta.

“Some of the tunes like Tito Puente’s ‘Mambo Rama’ and ‘Scarlet Mambo’ might sound like they went to a gym as extra drums and bass synth were added to them whilst the tune ‘Sahib & Tito’ is a mix of Tito’s ‘Mambo Buda’ and Sahib Shihab’s ‘Nus’. Our intention is to be both respectful to the innovators and inventors of this incredible music and to pay our dues, but also to add something special from London where the city’s new jazz scene connects with its Latin American musicians and the musical influences around us.”

This pure collective joy, shared experience and music you can’t help but move to.

Having established himself as one of the most energetic and exciting Jazz musicians within the already thriving worldwide scene, New Zealand born, London based Drummer & Producer Myele Manzanza has made a major impact upon the global music landscape.

A founding member of Electric Wire Hustle, Myele has released five solo albums, and racked up tours and collaborations with Jordan Rakei, Theo Parrish, Miguel Atwood-Ferguson, Recloose and Amp Fiddler amongst others . Myele has developed a strong live presence in his new London base; his quartet has shared stages with the likes of Hiatus Kaiyote, The Bad Plus, Alfa Mist, and drawing packed houses to top venues such as The Jazz Café and Ronnie Scott’s. Last year, the first two instalments of his 'Crisis & Opportunity’ record series saw him garner praise from Mary Anne Hobbs, Cerys Matthews, Jamie Cullum, Huey Morgan, The Guardian, Complex, Jazz FM, Lefto, Worldwide FM, Jazzwise and more.

Following the release of his last offering, a chance conversation between Myele and a young Barista at a local coffee shop occurred - their topic (centred around the trials and tribulations of following your musical passions) sent Myele down a spiralling path of internal reflection, spawning a new lease of creative energy and examination of new ways to approach his craft. The third addition to the heralded series, ‘Crisis & Opportunity Vol.3 - Unfold’ sees Myele change his approach from drummer / improviser, altering his sonic output to a more electronic dance music output, opting for a more producer / beatmaker focussed role. Sharing production duties with Lewis Moody (Zeitgeist Freedom Energy Exchange) and taking a more producer / beatmaker focussed role. His initial instinct was to create music that could be played in a club, but also incorporate elements music of the Jazz and technical musicianship he’s renown for.

Articulating his thoughts on the record’s genesis, Myele explains: ‘‘As the process developed, I was also drawing a lot of inspiration from vocal driven soul, RnB and songwriter-driven music to a point where I had lit a new creative fire. Reconsidering the direction of the album, I was left with the creative question “What broader ranges of emotion might my music be able to access, and what kinds of art could be made possible if I were to open up my music to hold space for singers and for stories?”

First single ‘Silencing The Sun’ features the vocal talents of fast-rising fellow Kiwi artist Wallace, whose spectral tones glide gracefully over the pulsating rhythm section and twinkling keys. On second single ’Therapy’ UK Soul royalty Omar weaves his trademark magic over a solid 4/4 beat, soulful key stabs and lush synths, bottling lightning into dancefloor alchemy. Final single ‘Unfold’ sees Rachel Fraser deliver a delicate and introspective vocal performance over stripped back instrumentation as cold, angular electronics juxtapose the warmth of piano keys and sweeping strings. With a wealth of additional incredible talent (such as China Moses and Rosie Frater Taylor) enlisted to further compliment the record’s grainy synth textures, emotive chord changes, driving low end sonics and expressive percussion, the scene is set for a beautiful, shifting and engaging listening experience.

