Search "Six Organs Of Admittance" 266 Items

"Sounds like Lalo Schifrin and Quincy Jones on a night out" DJ Smoove
ATA Records are proud to release their latest 7" single, Kaunas Baltic Connect feat. The Sorcerers/Baby, I Don't Care.
Three albums in, the Library Archiveseries are an honest and forthright homage to the golden age of library recording, and this new release is no exception – a brooding cut of 70s Euro-crime soundtrack for the cognoscenti, backed with a gleeful Hammond romp.
Kaunas Baltic Connect feat. The Sorcerers harks back to the dynamic, brooding menace of Poliziotteschi and Euro-crime movies – popping toms punctuate a martial-sounding 60s beat, with an insistent and recurring piano motif. ATA Ethio-jazz influences are never far from the surface, and this track is chock full of quirky synths and keyboards, as well as the massive-soundingSorcerershorn section. Fans of Ennio Morricone's score to Pontecorvo's Battle of Algiers will also find a lot to enjoy here.
Baby, I Don't Care is reminiscent of shamelessly groovy releases from The Lewis Express, featuring a joyful slice of Hammond organ blues dancing away over the funkiest drums this side of Clyde Stubblefield – replete with congas and bongos from ATA Studios stalwart, Danny Templeman. Intended in the tradition of upbeat Hammond tracks from KPM etc, this track just evolved into pure organ soul.
Baby, I Don't Care has all the hallmarks of a new club favourite – will strongly appeal to all Jimmy Smith/McGriff and Shirley Scott fans, as well as purveyors of the next wave of organ soul from The Filthy Six etc.

Limited to 300 copies on grey vinyl. Only available at hhv.de

Sonor Music Editions proudly presents this restored issue of Maestro Sandro Brugnolini's Overground. This elusive masterpiece in library music captures the most impressive work, alongside Underground (1970), of the Italian composer and alto sax player. Overground was released on Sincro Edizioni Musicali in 1970 as the soundtrack to Enrico Moscatelli and Mario Rigoni's documentary Persuasione, commissioned by Ente Provinciale Per Il Turismo Di Trento, a local tourism board in Italy, with music composed by Sandro Brugnolini and Luigi Malatesta featuring some of the best musicians in Italy at the time like Angelo Baroncini and Silvano Chimento on guitars, Giorgio Carnini on piano and organ, Enzo Restuccia on drums, and Giovanni Tommaso on bass and effects. The music spans from underground Psychedelic Prog. Rock with swirling organs, trippy effects, and distorted fuzz guitars to sophisticated Lounge grooves with Avant- garde orchestrations. The music has been transferred and remastered from the original master tapes. It has been lacquer cut in stereo by Jukka Sarapää at Timmion Cutting and packed in a thick cardboard sleeve featuring a fully restored painting by Umberto Mastroianni licensed by Centro Studi dell’Opera di Umberto Mastroianni.

Pulsar-driven groovetronics, folky modalisms in waltz time; dreamvitations to the cine-lounge. Rhythm-n'-mood experimenters Les Hommes return with a plasma-rippling suite of jazzified cuts. The new album – Sì, così – takes us into their usual unusual orbits; with re-explored mid-century Lowrey organ, mellifluous bass clarinet, Arcadian flutes, groovified piano electrique and oscillators scorched on re-entry, it's out there.

With compositions aired on BBC 6 Music, Radio 3, Radio 4 and stations around the world, plus sold-out live shows, global cult combo Les Hommes combine mid-century-cool organ group tropes and heavy percussion with contemporary arrangements and sound-sources. Their new 2024 release, Sì, così, takes the line-up further out again to explore spacier themes, esoteric modes and filmic stratospheres, as well as continuing expeditions into 'live' small-group recordings.

“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.”

Analogue Productions (Atlantic 75 Series)

Celebrating the 75th Anniversary of Atlantic Records!

Post-bop favorites including "Liberia," "Satellite" and "Central Park West"

180-gram 45 RPM double LP

Pressed at Quality Record Pressings

Tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing

John Coltrane's brief but prodigious Atlantic Records period (1959-61) included the highly underrated Coltrane's Sound, recorded in 1960 and released in 1964. "The title could not have been more accurate, as each of the six pieces bear the unmistakable and indelible stamp of Coltrane's early-'60s style... Regardless of the lack of attention, these recordings remain among Trane's finest," writes AllMusic.

