Jazz | Fusion 173 Items

"Dafür bestimmt, als Jazz-Klassiker in die Geschichte einzugehen" – so das Urteil des Guardian bei der Veröffentlichung des Albums im Jahr 1997. Weiter meinte die Zeitung: "Wheelers Kompositionen und vier der weltbesten Improvisatoren schaffen ein nachdenkliches Set, das es sich lohnt wieder und wieder zu hören. Dies ist wunderschöne, leuchtende Musik." Angel Song gehört zu den Höhepunkten im Katalog des Labels und vereint vier Improvisationsgrößen – jeder mit einer einzigartigen künstlerischen Identität – in einer intimen, Schlagzeug-losen Quartett-Session. Kenny Wheeler ist der Komponist der neun eindringlich lyrischen Kammer-Jazzstücke und verleiht ihnen an Flügelhorn und Trompete im expressiv-melodischen Austausch mit Altsaxophonist Lee Konitz eine besonders eindringliche Atmosphäre. Das Bassfundament von Dave Holland ist so überzeugend wie eh und je und lässt Bill Frisell alle Freiheiten für harmonieumfassende Improvisation. Wie der Guardian jubelte 1997 auch die Times und sprach von einem: "rührend schöne[n] Album: Hollands wendige Zuverlässigkeit ist der Anker für die elegante Klangfülle von Konitz, die flimmernde Raffinesse von Frisell und die klangliche Zärtlichkeit von Wheeler selbst."
Das Album erscheint zum allerersten Mal auf Vinyl als Teil der Luminessence-Reihe und wird in einem Tip-on-Gatefold mit Session-Fotos präsentiert.

Following his debut EP ‘En clair-obscur’ and a series of singles earlier this year cementing his place as a rising name in the world of cinematic soul & funk, Hamburg’s finest cinematic soul artist ‘The Offline’ announces his debut album 'La couleur de la mer'.

Reminiscent of film scores from the 60s and 70s, The Offline worked with co-producer Tim Liztenberger to channel the influence of film composers such as Francois de Roubaix and Brian Bennet, creating his own soundtrack on ‘La couleur de la mer’. Inducing images of manorial, fog-swept villas at the sea's edge, silhouetted sailing boats and cigar-chomping villains attempting to thwart the mission of an imaginary hero, the record is a masterfully composed sonic journey. Experimenting with themes and atypical song structures, the music moves from dramatic cues to fragile romanticism. It incorporates psychedelic spaciness, retro soul and hip-hop sensibilities informed by The Offline’s extensive record collection and crate-digger status.

“Ever since I was a child, I was fascinated by the soundtracks from the 60s and 70s, and I always wanted to make an album in the film score direction. I wrote about 30 demos, kicked half of it and stuck to the ones that felt right in the dramaturgical structure of the ‘movie'. Interestingly the main theme was set early on while writing the album, which made the writing process much easier.”

Aptly named, ‘Thème de la couleur de la mer’ opens proceedings, establishing the core motifs of the record. Haunting flutes and xylophones lead the way into Khruangbin-esque guitar lines, which sit against a hip-hop canvas that returns on boom-bap head boppers like ‘Quelque chose reste’. Retro soul revival takes precedence on deep cuts like ‘Un bout de chemin’, with wah-gated guitars interacting with emotive cello lines and symphonic string & horn sections.

The Offline came to life when composer and photographer Felix Müller travelled the Atlantic coastline in the south of France with his analogue camera, capturing beach life on film. After coming back to Hamburg, he started writing songs as the sonic counterpart to the analogue visuals. His Debut EP ‘En Clair-Obscur’ includes five tracks that capture the essence of his journey and the feeling of a cool summer soundtrack.

) "Night Reign", the title of Arooj Aftab's new album, would also have been a good fit for an episode of "Game of Thrones". At first glance, it seems a little gloomy, almost ominous. But as soon as you immerse yourself in the album's atmospheric music, such associations fade away, even if a slight melancholy often seems to resonate. Arooj knows how to write songs that nestle gently in the ear canals and are true balm for car-tune-ridden ears. Her songs are unique because they are rooted in the tradition of her Pakistani musical heritage, but at the same time are modern and groove in a subtle way. This makes her, according to FLOOD Magazine recently, "the least categorizable and most uncompromising singer in pop music today".

With "Night Reign", the follow-up to her solo album "Vulture Prince" (which features the GRAMMY® Best Global Music Performance-winning track “Mohabbat”), Arooj has now created her most beguiling and stylistically diverse work. She was actively supported on the recording by creative partners as diverse as Vijay Iyer, Maeve Gilchrist, Moor Mother, Joel Ross, Cautious Clay, Kaki King, James Francies and Chocolate Genius, Inc.