In the '60s the jazz pianist Bill Evans would occasionally record an orchestral "easy listening" session to pay the bills, with predictably mediocre results. But From Left TO Right, while certainly easy on the ears, is also one of Evans' most intriguing "lost" records. The novelty is that Evans plays both Fender Rhodes and acoustic piano simultaneously in real time, trading off themes and improvs with deliberative taste and, of course, rare skill. The sessions were produced by Evans' long-time, protective manager Helen Keane, so there was little danger of "selling out." Unobtrusively arranged by Michael Leonard, this 1969 release resembles nothing so much as famed bossa nova composer Antonio Carlos Jobim's series of shimmering instrumental albums with arranger Claus Ogerman, even without those gently relentless rhythms driving every tune. Still, the highlight of this album is the dancing two-part "The Dolphin - Before & After," a non-Jobim bossa nova which allows Evans his only extended improvisations. (allmusic.com)

Miles Davis created just one studio album with his original sextet: Milestones. And he made every moment count. Pairing with Cannonball Adderley, John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, Davis not only laid the groundwork for the modalism that immediately followed but tailored a genuine modern-jazz masterwork laden with performances among the most explosive of his distinguished career. Sandwiched between the more famous 'Round About Midnight and the epochal Kind of Blue, Milestones remains a seminal work of art.

Sourced from the original master tapes and pressed on dead-quiet SuperVinyl, Mobile Fidelity's numbered-edition 180g LP grants each musician their own space amid broad soundstages. Afforded the benefits of a nearly non-existent noise floor and supreme groove definition, this vinyl reissue doubles as a time machine back to the February-March 1958 recording sessions.

Colors, shapes, and dimensions appear in the manner that resembles what you'd glean from behind a studio control room's window. Davis' burnished trumpet is rendered in three-dimensional perspective and seemingly coaxes the band to play with unburdened zest. Coltrane's trademark saxophone teems with lifelike tonality and images with specificity; his solos work in tandem with and against the driving rhythms. Garland's swaggering piano lines? Visualize the keys as he hits full stride, the chords and fills slithering around skeletal frameworks.

Inducted into the Grammy Hall of Fame and selected as a "Core Collection" record by the Penguin Guide to Jazz, Milestones is as famous for its title track – widely considered ground zero for modalism and bolstered by Jones' hallmark "Philly Lick" rim shot – as the players that produced it. The launching pad for many of Davis' improvisational flights, the album teases the explorations Coltrane would soon chase. Davis' own solo work broaches territories that far exceed what he had done in his bop-rooted past. Every song is a highlight.

Take the bravado "Dr. Jackle," featuring a hot-foot pace and bebop strains, or "Sid's Ahead," which continues the album's blues theme while juggling edgy harmonics and inside-out structures. On "Billy Boy," distinguished with an arco bass solo from Chambers, Garland gets a turn in the spotlight and channels the openness practised by one of his heroes, Ahmad Jamal. Even more instructive is the band's reading of Dizzy Gillespie's "Two Bass Hit." Three years removed from the version Davis and company recorded for the trumpeter's Columbia debut, this interpretation demonstrates the extent to which the group had jelled in a relatively short amount of time.

Then there's "Straight, No Chaser," the definitive rendition of Thelonious Monk's signature piece. Coltrane's marbled playing pulls at the tune's borders, Adderley takes liberty with solos, and Davis dances around his mates, at one point quoting "When the Saints Go Marching In" while demonstrating his knowledge of tradition and casting an eye towards the future.

About that future. Garland already had one foot out the door during the Milestones sessions to the extent Davis spells him on "Sid's Ahead." Jones would stick around for a bit longer but soon plot his exit. History proves Davis navigated the changes with visionary aplomb. Yet the chemistry, excitement, and beauty the sextet achieves on Milestones cannot be overstated. This reissue helps put the album in proper perspective – and presents the music the fidelity it deserves.