The eight post-bop songs here were recorded during the same two sessions (October 24 and 26, 1960) that produced some of My Favorite Things and most of the essential Coltrane Plays The Blues.

It was only pianist McCoy Tyner's third recording session with Coltrane — and drummer Elvin Jones's second occasion with sax legend. But both contribute exponentially to the success of Coltrane's conceptions. However, it's still the tenor sax which is most memorable throughout.

Coltrane's originals, "Liberia," "Satellite" and, most especially the disc's stand-out cuts, "Equinox" (featuring a marvelous solo from Tyner) and "Central Park West" (featuring Coltrane on soprano), are all worth hearing again and again, writes AllAboutJazz.com Coltrane also tears apart the standards "The Night Has A Thousand Eyes" and "Body and Soul" with an atypical fervor that invites even the most casual listener to stop and pay attention and want to hear again.

Cut at 45 RPM. Pressed on 180-gram vinyl at Quality Record Pressings, and housed in tip-on old style gatefold double pocket jackets with film lamination by Stoughton Printing.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.
The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages.

Sfere Luminose is a rare and breathtaking masterpiece that stands as a pinnacle of Italian Library music. Featuring the mesmerizing vocals of Nora Orlandi and the legendary jazz drumming of Franco Tonani, this album is an essential gem from the cult label Record TV - Firmamento, a name revered for iconic releases from the late 1960s to early 1970s. The album is produced by maestros Giancarlo Gazzani and Roby Poitevin, with contributions from the acclaimed studio group I Marc 4 and Alessandro Alessandroni. This stunning work encapsulates the very essence of Italian Lounge music, offering a rich and diverse musical landscape. From cinematic soundscapes and Hammond organ-driven grooves to soft psychedelic arrangements, the album flows with impeccable soul-jazz and bossa nova influences, reminiscent of Piero Umiliani’s finest creations. The signature style of I Marc 4 shines through captivating drum work, while the enchanting interplay of scat vocals and choral harmonies adds a touch of ethereal beauty.

With its refined blend of jazz, lounge, and Morricone-esque beats, Sfere Luminose is an unmissable listening experience for aficionados of the genre. It's a collector's grail and a timeless treasure that captures the magic of Italy’s golden age of music, and we're proud to bring this back on vinyl, remastered from the original mono sessions, including 4 bonus tracks and artwork restoration by Luca Barcellona

Why you'll love it...
Recorded live at a UCLA concert hall in April 1978, Coltrane plays piano and organ accompanied by Roy Haynes on drums and Reggie Workman on bass. The trio conjures both a universe and a universal consciousness; Coltrane has no qualms with the commingling of exhilaration and asceticism it demands of listeners. In fact, she demands that you come closer, to its tone and to your natural self.

What this feels like in one aspect is Black music’s Bonnie and Clyde fantasy realized. What if we escape from mundane language and commune fully in these codes of light and frequency? It doesn’t have to be strange or timid. What if we pragmatically exceed ourselves and gather in silhouette as light bodies, here, on stage in plain sight?

Alice and John were both fugitives from received values and ideas that felt too limiting, and their shared refuge was this sound that can only culminate in the spirit displacing and becoming the body through a series of collective gestures made both into song and a live ritual as is this album. There are very few pieces in the so-called American Songbook with stakes this high and encompassing in their insistence on transformation. One is John Coltrane’s A Love Supreme, another, Transfiguration.

The music Charles Mingus and his group recorded during his landmark 1960 sessions for Candid Records produced three of the most revered jazz albums of the era. Incarnations is a new masterpiece thoughtfully assembled from rare and unreleased material from those sessions that stands proudly in the Mingus canon of masterworks.

All but one of the tracks here are from the November 11th, 1960 sessions Mingus and producer Nate Hentoff put together. The date was split into two halves: one a pure Mingus-led date, featuring a six-piece band that expanded into an octet for two additional tunes, and another, a partial reunion of a collective that had assembled in opposition against George Wein’s Newport Jazz Festival that past July. (That collective, calling themselves The Jazz Artist Guild, would release the album Newport Rebels, on Candid in 1961.)