This is Mulatu Astatke’s protege and Ethiopian saxophonist and composer Jorga Mesfin’s debut album. It’s a long foray into Ethio-jazz that takes this courageous syncretism further by fusing spiritual experimentation with bits from all kinds of situations in Ethiopian music, jazz music, and specifically Ethiopian jazz music that precedes it.

Jorga Mesfin is widely regarded as one of the most talented contemporary musicians and composers in Ethiopia. He started his professional career at the young age of 17 and has since collaborated with numerous renowned artists, including Tsegaye Gebremedhin, Carolyn Beard Withlow, The Last Poets, Vijay Iyer, Wayna Wondossen, Kirk Whalum, Takana Miyamoto, Gizze Reggae band, Dionne Farris, Aster Aweke, Mahmoud Ahmed, and Mulatu Astatke. Additionally, Mesfin was a resident at Astatke's legendary African Jazz Village in Addis Ababa every Thursday.

Jorga Mesfin is the founder of the Ethio-jazz group called Wudasse. He composed the music for the epic Ethiopian film "Teza" directed by Haile Gerima. His work on the film earned him the Best Music Award at the 22nd Carthage Film Festival and Best Composition at the 5th Dubai International Film Festival.

Muzikawi is an Ethiopian record label, music publisher, studio, artist management, and event organiser with offices in Addis Ababa and Stockholm. We understand and honour the culture of Ethiopia.

First ever reissue of this excellent self-titled South African jazz album by Spirits Rejoice. Check out tracks like 'Woza Uzo Kudanisa Nathi' or 'Papa's Funk' !

The 1970s is regarded as a period of experimentation, boundary-breaking and hybridization in modern music and this spirit certainly informed the mushrooming of ideas that occurred in South African jazz during this time. In the shadow of more commercial township jive and soul, South African jazz evolved on the fringe, nurtured by passionate and enterprising independent producers who courted the interest of the mainstream with enchanting concoctions of jazz with folk, rock, soul and funk.

With a lineup hailing from far flung regions of South Africa, the mercurial sound of Spirits Rejoice and its willingness to weave a patchwork of different influences into its recordings is not hard to account for. More difficult to reconcile is that the band didn’t manage to level up to the status enjoyed by its peers in larger music markets abroad. Nevertheless, Spirits Rejoice has maintained its revered status in the collective memory of South African jazz for over four decades and their recorded artifacts return in the 2020s with the group’s vitality and energy undiminished.

To mark its 50th anniversary, Farfalla Records is proud to announce the reissue of the highly sought after German library gem "Wonderland of Sound". Originally released in 1974, the album was produced by Brillant-Musik's founder Werner Tautz and recorded in Zurich. Wonderland of Sound is the epitome of the classic 70s library sound. A jazzy bliss orchestrated by the hottest European session players making up the Big Band "Rainbow-Orchestra". A Splendidly funky and stunning set of compositions and arrangements with ultra-stylish horn section.

Alpha RAY by The Norio Maeda Trio was originally released in the Swinging Sixties and this hot latin number was rediscovered by the Tokyo Hipsters at the height of the Acid Jazz Boom and became part of Shibuya Jazz Dance Folklore.
Hakuchu NO Shugeki - Theme by Terumasa Hino Quintet is from a Japansploitation thriler made in 1970 with plenty of guns, gals, guys, sharpsuited action and gallons of studio blood! Mostly freeform blowing by the Legend that is Terumasa Hino for the soundtrack, one of the exceptions being this Blue Note Styled Soul Jazz number that sounds as if it came off the Van Gelder production line circa '66 to '71. Easily could be mistaken for Blue Mitchell, Donald Byrd or Freddie Hubbard's outputs post soul, pre-electric happenings. Another Jazz Room thing of beauty!
Now on 45 RPM release by Jazz Room Records, a 2 cut slab of wax that will have Jazzfloorista's waiting at the gate!

Rosa Brunello's latest album, "Senseless Acts Of Love" on Domanda Music, is a beautiful testament to the power of music. With captivating melodies and a celebration of uniqueness, this album brings together an incredible fusion of talent from jazz and experimental music. Collaborating with brilliant artists such as Yazz Ahmed, Tamar Osborn, Maurice Louca, Marco Frattini, Enrico Terragnoli, and Luca Tapino, Brunello takes us on a journey through love and exploration.
Through the concept of slow travel, "Senseless Acts Of Love" encourages listeners to embrace a more conscious and sustainable approach to exploration. It inspires us to connect deeply with the world we inhabit and appreciate the diverse cultures that coexist within it. This album captures the essence of unity, with collective improvisations and serendipitous moments of sonic synchronization.