We’re excited to be launching a new release series: “Melodies Record Club", a string of DJ and artist curated mini compilations in loud 12″ format. The first instalment was put together by Four Tet, selecting two big peak-time Jazz tracks he used to spin regularly at Plastic People. On one side, we’ve got all time jazz greats Jackie McLean and Michael Carvin’s De I Comahlee Ah, taken from their seminal album Antiquity recorded in Denmark back in 1975. A year and a half ago, we visited Steeplechase, the original label in the outskirts of Copenhagen. They informed us that at the time, the track was cut short as it didn’t fit on the full LP. They were kind enough to provide us with the tape of the full original recording, allowing us to release for the first time the full extended version capturing twelve and a half minutes of studio magic. Speaking with Michael back in November, he told us that every song on that album was recorded without any overdubs. They had taken their shoes off and organised the studio in such a way that they could move from instrument to instrument during the take (!!) On the flip, we have Chris McGregor’s Brotherhood of Breath - MRA. Back in 70s London, the Brotherhood had brought together musicians who had sought refuge from South Africa’s apartheid regime and the best of a new generation of British jazz musicians. Music journalist Richard Williams, who had originally reviewed the band in the 1970s tell us: “They made music that appealed in equal measure to the head, the heart and the feet, taking the jazz legacy of Duke Ellington and Charles Mingus and adding to it the fantastic dance rhythms and gorgeous harmonies of the townships and untethered collective improvisations of the new free music". Four Tet’s instalment is out early May in 12″ format and digitally (stream & download), first press comes with a folded A2 insert with words from and about the artists. Graphic design by Studio ChoqueLeGoff

"Two and a half years after their acclaimed last release 'Less Is Endless', De Beren Gieren (""The Bear Vultures"") have finished their seventh full album. What Eludes Us is an ode to what escapes us and what we consciously want to look away from.

For this new full album, the band left aside the unimaginable beauty of the Norwegian fjords and crawled into a dusty recording studio in Bergen harbour. They did so with the celebrated and mysterious producer Jørgen Træen (a.o. Jaga Jazzist), who silently watched over the imperfections andinterference as a guiding force behind the adept playing of the electro-acoustic jazz trio.

The result turns out to be compelling music with deceptive rhythms, clear melodies and uninhibited electronics in a way that also managed to surprise them themselves. With De Beren Gieren, it is clear that there is still gold to be struck from the classic jazz piano format. Instead of changing direction, the band resolutely chooses to dig deeper.
"

The sound of today. A very strong statement. Yet, fifty years later, it remains undisputed. Today’s sound is Piero Umiliani's manifesto, his will to demonstrate to the world that he always has his finger on the pulsating vein of the world, ready to embrace the heartbeat of the future. In the summer of 1973, Piero Umiliani, in his futuristic recording studio in Rome, much like Miles Davis for his 'Bitches Brew,' gathered an extraordinary collective of musicians, both old and new guard to measure themselves against some of his compositions. Besides strongly emphasizing the backbeat, what stands out the most is the timbre provided by his 'electronic instruments,' as he liked to call them. Minimoog, Arp 2600, Fender Rhodes, EMS Vcs3, Clavinet, Lowrey organ, Space Echo, self-built envelope filters—machines impossible to see all together in an Italian recording studio at the time and made available to the musicians. The line-up is stellar; under the name 'Sound Workshoppers,' the 'Wrecking Crew all'Amatriciana' is hidden an impossible mix where Marc 4, Gres and Perigeo are blended, along with a brass section of veterans and pioneers of Italian jazz, all members of the RAI Symphonic Rhythm Orchestra. Comparing the recordings from the original scores, one can also understand the space left by Piero Umiliani for his musicians. They are free to move, to contribute solutions, to enrich the maestro's music. The perfectly preserved original masters, once transferred at the maximum possible sampling frequency, allowed for the recovery of many lost frequencies, restoring brilliance and the remarkable low end expertly captured in recording by engineer Claudio Budassi. Today’s sound was extremely difficult to control and fully render with the mastering technology of that time. Paradoxically, Today's sound could not sound as I have managed to make it sound today: urgent, majestic, more alive than ever.