Of special note here is the one track recorded during the Mingus October 20th 1960 sessions. It is a previously unreleased track titled “All The Things You Are (All.)” Found on a tape that contained material from both of these fall 1960 dates, the piece has its roots in an Art Tatum rendition of “All the Things You Are,” which Mingus had recorded before in various settings.

Featuring Booker Ervin, Eric Dolphy, Charles McPherson, Ted Curson Lonnie Hillyer, Roy Eldridge, Jimmy Knepper, Britt Woodman, Tommy Flanagan, Paul Bley, Dannie Richmond and Jo Jones. With audio restored and remastered by Bernie Grundman, and liner notes by Pitchfork and New York Times contributor Hank Shteamer, this album is a must have for any Mingus fan.

Curating and ordering the tracks for a Mr Bongo Record Club is always special. You’re reminded of the feelings you had when sitting at home with a cassette player on pause trying to compile the perfect mixtape to impress the latest object of your affection, or that friend with whom you share a musical kinship and spark off each other’s latest discoveries. Hearing old tracks for the first time or diving into the most upfront selections keeps the fires burning and passions alight.

Here, for volume six, we present recent finds and treasured classics from Brazil, Sweden, the USA, South Africa, Portugal, Japan, Trinidad and Tobago, and Canada. We have included selections by the Brazilian rising star Dora Morelenbaum as well as from heritage-Brazilian musicians and vocalists Haréton Salvanini, Copa 7, and Mirna. There’s also the wonderful Brazilian-not-Brazilian take of 'Ye Me Le' by Hazel Scott And The Braza Brasil, plus sublime gospel from the New York Community Choir. We’ve picked disco and soul rarities by General Lee and Ash Soul, Inc., and for the first time on vinyl, an incredible psych-pop song by the illustrious Matthew Tavares. There are cuts from some of our favourite contemporary Swedish musicians, Sven Wunder and Dina Ögon too.

This compilation is packed full of gems that are plucked from differing times and spaces, but somehow all gel together beautifully. We hope you love them too.

Celebrating 40 years since its first release, Johnny Hammond’s “Gears” is given the deluxe treatment on vinyl with the addition of six previously unreleased tracks and a brand new transfer from the original masters.

Recognised as one of the finest jazz funk albums of all time, “Gears” was produced by the Mizell brothers and stands alongside their work with Donald Byrd at the pinnacle of their careers.

Tracks such as ‘Shifting Gears’ and ‘Los Conquistadores Chocolatés’ have been club classics almost since the album was released. Hip hop and house producers have regularly used it as a source for samples.

The bonus cuts shine a light on the Mizell’s production process and show the strength of the material from which the released masters were culled.

Hotly anticipated by club and radio, Gilles Peterson is championing this on BBC Six Music, and we expect further support from others.

When Frank Sinatra and producer Quincy Jones met in the studio for the first time in twenty years in 1984 to produce another album together, the music world held its breath. A big band made up of top musicians and prominent guests such as George Benson, Lionel Hampton and Bob James rounded off the meeting between the two entertainment giants. “L.A. “Is My Lady” peaked at #58 on Billboard’s Pop and #8 on the Jazz charts. The quite contemporary, funky title song even made it onto MTV rotation, together with the remaining tracks in a classic swing style he makes one the singer's most popular albums today. The “40th Anniversary Deluxe Edition” has been newly remixed by original sound engineer Larry Walsh. The CD version additionally includes six alternative versions of the album tracks “Mack The Knife”, “Body And Soul”, “After You’ve Gone” and “How Do You Keep The Music Playing”, three of which celebrate their world premiere here!

LP: 140g, gatefold sleeve with new liner notes

World Galaxy is the sixth solo album by Alice Coltrane recorded in November 1971 in New York City, and released in 1972 by Impulse! Records. On the album, Coltrane appears on piano, organ, harp, tamboura, and percussion, and is joined by saxophonist Frank Lowe, bassist Reggie Workman, drummer Ben Riley, timpanist Elayne Jones, and a string ensemble led by David Sackson. Violinist Leroy Jenkins also appears on soloist on one track, and Swami Satchidananda provides narration. World Galaxy features a trilogy of original compositions bookended by "My Favorite Things" and "A Love Supreme", two pieces for which her husband John Coltrane was known. It was the second in a series of three albums (following Universal Consciousness and preceding Lord of Lords) on which Coltrane appeared with an ensemble of strings.