Recorded in 1956 for Tom Wilson’s Transition label, Watkins At Large was the first of two albums bassist Doug Watkins made as a leader. With a first-rate band featuring Donald Byrd, Hank Mobley, Kenny Burrell, Duke Jordan, and Art Taylor, Watkins swings through a stellar set of blues, ballads and more. This mono Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket with an 8.5” x 5.5” booklet.

This spirited 1961 live date for Pacific Jazz captured Kenny Dorham leading a quintet with Jackie McLean, Walter Bishop Jr., Leroy Vinnegar, and Art Taylor at The Jazz Workshop in San Francisco. The band is firing on all cylinders throughout this set featuring four standards bookended by two Dorham originals. This stereo Tone Poet Vinyl Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Brasil, the new album by Lee Ritenour and Dave Grusin is a showcase for the unique talents of two of the most successful and influential musicians of their generation. It has been an enduring friendship and collaboration, from playing the famed Baked Potato in Los Angeles in the 70s, to collaborations on Dave’s records and films and Lee’s albums, plus years of touring together on the biggest stages.

Guitarist Ritenour and pianist Grusin began their fervent involvement in Brazilian music half a century ago. And, as boldly demonstrated on Brasil, their new studio recording in several decades dedicated to the genre, their passion remains unabated. Brasil is a bracing survey of contemporary Brazilian sounds featuring some of that country’s most notable young musicians. Also spotlighted are the talents of Swiss born harmonica ace Grégoire Maret and Brazilian vocalist and composer Ivan Lins, whose album Harlequin with Ritenour and Grusin won a Grammy® Award in 1986.

Ritenour and Grusin have made an indelible mark in the music industry. With the release of Brasil, they continue to exemplify how their longevity and success is tribute to their ability to stay on the pulse of the music scene today. “Brazilian music continues to permeate the world,” Lee observes. “So, now was the right time and inspiration to go to Brazil and do this recording.” And their musical magic continues!

Quiet Village announces new label, The Quiet Village, and new single, ‘Reunion'. Matt 'Radio Slave' Edwards and Joel Martin's critically acclaimed project's first official single under the Quiet Village name in seventeen years!

Beginning life as a 'heady 6/8-time urban jazz odyssey, 'Reunion is a stunning piece of modern, Hi-Tech Jazz that draws influences from Pat Metheny, Timeline, Innerzone Orchestra, and Clyde Stubbelfield's drumming.

While previous Quiet Village material was hewn from a myriad of samples extracted from Edwards' and Martin's notorious digging, 'Reunion' and its follow-ups are drawn from a tight-knit crew of session musicians, including the likes of Jon Hester and Thomas Gandey, adding further depth and feel to the QV sound. Already a firm favourite with Gilles Peterson and Luke Una, the latter of which leaked a clip of the release via his inimitable Instagram presence and called it 'something so fucking beautiful. Tony Allen, Sun Ra meets Carl Craig, Underground Resistance, house, tech, funk, everything rolled into one'.

'Reunion’ is the first single on The Quiet Village, Quiet Village's new imprint. Despite continually producing new music and a slew of remixes, most recently for Running Back and Isle of Jura, the long-term friends and collaborators have been unable to release under their Quiet Village moniker since their LP 'Silent Movie' in 2008. While a few releases under QV and their sometime DJ aliases of Maxxi (Edwards) and Zeus (Martin) have emerged, 'Reunion' is the beginning of a new and re-energised Quiet Village that will see more original material and remixes, DJ and live touring that began in Japan in May and curated compilations of treasures, old and new, in the coming months and years.

This is a 1999 album by Weldon Irvine, who gained new recognition with the rise of the hip-hop scene and the rare groove movement in the 90's and beyond, including appearances on Q-tip and Mos Def albums!　Now, for the first time ever, P-vine is releasing this historically significant work on LP, as the original CD is hard to find. Featuring guests such as Q-tip, Mos Def, Talib Kweli, and other artists representing the street scene of the time, the jazzy and tight groove is a must-listen, with a crossover of 70s feeling and 90s sound!

Limited edition colored vinyl.

Everybody Loves THE Sunshine is more than a classic. It is “the” summer anthem, one of the most covered and sampled Soul tunes by Roy Ayers and the Ubiquity family. This vinyl re-release has been eagerly awaited by music lovers worldwide. This version was originally recorded as a cover version, produced by Soulciety Records for their label band project named The Soulsociety. The performance was recorded with the original songwriter and producer of the song, Mr. legendary vibes controller and Soul superstar Roy Ayers. This recording follows the original 70s feel and instrumentation of the 1976 version, but this time also features Roy Ayers prominently on lead vocals. Another big difference compared to all other versions by Roy and Ramp is the fact that this version is arranged and produced as a midtempo track. It will fit perfectly into any DJs set with a focus on Soul, Funk or Hip Hop. For the first time ever, this classic is now available on a Sedsoulciety Recordings 7” vinyl, including the previously unreleased instrumental version on the flip side with added extra vibes by the master himself.