Available on vinyl for the first time since it's original CD-only release in 2007. On black or limited edition forest green with gold double LP, in gatefold jacket with download card. Tenor saxophonist Fred Anderson and drummer Hamid Drake had the closest of relationships, as close as a father and son might have. Their communication was at a higher level musically and emotionally. The music on this album reflects not only their masterful musical skills, but a conversation in music that is exceptionally powerful and unique. For From the River to the Ocean, they assembled a band consisting of fellow Chicagoans to record the most relaxed, perfectly balanced album they made together. It may seem hyperbolic to call From the River to the Ocean Fred Anderson's greatest album, but the empathy and cohesiveness of the ensemble, coupled with the saxophonist's brilliant, searching improvisations, makes it a powerful contender. From the River to the Ocean is an especially varied outing, ranging from Anderson's classic setclosing blues "Strut Time" to the meditative, spiritual, modal track "For Brother Thompson," dedicated to the late trumpeter Malachi Thompson and featuring bassist Harrison Bankhead on brooding piano and Drake chanting in Arabic. The record's title track and the closer, "Sakti/Shiva," find bassist Josh Abrams laying down an astounding bed on guimbri, the threestringed Moroccan acoustic bass familiar to fans of Gnawa music. Another of the album's delights is guitarist Jeff Parker, well known Jazz guitarist as well as member of Tortoise. Here, Parker displays an immense sensitivity and melodic genius, sharing solo spotlight with Bankhead's cello on "From the River to the Ocean" and sculpting a stunning array of shapes on the group's swinging take on Anderson's "Planet E." Underneath it all is Hamid Drake, an intensely creative soul continuing to challenge himself. Drake's growth is not measured in how many different instruments he plays - indeed, he's scaled back his arsenal over the years - but in the depth and musicality of his feeling. On this record he is remarkably light and airy, playing with tremendous delicacy and clarity. Propulsion can be introduced without a pneumatic drill, and Drake instigates an avalanche of rolling forward momentum on the opening moments, inspiring the two basses and guitarist to move, to make something moving, and in turn to further inspire Fred Anderson to some of his most forceful and imaginative playing ever documented. If the individual is a small receptacle of expressivity, a mountain spring if you will, then it is in ideal settings like this one that the springs join forces, turning into streams, then bigger and bigger tributaries, finally swelling into rivers that open into the oceanic creative waterways.

Favorite Recordings and Charles Maurice proudly present a brand new compilation series: Fusion Global Sounds.

9 rare and hidden tracks produced between 1970 and 1983 in various parts of the world. As a fine collector of Jazz-Funk and Fusion for many years, Charles Maurice selected some of his favorite forgotten productions, as he previously did for the AOR Global Sounds, French and Brazilian Disco Boogie Sounds compilations series. This time, recordings come from Sweden, Switzerland, South Africa, New Zealand, Uruguay, Spain and France, from artists and bands mostly known in their local scenes. You'll hear here the best elements of the Fusion and Jazz-Funk genre: breezy vocal arrangements reminding Flora Purim in Return To Forever or George Duke's albums, sweet and virtuosic Fender Rhodes (kind of common thread of the comp), melodic spiral-shaped fuzzy synthesizers leads, or irresistible basslines, altogether bringing a unique groove to life. "Buster" is taken from the first and only album of the Swedish band, Sundance. The band from Gothenburg was formed around US trumpet player Stephen Frankevich (notably playing with Mahavishnu Orchestra) after he moved to Sweden. Cosmic, with razor-sharp rhythms, it naturally brings you to the second title, "Hello Mr. Ancuvis" by Renato Anselmi. One of the key players of the Swiss Jazz scene during the sixties and the seventies, Renato also had the chance to play with Harvey Mason or Alphonso Johnson. Funky, jazzy but still a bit breezy, here again sweet vocals nicely blend with uptempo Rhodes part. Also included is another title from Renato Anselmi, "Quiet Fire", a mellow Rhodes-driven ballad with funky accents, wide strings and guitar arrangements. "Tropical Island" by Zane Cronje, a South-African composer and arranger, was initially a track from a music library catalogue: dreamy, soaked in thorough synthesizers, we're only attached to the earth by the Guiro groove. You'll also hear this cosmic vibe in "Astral Dance" by French-American drummer and Jazz musician/composer Daniel Bechet, taken from Songs To My Father LP, dedicated to his father the famous Sax/Clarinet player Sydney Bechet. In this 4 minutes dope jam, keys, guitar and percussion will elevate your mind to another level of consciousness: deep! The 1860 Band was hailing from Wellington, New Zealand, playing mostly in bars, cafes and pubs - their name is taken from a tavern where they had an extended afternoon residency keeping the clients entertained. Their sole LP, now rare and sought-after, was a nice mix of Jazz-Funk and Disco grooves. Their amazing and groovy cover of "Keep That Same Old Feeling" by The Crusaders, brings the best of their playing. Otroshakers was formed around Hugo and Osvaldo Fattoruso, as a tribute project to their former band Los Shakers, some sort of copycat band of The Beatles with great success in Latin America. Listening to "Siempre Tu", you can almost hear The Beatles' psychedelic vocal of Sgt. Pepper's Lonely Hearts Club Band. Later joining Ringo Thielmann in the US, they formed the band OPA together, after having recorded for Airto's seminal album Fingers. Blending Jazz, South-American musical elements and Funk, their fusion quickly gained the respect of the NY musical scene. "Despertar" by Spanish drummer, singer and actor Pedro Ruy-Blas, is taken from Luna Llena, his great first Jazz-Funk album. The track is a funky piece with wah-wah expressive Rhodes, ending with a beautiful flute solo. "Prologue" by Dutch-French pianist Majoie Hajary (sometimes called the "Hindu pianist"), can be found on La Passion Selon Judas, a very unique religious album blending her own style with Psych, Funk and Jazz elements. Surely we could continue detailing stories of all these gems, but we guess that the best way to learn more about them, is to listen to Fusion Global Sounds, fully remastered from originals and whether your preference is for vinyl or CD formats.