It's hard to believe that there hasn't been a Christmas album by the unforgotten Louis Armstrong to this day! "Louis Wishes You A Cool Yule" presents his Christmas classics for the first time as a complete work: six Decca singles from the 1950s, two duets with his favorite partners Ella Fitzgerald and Velma Middleton, and the monumental evergreen "What a Wonderful World". As a bonus, the album includes a previously unreleased recording of Louis' poignant reading of Samuel Clement Moore's poem "A Visit from St. Nicholas" with pianist Sullivan Fortner.



Available on red vinyl (180g) or limited edition picture disc (180g)

Follow-up album to cult-classic debut, Mantra Moderne.

‘Melodi’ is the second album from captivating duo Kit Sebastian (aka Kit Martin and Merve Erdem). Those familiar with the band's cult classic 2019 debut record 'Mantra Moderne' will instantly recognise their unique sound that blurs boundaries of world music, jazz and psychedelia. Not to be content replicating the same album, sonically the feel of ‘Melodi’ is a maturation. It is more diverse and provides glimpses into many different worlds from the Italian Riviera to the mountains of the Caucasus, the beaches of Bahia to the city streets of Istanbul and Paris. This joyous merging of soundscapes evokes a borderless planet with music as an international language, belonging everywhere and nowhere.

‘Melodi’ is imbued with Kit Sebastian's love of vintage records and world cinema, but it is not a retro homage. It celebrates its influences but is very much a modern record, being simultaneously brand new and retro. This is a credit to the duo's craft as musicians and songwriters, presenting their influences as a circular interaction between the present and the past rather than a linear one.

The music was written during the first UK lockdown and recorded that summer, a time of opening up that only briefly existed. In a world with a slower pace than before the Covid crisis, the band were able to spend more time experimenting in the studio. The album’s range of instrumentation has expanded from the previous record to include zithers, harpsichords, congas, bongos, bulbul tarang, and a mock-up choir on top of the synthesizers, balalaikas, organs, and saxophones. Session musicians and friends were also booked to introduce trumpet and string sections giving the album an added depth and orchestral texture. Despite the added complexity, the album was recorded using the same techniques employed for the previous album with various tape machines, bouncing back between cassette and ¼” tape for practicality and sonic abstraction. To pierce through this abstraction, the vocals are intentionally more expressive. Merve took cues from the Turkish singers of her youth, adding a slightly more melancholic, darker and more reflective style than 'Mantra Moderne’. Rooted in observations from everyday life, they speak often about the worlds and thoughts that arise from the end of the night.

Like with many of the best albums, the record seems over all too soon and has you instantly wanting to play it again. On each listen you decide on a track that you think is your favourite from the album only for it to be replaced with a different one on the next listen. The songs and production have hidden depths that seem to evolve and morph the more you devour them. Moments of pure pop, moments to fall in love, moments to contemplate. This journey is rich in musical vitamins and nourishment, but like all the best things still leaves you wanting more.

Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

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

Here is one of the musical giants of the 20th century, poised on the precipice of greatness. Between the spring of 1957 and the winter of 1958, during which time "Lush Life" was recorded, the music of tenor saxophonist John Coltrane (1926-1967) was developing in giant steps, thanks in great part to a six-month 1957 stint with Thelonious Monk that had much to do with sharpening Coltrane’s harmonic conception and torrential attack.
"Lush Life" contains Coltrane’s first recordings as sole leader, his initial date fronting a pianoless trio, and one of his first extended readings of a ballad, Billy Strayhorn’s resplendent title track. We also hear him at the helm of a quartet and quintet, featuring pianist Red Garland, with trumpeter Donald Byrd, bassist Paul Chambers and drummer Louis Hayes added to “Lush Life”. Coltrane handles the tune’s delicate complexities with infinite style and finesse.
Coltrane and jazz would never be the same.