Roy Porter released two albums in the 70's, "Inner Feelings" and "Jessica", which are now highly sought after as important rare groove albums. After a brief absence from the scene, he entered the 90s and challenged the times with a new Sound Machine! The killer funk tracks "Panama" and "Party time," which have been featured as sampling sources on numerous occasions, have been reconstructed by Roy Porter himself, and brushed up to sound with the texture of the 90s. It is no exaggeration to say that this album embodies the fusion of jazz and hip-hop that Robert Glasper and others have shown since the 2010s, 20 years ago.

Amen is the 3rd release by bassoonist / composer / producer Joy Guidry. Representing a major step up in her ability to fully realize and embody a sound and concept, Amen moves from rousing, rafter-splitting spiritual jazz and gospel compositions to ambient compositions that create a powerful statement of communal healing and peace. The album features contributions by Niecy Blues, Kalia Vandever, Tyrone Allen and Jessie Cox.

The best Music from Woody Allen"s most cult Movies, from Sidney Bechet in "Midnight Paris" to Fred Astaire in "The Purple Rose Of Cairo", Tommy Dorsey in "Annie Hall" and Stan Getz in "Whatever Works!"

Large group session featuring deep spiritual modal jazz and new age ambient synthesizer pads.

Hold your body and mind belts, and immerse yourself into a cornerstone of cosmic music in a double remastered vinyl - one them filled with rarities - called "Crystal Machine" by the visionary Tim Blake, English composer and synthesizer master. Recorded in 1976/7, it remains echoing as a timeless effort, pretty much still alive. This is a deadly serious art piece, accordingly trippy in all its aspects, full of strangeness and sheer beauty.

Yes, *that* Al Hirt record. Featuring the godlike "Harlem Hendoo", looped unforgettably by De La Soul for the legendary Buhloone Mind State cut, "Ego Trippin' (Part Two)"!

Al Hirt's infamous Soul In The Horn is inextricably tangled up in crate-digger lore. Originally released in 1967, the album has been in heavy, heavy demand for over 30 years, entirely down to the majestic soul-jazz fire of "Harlem Hendoo". And it's a song so good, so vital, so timeless, that it will always tower above everything else in its proximity. This one track alone is worth the price of admission - even if the cost of entry were $100 or even $1000.

However, it would be an error to dismiss this record as merely a one tracker, loaded as it is with dope samples for adventurous beat makers. Certainly the funkiest Al Hirt record, it definitely lives up to the "soul" in the title. Thanks to composer Paul Griffin and arranger Teacho Wiltshire, Hirt got uncharacteristically free and groovy throughout. It comes on more like an obscure KPM library funk record than the easy listening Al was notorious for.

A Louisiana trumpeter and band leader who made Allen Toussaint’s “Java” famous, Al Hirt was also known for TV themes, Dixieland, Swing and being a minority owner of the New Orleans Saints. Unlike every other Al Hirt record - and despite most "diggers" claiming otherwise - this here gem is genuinely hard to come across "in the wild". Normally, you can't give Al Hirt records away, except this particular one, which raises pulses in the crate digging community to life-threatening levels. For every owner claiming to have found their copy for a dollar, there's scores more claiming to have *never* unearthed one in the field. So, paradoxically, you can consider this the most tricky-to-pull "thrift store record", ever. This is why we're finally making it available for everyone, not just those with endless hours to spend scouring the global goodwills!

Soul In The Horn represented an expressive detour into authentic soul-jazz for Al Hirt. Throughout, we're struck by a fierce, fiery energy that's otherwise absent from his typically easy listening work. Without question, the slinky, magical "Harlem Hendoo" is the standout, here. It's also the reason why the record is so scarce and commands awe among crate diggers, sounding like something from an obscure and deeply revered spiritual jazz record. As is often the case, the true genius of the song is tricky to do justice to; it's like a minor miracle of songwriting and performance that simply swooned down from the heavens on the back of horns, bells and harpsichord. It's one of the sweetest musical compositions ever recorded inside a studio - it's only failing is that it's just too short. Sampled brilliantly by De La Soul, it has also been used by The Roots for "Stay Cool" and Nightmares On Wax for "Damn".