Part one of a two part set. Two years after Africa Oscura, considered by many to be the “dark side” of Sorgini’s masterpiece ‘Zoo Folle’ and partly recorded during the same session in 1974, Four Flies has decided to celebrate the album's modernity with a double 12” featuring 7 reworks by six of Italy’s most visionary DJs/producers. The original tracks have been reworked with different approaches, sometimes into full reinterpretations, and with demanding dance floors in mind. The result is a stunning collection of electronic reworks that preserve the spirit of the original versions while projecting them into the future.

Replaces Faz001 wich will be discontinued! Mara is the debutalbum of Munich-based jazz group Fazer. Short Info: Mara is the debutalbum of Munich-based jazz group Fazer. The young musicians combine African and Latin rhythms with dubby basslines and melancholic melodies. The unusual lineup with two drummers (Simon Popp, Sebastian Wolfgruber), bass (Martin Brugger), guitar (Paul Brändle) and trumpet (Matthias Lindermayr) leaves an open space for unfettered improvisation. Through the concept of repetition and finely measured dynamics, Fazer create a drawing energy that can be felt directly at their live shows and has been captured perfecty on this record.

Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs. This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence. Guilherme de Alencar Pinto

What a record! The outstanding Solar Plexus, the much-loved third album from Ian Carr and Nucleus, was first released on Vertigo in 1971. Inevitably, original copies are now very tricky to score and, like all the Nucleus records, it’s aged ridiculously well. This Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.

Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.

Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.

We'll let Ian describe this one: "I wrote Solar Plexus' last year with the help of an Arts Council grant. It is based on two short themes which are stated at the beginning (Elements I & I1). The first theme is angular and has a slow, crab-like movement: the second theme is direct, simple and diatonic. CHANGING TIME and SPIRIT LEVEL explore the first theme and BEDROCK DEADLOCK and TORSO explore the second one. SNAKEHIPS DREAM tries to fuse both themes. (The title is a reference to the famous dancer 'Snakehips' Johnson)."

Solar Plexus features the same lineup as Elastic Rock and We'll Talk About It Later, but they're augmented by six guests, three of which play brass. Carr himself had almost full control of the writing and it does feel very different to the previous albums. It's more of a jazz record loosely based on a rock foundation rather than jazz fusion jamming.