“Tre” is cinematic/trip hop duo The Dining Rooms’ third re¬cord, and their first on Schema Records. Originally released in 2003, it contains songs that have been synchronized in popular TV series (C.S.I. Miami, Six Feet Under, Sex and the City) and it’s finally available again on vinyl!

For long time out of stock - finally a new reissue to give light to one of the most important albums by the Milanese duo Cesare Malfatti and Stefano Ghittoni aka The Dining Rooms “Tre” (3) was also released in America by Chicago's Guidance Records. One of the most represented albums of the trip hop scene again available in a double LP format

Limited to 100 copies on purple vinyl. Only available at hhv.de

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

Limited to 100 copies on blue vinyl. Only available at hhv.de

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

1964 was one of the most momentous years in the musical life of Wayne Shorter. Early in the year the saxophonist was still a member of Art Blakey & The Jazz Messengers, appearing on classic Blue Note albums like Free for All and Indestructible. Shorter made his own auspicious label debut that spring with Night Dreamer and quickly recorded the impressive follow-up JuJu. That summer he joined the Miles Davis Quintet, cementing a line-up that would become one of the seminal bands in jazz history. And when Shorter entered Van Gelder Studio with Freddie Hubbard, Herbie Hancock, Ron Carter, and Elvin Jones on Christmas Eve 1964 they created a masterpiece with Speak No Evil, a transcendent set of six Shorter originals including the swinging title track, “Witch Hunt,” and sublime ballad “Infant Eyes.”

The explorer Walter Maioli makes his most amazing adventure, the journey to the center of the Earth. Retracing the exploits of the Platonic demiurge, he identifies in the cave the deepest meaning of myth. Primordial sounds, not shadows, are at the center of this magical path straddling geology and Paleolithic polyphony. The recordings between 1985 and 2002 capture the sonic imperceptibility of the great subterranean womb, investigate the secret dialogue between the trickling of pond waters and the faint percussive reverberation of stalactites and stalagtites. Rocky sediments are played as tubular organs, glockenspiels, xylophones or stone marimbas. Crystalline timbral variations and subtle microtonal passages recall the chimes of Tibetan gongs and bells, of the scales of Java and Bali. Amidst muffled pauses and silences, trills and rings, echoes and tremolos, hisses and pops of vibration, Maioli builds his most imaginative niche of sound, a magnetic and telluric chant that is pure symphony and archetypal synaesthesia. Co-produced with Holidays Records.

Limited to 1100 copies, pressed on 180g, with extra insert and download code.
Estonian composer, multi-instrumentalist, and producer Misha Panfilov continues to operate in his own diaphanous waters where waves of funk, jazz, and exotica crash upon mystic sands of psychedelic rock and kosmische music. Recorded in the archipelago of Madeira, his latest album, Atlântico, shifts tectonic plates of space and sound, leaving a decidedly more spiritual and serene landscape in its wake.

Aquarium Drunkard, 2023
credits
releases November 10, 2023

Rafael Andrade, trumpet, cornet;
Francisco Aguilar, tenor saxophone;
Ricardo Dias, double bass;
Francisco Coelho, drums;
Andreia Miranda & Alex Gonçalves, backing vocals, claps;
Misha Panfilov, acoustic & electric guitars, fuzz bass, synthesizers, organs, percussion, upright pianos, harpsichord, ngoni, tank drum, sound collage, claps, backing vocals, composition, productions, arrangements, mixing.

Recorded between February and April 2023 at Estúdio 21, Conservatory – Madeira Professional School of Arts, and at the home studio in Funchal, Portugal.

Design by Hanz Mambo;
Photos by Andreia Miranda, Alex Gonçalves, Jessica Freitas and Elvira Akzigitova;
Mastering by Jörgen Hermaste; Layout by Ilja Tulit.

Special thanks to Alex Gonçalves for his assistance and providing equipment.