The rest of the record makes for a mighty fine listen. From the opening cover of Booker T. & The MG's "Honey Pot", to the propulsive, ultra-funky "Mess Around", it's nothing but a good time. Given its title, the elegant stepper "Calypsoul" sounds exactly as you'd hope whilst the melancholic, wistful "Long Gone" hurts so good. Truly, this is just dying to be looped up, Al's muted playing capturing a soulful longing only horns can often achieve. The bluesy, slo-mo swing of "Sweetlips" oscillates between cool disaffection and swelling pride whilst the graceful, low-key funky "Girl" closes out the A-Side in the fine style. Ushering in the B-Side, the brief but brilliant strut of "Love Ya' Baby" shines brightly before the skipping funky-jazz of true highlight "Sunday-Goin' To Meetin' Time" demands both your attention and your dancing shoes. The mellifluous piano-funk of bass and horn-drenched "Snap Back" serves as the sumptuous prelude to "Harlem Hendoo"'s main character energy before the irrepressible, upbeat R&B of "Ludwig" closes out this quite remarkable album. An album deserving of a place in every serious record collection.

The audio for Soul In The Horn has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue. This is after-hours music. Let it speak for itself. Listen. Listen to the soul in Al Hirt's horn.

A product of the not-so-underground, genre-bending melting pot that is Naarm (Melbourne, Australia). producer, composer and multi-instrumentalist Don Glori (aka Gordon Li) prepares to unleash his forthcoming album ‘Don’t Forget To Have Fun’ via DeepMatter Records.

Following the release of his much-heralded 2022 LP ‘Welcome’, and a relocation to London, Don managed to tap into a potent creative current, by taking himself to a place of discomfort, and taking his creative back to basics for ‘Don’t Forget To Have Fun’. This invigorating approach helped distill the initial album sketches into a compelling and intoxicating listening experience across the record, creating a true work of art, traversing jazz, funk, soul, RnB, samba and beyond. Whilst the record itself is hard to describe, but even harder to forget.

Album opener ‘Pause’ pairs psychedelic influences with a cyclic loping groove and focuses on recognising a safe space that can act as a refuge. Taking inspiration from Steely Dan, Brian Bennett & Azymuth, ‘Emerald’ channels Jazz rock, 70's LA studio energy, with the faster funk sections featuring an unruly amount of mouth percussion, synth lead lines, and vocal melodies that weave in and around the tight horn arrangements. ‘All Seeds’ is a heady blend of samba and Brazilian street soul, with field recordings of Don’s old house in Melbourne providing additional seasoning. ‘First Touch’ is a downtempo 80’s boogie-infused gem, keeping proceedings nice and sleazy. The final three movements move through one fluid composition, charting the disorientating course of a fever dream, through beguiling astral travels, unexplainable occurrences, and transcendent moments.

1977: In the middle of the era of punk groups, up-tempo music, high-energy rock and a mini rock-'n-roll revival, a record with the cheeky title Tranquility by the group Dutch Treat has come onto the market. A record - as the title suggests - that exudes tranquility. The record is a serious product by five of Holland's best-known and most-talented studio musicians: Jan Huydts, Wim Essed, Hans Hollestelle, Louis de Lussanet and Steve Boston. Jan Huydts: ‘We want to make music that brings people peace and tranquility. We are a recording group. We like each other. We are just close friends. The idea was to make non-aggressive music with aggressive instruments like synthesizers and electric guitars. You may even call it background music, maybe with a double meaning.’

Wim Essed in 2024: 'After decades it is still amazing that in all their diversity the pieces on this album fit together so well, taking the listener on an instrumental road trip through rainy as well as sunny landscapes.'

'When we had finished the original recording, the first and only issue was marketed by Polydor records, in quite a modest edition, instigating an equally modest success. Nowadays many more can get access through the web and Tranquility has since found a certain following and cult status, as the original record got harder to come by and more expensive on the second-hand market. So people started to ask for a reissue, which we can at last and proudly offer, bonus material included!'

‘tranquility’ by dutch treat was recorded, mixed and mastered between October 1976 and January 1977 at Procom Studio in Kirchhellen, West Germany

Remastered in August and September 2023 by Fritz Fey (original assistent engineer) at Double-D Mastering, Oberhausen, Germany For the remastering a direct transfer from the original master tape in 192 kHz and 24 bit was used. The master was cut in a lacquer and the actual reissue is a 180 gram hi quality pressing

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

Hank Mobley with Donald Byrd and Lee Morgan, also known as Hank Mobley Sextet, is an album by American jazz saxophonist Hank Mobley recorded on November 25, 1956 and released on Blue Note the following year. The sextet features trumpeters Donald Byrd and Lee Morgan, backed by rhythm section Horace Silver, Paul Chambers, and Charli Persip.