The haunting synth-and-bass soundscape "Elements I and II" opens the album in dramatic, experimental fashion. It gives way to the bright, funky feel-good jazz of "Changing Times". An elegant onslaught of horns, courtesy of guests Kenny Wheeler and Harry Beckett, ride a solid groove for the duration. How the brass refrains have eluded samplers is beyond us. The melancholic "Bedrock Deadlock" features the brooding majesty of Jenkins' oboe and Clyne's mournful, skittering double bass. Wah wah guitar, drums and funky percussion then take over before the horns ride us out over frenetic beats. The dark, angular "Spirit Level" is a real highlight, by turns harmonic and beautiful then dissonant and wayward. Wonky jazz with no apparent structure or melodic bones. Regardless, it represents a great showcase for each virtuoso performer.

The breezy soul of "Torso" feels like a breath of fresh air, skipping along in the uptempo style with guitar, horns, drums and bass. A track which truly sounds scintillating, featuring sax solos, fantastic propulsive interplay from all the group around the halfway stage before Marshall gets his chance to really shine in closing out with a polyrhythmic drum solo. Final track "Snakehips' Dream" stretches cooly out over 15 minutes to round out a spellbinding album. An epic, suave groove, it's a relaxing piece with warm electric keys, laconic guitar and languorous horns. Truly sophisticated soulful jazz. An absolute masterclass. We could easily listen to this all day long.

This Be With edition of Solar Plexus has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning gatefold sleeve has been restored to complete this sensational package.

BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines.

Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players – bassist Larry Ridley and drummer Lenny McBrowne – to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album.

‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama.

J Jazz Masterclass Series is curated by Tony Higgins and Mike Peden for BBE Music.

“People Need People / The Higher Love” is an exclusive 7” containing the two singles promoting the most recent release by Nicola Conte and Gianluca Petrella, two eclectic artists that, sixteen years after “New Standards” (2001, Scep336), found themselves working together again: this encounter led to the release of three new 12” EP’s in only three years and the double LP “People Need People”, plus the release of “Let Your Light Shine On” by Nicola Conte & Spiritual Galaxy. “People Need People” manages to communicate the club culture enthusiasm to conquer a new market capable of soliciting new interests in the nu-soul and jazz scene. From Detroit future dance to afrobeat and spiritual jazz through a nu-disco sound, the unique vibe of these two songs drags us in search of deep music in a spiritual and mantric context. In a peculiar historical moment Nicola Conte and Gianluca Petrella send a message of hope, of aggregation and Universal Love. A feeling of elevation and solidarity is shared Through Raashan’s poetry, something that can predict winds of change for humanity, a feeling that flows from a higher love. “People Need People” and “The Higher Love” are part of a collective experience wisely directed by Nicola and Gianluca that sees the participation of numerous artists from different parts of the world. Looking at the past and fetching sounds, rhythms and instruments typical of tribal / African traditions, soul / spiritual jazz and cosmic music from it, Nicola and Gianluca have performed an operation of strong contamination with modern electronic sounds, disco and hip-hop, creating a completely original hybrid. Their goal is to accompany the listener through a collective spiritual elevation path, guided by the only true universal language: music. In a historical period marked by contrasts, lack of communication and forced social distancing, this release proves to be even more essential and necessary.

In the summer of 1979, a Chicago DJ started a riot that killed disco overnight. Inciting fans to blow up disco records during a nationally televised major league baseball game, the cultural impact of Disco Demolition Night was felt globally. It even made waves in Portland, Oregon.

In the months to follow, clubs in the City of Roses were out to hire anything but disco. For Transport, hot nights as a stage-ready show band would fade to memory. First went the horns, then the vocalists, until all that remained was the rhythm section. The band's days were numbered or so it seemed.

But keyboardists Jimmy and Johnny Sanders were fiercely experimental. Freed from the disco formula, the brothers' exchange over synthesizers and other keyed instruments was electric. With drummer Towner Galaher, the group bore songs in homage to the fusion music ever present in Portland. Inspired by the national success of local groups like the Jeff Lorber Fusion, Tom Grant, and Dan Siegel, the band was reborn.

Months before signing a multi record deal with Geffen, Quarterflash's Marv and Rindy Ross offered Transport a shot at recording in their home studio. The group recorded over two sessions and soon shelved the tapes. Band members were summarily recruited by other acts shortly thereafter. The tapes have continued to sit.