Psycho 2000 - A dark but funky theme that begins with an occulting Italian echo-oscillator drone that is soon followed by pulsating bass and breakbeat drums, leads to tremolo guitars, an ostinato on electric mandolas, strings climbing eloquent ladders, otherworldly electronics, and a cinematic finale. An evocation of a parade of wooden nutcracker soldiers elaborately dressed in gold-trimmed black uniforms down a wide avenue decorated with mardi gras beads and animal skulls upon golden cobblestones toward a tornado spiralling out purple-hued glissandos and curlicues of elephant smoke. White Spiritual - Head nod action, the twinkling of a late 60’s Vox Continental II with sickly transistors, the noodling matrix of an intergalactic telephone exchange carried on a bed of bouncy bass with a firm backbeat. The Johnny Guitar Watson-esque bite and sting of a ‘67 Teisco guitar preludes slabs of unison dark brown moog and organ giving way to the dance of fingers over the black naturals and white sharps of the Continental II.

Alto saxophonist Jackie McLean had the blues on his mind when he went into Van Gelder Studio in 1961 to record his hard bop masterpiece Bluesnik with a blazing quintet featuring Freddie Hubbard on trumpet, Kenny Drew on piano, Doug Watkins on bass, and Pete La Roca on drums. The six-song set of bluesy originals brims with immediacy and vibrancy.

Blue Note Classic Vinyl Edition: stereo, all-analog, mastered by Kevin Gray from the original master tapes, pressed on 180g vinyl at Optimal, padded inner sleeve.

Lionel Pillay’s broad list of associations is a testament to how widely respected he was in South Africa’s diverse jazz scene. In addition to his work with Mankunku, he played with Hugh Masekela in the early 1960s, produced the exquisite long-form recordings “Shrimp Boats” and “Cherry” with Basil Coetzee in the 1970s and collaborated with trumpeter Murray Campbell and saxophonist Bez Martin in the 1980s. However, is it with his 1980 album Deeper in Black, backed by core members of the jazz-fusion supergroup Spirits Rejoice, that his legacy was cemented.Deeper in Black was inspired by the 1969 Blue Note recording of American trumpeter Blue Mitchell entitled Collision in Black and took its name from Pillay’s cover of the album’s Peggy Grayson composition. Pillay’s album featured another two compositions from Collision in Black by way of the Monk Higgins track “Keep Your Soul,” with distinct arrangements straddling Side A and Side B, and Vee Pea’s “Jo Ju Ja” closing out the set. Although the source material was over a decade old when Pillay recorded his album, Collision in Black had struck a chord in South Africa with its first pressing in 1969 and even seen a local repressing in 1978. Blue Mitchell owed much of his popularity in South Africa to a six-week tour with saxophonist Harold Land in 1976. It was during this time that As-Shams/The Sun producer Rashid Vally seized the opportunity to record the Dollar Brand album Blues for a Hip King with Mitchell and Land backing Abdullah Ibrahim. Although the recording and release of Pillay’s Deeper in Black coincides with Blue Mitchell’s death in May 1979, the album was not explicitly promoted as a tribute but did certainly offer a respectful nod to the esteemed trumpeter who was among the few American jazz heavyweights who managed to connect with the South African scene during the Apartheid era.

In 1963, tenor saxophonist Harold Vick made his sole album as a leader for Blue Note, the underrated soul jazz gem „Steppin’ Out“. The record finds its groove from the first downbeat and stays firmly in the pocket throughout this set featuring Blue Mitchell, Grant Green, John Patton, and Ben Dixon.



Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket



Harold Vick (tenor saxophone); Big John Patton (organ);

Grant Green (guitar); Ben Dixon (drums); Blue Mitchell (trumpet)

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



This little-known album by New Orleans-born drummer Idris Muhammad (1939-2014) was originally recorded for Theresa at Rudy Van Gelder's studio in New Jersey on September 12, 1980 with George Coleman & Pharoah Sanders on tenor saxophones & Ray Drummond on bass.

The six powerful tracks include originals from Muhammad & Drummond and an impressive version of Billy Eckstine's 'I Want To Talk About You' featuring Sanders.

'Kabsha', which is dedicated to Muhammad's youngest daughter, is recommended to anyone who appreciates inventive and passionate modern jazz.