Lift off lid box with crushed emerald felt lining, Includes Embossed Gatefold edition Double Tri-Colour Splatter Vinyl.

Includes Signed Insert, Limited edition Black Classical Music branded ProMark Drum Sticks, and branded Afro Comb.

Isaiah Collier & The Chosen Few return with a new musical journey, "The Almighty". The first quartet offering since 2021's Cosmic Transition. Collier's compositions and lyrics focus on using music to communicate deeper principles that are part of everyday. Isaiah showcases these principles through sounds that evolve within the titles: Love, Compassion, & Perspective. These principles once taken fully in are arranged to deliver the message that there is a Divine energy connecting through us all and is seen within all things.

We can"t really say that Japanese jazzmen benefit (not justify in fact) from a great international fame. However, trumpet player Terumasa Hino is an exception, undoubtedly because since the 70s he has collaborated with numerous Americanmusicians : Gary Burton, Roy Haynes, Herbie Hancock ... On Into the Heaven, which was released in 1970, Terumasa Hino is surrounded by the same musicians as on Hi- Nology, released a year earlier : his brother Motohiko Hino on drums, Hiromasa Suzuki on electric piano, Kunimitsu Inaba on electric bass and Takeru Muraoka on tenor sax. The eponymous piece, which lasts more than 20 minutes, is a jazz fusion giving room to choruses and which is reminiscent of the music that Miles Davis then oï¬Çered, in what we will call his "electric period". B side opens with "Love More Train", a brilliant and long hard bop song, while the album closes melancholy with the peaceful"Feeling Blues As YouAre Feeling".

This is a 5 track EP of brand new, previously unreleased material from The Near Jazz Experience (Terry Edwards, Mark Bedford and Simon Charterton).

Whilst recording the new album Terry asked pianist Mike Garson (best known for his work with David Bowie, Nine Inch Nails, Smashing Pumpkins) – whom Terry has toured with if he’d like to play on a track. Mike said yes, recorded a stupendous solo for Character Actor at his home studio and sent it over. All in the space of 24 hours! On hearing the piano part NJE bassist Mark Bedford came up with the idea of having the piano mixed with the original track (as intended) but also using it as the basis for a completely new recording with the piano leading rather than complementing the band.

Side 1 of the EP has these two very different versions from the same seed. Unidentical twins indeed. Side 2 of the EP contains 4 outliers from the album sessions. These aren’t out-takes or unfinished pieces. They simply couldn’t find a place for themselves within the album – along the lines of the tunes Tom Waits put together for his Orphans compilation of 2006. They are standalone tunes which have found a home together on this EP because in some way they all have filmic qualities.

Side 1 contains 2 takes on Character Actor (the title being a nod to Cracked Actor, a tune on Aladdin Sane, the album that introduced Bowie fans to Mike Garson), and Side 2 has The Loping Four; Projector; MacGuffin and Lockstep, all titles which contain strong cinematic elements, MacGuffin in particular.

It was Alfred Hitchcock’s favourite word for a red herring in the plot. The musical cast on this release has a remarkable pedigree. The NJE consists of Terry Edwards (solo artist and session player with PJ Harvey, Franz Ferdinand, Siouxsie, Jimi Tenor, Piroshka, Tindersticks etc); Mark Bedford (Madness, Robert Wyatt, Robyn Hitchcock, Nightingales etc); Simon Charterton (The Higsons, Alex Harvey, Zook, Serious Drinking etc). Alongside featured guest Mike Garson there is an appearance by Oliver Cherer (Aircooled, Miki Berenyi Band) on keys and synth.

This is an RSD exclusive on black vinyl in full colour sleeve which reflects the filmic quality of the recorded material. No download. The title track will appear on the next Near Jazz Experience studio album. The 4 additional tracks, however, will remain exclusive to Record Store Day.

A product of the not-so-underground, genre-bending melting pot that is Naarm (Melbourne, Australia). producer, composer and multi-instrumentalist Don Glori (aka Gordon Li) prepares to unleash his forthcoming album ‘Don’t Forget To Have Fun’ via DeepMatter Records.

Following the release of his much-heralded 2022 LP ‘Welcome’, and a relocation to London, Don managed to tap into a potent creative current, by taking himself to a place of discomfort, and taking his creative back to basics for ‘Don’t Forget To Have Fun’. This invigorating approach helped distill the initial album sketches into a compelling and intoxicating listening experience across the record, creating a true work of art, traversing jazz, funk, soul, RnB, samba and beyond. Whilst the record itself is hard to describe, but even harder to forget.