Now over four decades later we hear this music. With tape restoration and mastering by Gus Elg, a calculated spitshine envelops the recording and positions listeners in the shag carpet-lined haze of a 1970s fusion session. With design by Eric W Mast, viewers can check out the aforementioned period upholstery through archival photography in the album's insert, depicting wall-to-wall shag gracing the booths at Mel Brown's Drum Shop.

Out of the gate, "Latin Summer" burns through with an urgency akin to The Gangsters - an album recorded by members of this band a decade prior. On the Funkadelic-fused "Chrome Dome," Jimmy Sanders continues to make use of the synthesizer, through squiggling tones and fried bursts, as well as on “Gospel Bridge,” a track that evokes Heavy Weather in its Pollock-like splashes of melody. Jeff Bruce's fretless bass brings a psych-propelled elasticity to the groove, adding a sinful undercurrent to “Time of My Life” - a languorous tune that could be a Head Hunters outtake - while giving “Song For Valerie” a playful Peaches & Herb-like wiggle.

Transport's output is staggering for a group entirely unreleased and but a drop in the bucket for Portland's cottage industry recording business of yesteryear. This installment in the group's catalog probes a layer deeper.

Recorded in 1966, Fats Sadi’s ‘Ensadinado’ was his second recording as leader, his first album had been an early Blue Note 10”. Essentially comprising the Clarke-Boland rhythm section, with Sadi on vibes, Francy Boland on piano, Jimmy Woode on bass and Kenny Clarke on drums, this 45 features the two standout tracks from this rare Saba LP, which remains unissued on vinyl since its release in 1966. ‘Ensadinado’ finds the quartet playing a latin oriented title penned by Jimmy Woode. Boland’s ‘Night Lady’, a standard for the band and the highlight from this collectable album, has a hard, swinging percussive groove driven by the irrepressible pulse of Kenny Clarke.

Teratai Åkande' explores electronic techniques transforming sounds, melodies, and rhythms from balinese gamelan. It's an interaction and synthesis of acoustic and electronic expressions, exploring an imagined territory between two otherwise separate cultural worlds.

On 'Teratai Åkande' the Copenhagen-based producer and electronic musician Anton Friisgaard travels new paths, as he explores gamelan music from his own artistic perspective in close collaboration with Balinese musicians, afliated with Ubud’s acclaimed Gamelan scene. After experiencing a concert with the Gamelan ensemble 'Gamelan Salukat' at Roskilde Festival in 2018, Friisgaard became inspired to contact Dewa Alit from the ensemble. With the aim of bringing forth a unique expression through the meeting of two distinct musical traditions, Friisgaard traveled to Ubud, Bali to record, compose and improvise in close collaboration with artists from the esteemed Gamelan scene in Ubud. The result is 'Teratai Åkande', which features Pande Made Gangga Sentana, I Nyoman Suwida, Dewa Badukz, Suryana Putra and Pande Made Gangga of Gamelan Salukat.

Anton Friisgaard (fka Hviledag) is an electronic producer and musician based in Copenhagen. Known primarily for his experimental work with tape loops and ambient soundscapes, he’s become an established figure both in the Danish music scene as well as internationally.

Composed, edited and processed in Copenhagen, Denmark from 2018 - 2024. Here, the recordings and compositions changed shape multiple times over the years, until finally reaching their current state.`

When Billy Eckstine’s band dissolved in the mid-1940s, adventurous drummer Art Blakey spent two years in Africa, where he briefly converted to Islam; back in New York, he gigged with Miles and Monk, before fronting his own Jazz Messengers. 1957’s Orgy In Rhythm drew on the sounds of North Africa and the Middle East, Blakey’s unfettered drumming accompanied by Latin percussionists such as Potato Valdez and Evilio Quintero, with Herbie Mann on flute. The musical arrangement is stunning, at times melodic or primordially rhythmic, but never short of pure brilliance. Overall, an excellent and astounding release!