Drummer Idris Muhammad's strongest jazz date as a leader. Muhammad, who had often been heard in funky or more commercial settings, really excels in this sparse setting, showing off what he learned from hearing bands in his native New Orleans. In addition, both the underrated Coleman and Sanders are heard in top form, stretching out on originals, basic pieces, and "I Want to Talk About You" (during which Sanders lets out a few trademark screams so everyone knows that he is not John Coltrane). Highly recommended. Scott Yanow/AMG

Helen Merrill attributed her childhood musical influence to her mother's singing. Truth is, she didn't wait long herself to make a mark as a teenage jazz ingénue, following-up with the notable self-titled LP you have in your hands, newly remastered, and reissued by Analogue Productions.
Helen Merrill arrives, remastered by Kevin Gray at Cohearant Audio, and plated and pressed to 200-gram vinyl by the dedicated crew at Quality Record Pressings, supervised by plating expert and general manager Gary Salstrom. No less than an old-style, tip-on Stoughton Printing gatefold jacket would suffice for such a phenomenal-sounding reissue. Rare photographs inside the gatefold originally appeared as sleeve art for the 7-inch singles recorded and released in conjunction with the original 1955 album release.
Helen Merrill was born in New York City on July 21, 1930. Her professional career began at the age of 15 when, after singing at theatres and winning amateur contests, she landed a job as vocalist with Reggie Charles' Band. Merrill was later signed by Mercury Records to their EmArcy label. "Helen Merrill" is her debut studio album, backed by among others, trumpeter Clifford Brown and bassist/cellist Oscar Pettiford. The legendary Quincy Jones produced and arranged the album when he was just 21-years-old!
The success of Helen Merrill prompted Mercury to sign her for an additional four-album contract. AllMusic reviewer Scott Yanow gave Helen Merrill 4 1/2 stars. »The music is essentially straight-ahead bop, yet the seven standards ... are uplifted by the presence of Merrill (in top form) and Brown.« Her success associated Merrill with the first generation of bebop jazz musicians.
Merrill's career continued with recordings and concerts throughout six decades, until the early 2000s. Her emotional, sensual vocal performances, particularly this engaging debut, stand as testament to her immense talent.
This is a high-quality reissue of a rare and valuable record. Original copies have sold for more than $1,000!

Recording: in mono

With a Yamaha organ and a dream, Pops Mohamed started his musical journey in mid-1970s South Africa as the founder of Black Disco, creating a hip and innovative blend of chill-out jazz with spiritual overtones. Playing original compositions as well as reimagined soul and pop hits, the group appeared on producer Rashid Vally's As-Shams/The Sun label alongside Abdullah Ibrahim and Harari. On the band's self-titled debut from 1975, Mohamed's cosmic organ is supported by two of the most sought-after session players on the South African jazz scene, Cape Town's sax and flute wizard Basil Coetzee, who had risen to fame in 1974 as one of the soloists on the hit “Mannenberg,” and Sipho Gumede, the young bass prodigy from the city of Durban. The album is a mostly downtempo affair with the drum machine on Mohamed’s organ laying down the beat while the trio soars in blissful improvisational territory. Bassist Peter Odendaal and drummer Monty Weber join Mohamed and Coetzee for Black Disco 3 in 1976, preserving the New Age lounge aesthetic but allowing the group to flex their jazz chops more adventurously. “Spiritual Feeling” from the debut album is revamped as “Spiritual Feeling Riding the Blue” but the album opener “Dawn” is the centrepiece – a trippy, flute-driven awakening that unfolds over a period of ten minutes. Reissued and available internationally for the very first time, Afrodelic's 2024 replica editions of Black Disco (1975) and Black Disco 3 (1976) are fully licensed and sourced from the original analog master tapes.

"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records. It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly. With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

Nat Birchall returns with a new studio album with an expanded Unity Ensemble. Six original compositions played by a seven-piece group featuring the legendary UK tenor saxophonist, Alan Skidmore and guest percussionist Mark Wastell.

Both musicians joined the group onstage at a John Coltrane tribute concert at London’s Café Oto last year, the resulting performance showing just how compatible all the musicians were, so Nat thought it would be propitious to record the group in the studio with their special guests.

Both Nat and Alan are Coltrane devotees of the highest order, but they each have their own individual style, and at the sessions their playing complimented each other’s beautifully. With no trace of anyone attempting to “outdo” the other one the recording dates were a testament to the whole group’s selfless approach to music making.