Album opener ‘Pause’ pairs psychedelic influences with a cyclic loping groove and focuses on recognising a safe space that can act as a refuge. Taking inspiration from Steely Dan, Brian Bennett & Azymuth, ‘Emerald’ channels Jazz rock, 70's LA studio energy, with the faster funk sections featuring an unruly amount of mouth percussion, synth lead lines, and vocal melodies that weave in and around the tight horn arrangements. ‘All Seeds’ is a heady blend of samba and Brazilian street soul, with field recordings of Don’s old house in Melbourne providing additional seasoning. ‘First Touch’ is a downtempo 80’s boogie-infused gem, keeping proceedings nice and sleazy. The final three movements move through one fluid composition, charting the disorientating course of a fever dream, through beguiling astral travels, unexplainable occurrences, and transcendent moments.

We wrote Accept When between 2022 and 2023, after a long, beautiful period improvising together intimately in the safety of a friend’s practice space. Our friendship, the quality of attention that colored the light of that and all our other practice spaces, became the basis for our activity and growth as songwriters and our relationship as improvisers. Friendship, how we relate to each other, is our nucleus: the central and essential part of our movement; the positively charged central core of our atom. A nucleus is supposed to be an especially essential form in eukaryotic cells. Their nuclei are surrounded by a membrane, which in that world permits them to be said to have 'true nuclei.' Even their smallest parts, their organelles (incidentally also the name of Caroline’s keyboard heard throughout the record), are held by that membrane. The deepening of our musical friendship, the affordance of space we give to the possibility of synchronicity, the reminders we write of the preciousness of our existence—all of this we put into these songs for you, to help us all accept these miracles and metaphors, in our lifeboats."

(180gr vinyl) Dizzy Mandjeku & Odemba OK Allstars, the esteemed Congolese musical ensemble, joyfully announces the forthcoming release of their latest masterpiece, "Odemba Nostalgie - Rumba Congolaise," on vinyl format."Dizzy Mandjeku & Odemba OK Allstars bring pure Franco OK Jazz rumba to the stage - brassy, funky, soukous heaven, with the enduring sound of the 60’s and 70’s getting everyone dancing and whooping." - Songlines (Anita Scott)

Meshell Ndegeocello’s new album after her internationally successful Blue Note debut “The Omnichord Real Book” (Grammy “Best Alternative Jazz Album”, Deutscher Jazzpreis “Album Of The Year International”) is an intellectually and musically gripping homage to legendary author James Baldwin and his topics such as racism and sexuality. "No More Water: The Gospel Of James Baldwin" is a genre-bending work full of deep passion and equally deep grooves and will be released on Baldwin’s Centennial: August 2, 2024. Features frequent collaborators Justin Hicks, Kenita Miller, Abe Rounds, Jake Sherman, Jebin Bruni, and Julius Rodriguez, as well as powerful spoken word performances by Jamaican poet and activist Staceyann Chin.

Meshell Ndegeocello’s new album after her internationally successful Blue Note debut “The Omnichord Real Book” (Grammy “Best Alternative Jazz Album”, Deutscher Jazzpreis “Album Of The Year International”) is an intellectually and musically gripping homage to legendary author James Baldwin and his topics such as racism and sexuality. "No More Water: The Gospel Of James Baldwin" is a genre-bending work full of deep passion and equally deep grooves and will be released on Baldwin’s Centennial: August 2, 2024. Features frequent collaborators Justin Hicks, Kenita Miller, Abe Rounds, Jake Sherman, Jebin Bruni, and Julius Rodriguez, as well as powerful spoken word performances by Jamaican poet and activist Staceyann Chin.

Back to the roots of one of the most influential south-american songwriter and composer. A pioneer of the musical genre of bossa nova in the late 1950s, Joao was often called "father of bossa ", while in his native Brazil he was referred to as "O Mito" ("The Legend"). This compilation investigates his early career, showing the many sides of his sophisticated art.

Terumasa Hino is undoubtedly one of the most famous Japanese jazzmen. Learning the trumpet at the age of 9, he began his career as a professional musician by playing in the orchestra of an US Army base, before joining Hideo Shiraki"s Quintet and then forming his own band in 1964. On Hi-Nology we find his brother Motohiko Hino on drums, Hiroma Suzuki on electric piano, Kumitsu Inaba on electric bass and Takeru Muraoka ontenor sax. The inspiration from the "electric period" of Miles Davis (notably Miles In The Sky released in 1968) is felt and is even accepted, since the opening piece is entitled "Like Miles". Coincidentally, Hi-Nology was recorded on July 31, 1969, the day after the release of In a Silent Way and has nothing to envy of this great record by Miles Davis.

Often taken as inspiration by the likes of Miles Davis and Gil Evans, Ahmad Jamal is definitely one of the greatest artists in jazz history. Recorded in 1955 and originally released on the short-lived Parrot label, "Chamber Music of the New Jazz" is a stunning example of the creative, elegant, and precious music played by Ahmad Jamal's early trio. The fruit of the magical interplay between Jamal’s sophisticated pianism, Ray Crawford’s highly rhythmic guitar playing, and Israel Cosby’s fine double bass. Three musicians whose individual roles are fully expressed through the collective approach to a new form of "chamber" Jazz. Highly Recommended!!!

Sun Ra Arkestra, Live in Japan! Recorded at Shinjuku Pit Inn on August 8, 1988, this recording has undergone fresh remastering from the master tape, marking the first reissue in 36 years!!

) "The Magnificent Thad Jones" is widely regarded as the greatest small group recording of the trumpeter and composer’s career. Following his Blue Note debut "Detroit – New York Junction" in March 1956, Jones returned to the studio in July to record this supremely swinging date with Billy Mitchell on tenor saxophone, Barry Harris on piano, Percy Heath on bass, and Max Roach on drums. The album opens with an iconic performance of “April In Paris,” a reprise of the famous version featuring Jones that the Count Basie Orchestra had cut the previous year, complete with the trumpeter’s sly “Pop Goes The Weasel” quote. Other highlights of the set include two Jones originals—the laid-back “Billie-Doo” and lightly swinging “Thedia”—as well as the stunning ballad “If Someone Had Told Me.” 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. Single Sleeve.

This classic 1960 album by Mulligan, the Cool Jazz innovator, and Webster, the legendary Ellingtonian, is one for the ages. The tunes they recorded, from “Chelsea Bridge” to “Go Home”, are smooth, lush and emotional, driven along by a rhythm section of Jimmy Rowles, Leroy Vinnegar and Mel Lewis that swings with just the right amount of bop.

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

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

Recorded Live in Sweden in September 1961 the Uppsala Concert is an important document from Dolphy's first Swedish tour as leader of an obscure but talented local quartet featuring Rony Johansson - piano; Kurt Lindgren - bass and Rune Carlsson - drums. Master Dolphy shines, as always, on all his instruments alto sax, bass clarinet, and flute, while the track list consists of a rare mix of standards suchs as Milt Jackson's "Bags Groove", Monk's "52nd Street Theme", Cole Porter's "What Is This Thing Called Love?" and the famous unaccompanied alto sax version of "Laura", all this plus a 20 minutes long version of Dolphy's blues "245" where every single note played by Dolphy sounds as pure gold.

Five trombonists and a three-member rhythm section: that sort of unique musical synergy is what Nabou Claerhout brings to life with her own Trombone Ensemble. For years, such a project had been one of the dream projects on her bucket list, and thanks to Antwerp based cultural actor Rataplan, she already saw the creation become a reality in spring 2022. In the summer of that year, the eight-piece ensemble opened both Gent Jazz and Jazz Middelheim.

In January 2023, Nabou was artist in residence at the Brussels Jazz Festival in Flagey, where she presented the Trombone Ensemble as one of three carte blanche projects. In a sold-out Studio 4, American trombone legend Robin Eubanks joined the line-up as a special guest, having previously also contributed during the studio recordings of the young collective during. The band's self-titled debut album will be released on November 3rd 2023 via W.E.R.F. Records.

Nabou composed the entire repertoire for this Ensemble herself, and did so with a fully open vision. While writing the music, she explored the trombone's wide possibilities: "The aim is to both indulge you with warm, soft, carrying parts and then afterwards discover the trombone's spicy and cordial character." That rhythmic playfulness, which we hear more often in Nabou's compositions with her acclaimed quartet N?BOU, also seeps subtly into this band's sound. Despite the 'unusual' line-up of five diverse jazz trombonists, each with a different background, you still get to hear a very homogeneous sound, which is full of playfulness and small details. "I tried to make room and focus for each individual. And of course there is also a starring role for the rhythm section with guitar, double bass and drums."

When Nabou started looking for the dream fellow jazz musicians for this project, she ended up with artists from her own country, Belgium, but also from far beyond the country's borders: The Netherlands, the UK and Germany. "In selecting the trombonists, I looked for specific timbres, but also for personality. It is important that there is a good balance in playing together, but also that each musician is strong enough on his or her own for the solo parts." Wanting to push boundaries in her approach to both compositions and the trombone as an instrument, the real crème de la crème of the newest generation proved indispensable. "I selected a handful of European trombonists with whom I may or may not have already played, but who, above all, inspire me very deeply. They are all young people who have a lot to offer and already have significant projects to their name in their own region or country."