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Manufactured Vinyl, CD & Tape 18 Artikel

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Wild Poppies, The - Heroine: The Wild Poppies Complete Collection (1986-1989)
Wild Poppies, The
Heroine: The Wild Poppies Complete Collection (1986-1989)
2LP | 2015 | US | Original (Manufactured)
32,99 €*
Release:2015 / US – Original
Genre:Rock / Indie
Some time in 1986 (exact memories are a bit hazy, it seems), The Wild Poppies formed in Wellington, New Zealand and recorded one full-length album (their debut Heroine) and a single, called "Where Is Wellington?". As if in response to that question about their city of origin, they promptly relocated to the U.K. There, in the city of Oxford, amidst learning to play their songs, touring for a few years with well-known local contemporaries such as Ride and Swervedriver (their housemates at the time), they forged a name for themselves in their chosen home.Arriving at the back end of the '80s, their signature "Warm Wall of Sound" resided somewhere between the jangle pop of other indie scene favorites such as The Rain Paradeand The Church and the proto-shoegaze of Loop, Spacemen 3 and My Bloody Valentine. They enjoyed a "1001 night" season as a touring favorite in the U.K., before releasing the ironically named “Out of Time EP” and dissolving in the face of the impending rave culture that had by then emerged. After that, as original guitarist Nick Taylor states, "Nobody ever saw The Wild Poppies. Very few at least, and I suspect that those few that did can actually remember it now. I certainly can't, and I was IN the Wild Poppies."Compiling, for the first time ever, their long out-of-print “Heroine” LP on Poppie Records, the “Stare at the Sun” 7" the “Out of Time EP” as well as demos for many latter-day tracks (both released and unreleased), Manufactured Recordings, in association with Spain's Pretty Olivia Records presents “Heroine: The Wild Poppies Complete Collection, (1986-1989)”. This comprehensive release also features photos from the period and liner notes detailing from Nick Taylor detailing The Wild Poppies brief and vibrant time together. Original copies of this LP often sell for more than $100, but are offered in this expanded volume for a fraction of its typical price.
Brother Ah - Key To Nowhere
Brother Ah
Key To Nowhere
LP | 1983 | US | Reissue (Manufactured)
27,99 €*
Release:1983 / US – Reissue
Genre:Organic Grooves
The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 30 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, the Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures. “Key To Nowhere,” Brother Ah’s third LP, released on Divine in 1983, features him on flute, horn, harmonica, nayamka, and shell horn, leading an octet of musicians, including lush and driving harp, as played by Jeff Majors, and vocals on “Motherless Child”, “Key To Nowhere” and “Nature’s Blues” from Natasha Hasan Yousef. Ah’s harmonica flourishes on “The Void” are a standout moment not only on the album, but in his catalog. Despite these fascinating infusions,Key To Nowhereis perhaps Ah’s most cohesive ‘70s recording.
Alison's Halo - Eyedazzler
Alison's Halo
Eyedazzler
2LP | 2017 | US | Original (Manufactured)
35,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Manufactured Recordings presents its latest Shoegaze Archive installment: an expanded 2xLP reissue of Alison's Halo's Eyedazzler - a retrospective of the band's recordings originally compiled on CD only in 1998. Available for the first time on vinyl, this criminally overlooked Tempe, AZ outfit is one of the premiere American shoegaze bands.
Manikins, The - From Broadway to Blazes
Manikins, The
From Broadway to Blazes
2LP | 2017 | US | Original (Manufactured)
19,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
From the same scene that begat the Scientists and the Victims came Perth, Australia's The Manikins. Founded by Neil Fernandes - a former member of the legendary Cheap Nasties with future Scientists member Kim Salmon - the Manikins bridged the rawness of their Aussie punk contemporaries with melodic Power Pop. „From Broadway to Blazes“ features all the bands' essential recordings from 1971 to 1981, including the three criminally rare and outrageously expensive self-released 7-inch singles („Models for Mankind“, „Premonition and Love at Second Sight“), their DiY cassette and more unreleased studio recordings as well as detailed liner notes by Fernandes. Manufactured Recordings presents one of the final, untold stories of the original Australian Punk and New Wave scene.
Brother Ah - Sound Awareness
Brother Ah
Sound Awareness
LP | 1972 | US | Reissue (Manufactured)
27,99 €*
Release:1972 / US – Reissue
Genre:Organic Grooves
The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 30 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, the Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures. His first solo recording,“Sound Awareness”was released on the Strata East label in 1972. By this time, Ah had recorded extensively with the Sun Ra Arkestra and his solo work continued the boundary-pushing approaches he explored with that ensemble. Consisting of two side-length tracks, “Beyond Yourself (TheMidnightConfession)”, and “Love Piece”, the album features notable appearances by percussionist Max Roach and theM'Boom Re:percussion Ensemble, as well as a 90-piece vocal choir. The 22-minute “Beyond Yourself” is billed as “a sound journey” in seven parts, outlining a man's struggle to either give up drugs or become a monk.
California Playboys, The - Trying To Become A Millionaire
California Playboys, The
Trying To Become A Millionaire
LP | 1976 | US | Reissue (Manufactured)
30,99 €*
Release:1976 / US – Reissue
Genre:Organic Grooves
Preorder 27.10.2017
In the early 1970s, the collective known as The California Playboys was the backing band for R&B singer Lester Young (not to be confused with the jazz saxophonist of same name) on a series of singles, before recording their sole album under their own name, „Trying To Become A Millionaire“.The instrumental precision of „Trying To Become A Millionaire“ is immediately evident; clearly the product of a group of seasoned session musicians. Incorporating Latin music elements, pre-disco rhythms, bouncy funk bass lines and seamlessly clean guitar, the album calls to mind the music of Donald Byrd, Roy Ayers and Bobbi Humphrey. Depending on the track, the vocal delivery is at times reminiscent of Bobby Womack, Donny Hathaway or even Marvin Gaye, but all provide a complimentary gravity and substance to the flawless instrumentals.The album was never repressed or reissued since its initial run on the San Francisco-based label Loadstone in 1976. As a result, it has become incredibly sought-after in the ensuing years. Original vinyl copies, when they even appear, have been known to sell for $1,000 or more among collectors. For the first time in nearly 40 years, Manufactured Recordings presents this highly coveted soul treasure on LP to a new audience of fans.
KG - Come Closer, We're Cool
KG
Come Closer, We're Cool
LP | 2017 | US | Original (Manufactured)
25,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
Manufactured Recordings’ Shoegaze Archive presents Come Closer, We’re Cool, a collection of early 90’s fuzzy noise pop by KG, the longtime project of Mulhouse, France’s Rémy Bux. Started in 1988 as a solo bedroom project named after the German word Kriegsgefangener (prisoner of war), Bux’s early experiments involved a two-track recorder, a rigged synthesizer, and a great deal of ingenuity. Eventually procuring a four-track recorder, Bux began recording more seriously. Following a move to Strasbourg near France’s German border to study musicology in 1991, Bux began playing in local bands and sending his KG demos around, which eventually brought him in contact with Lo-Fi Recordings in Paris. It wasn’t until 1993 that Bux went into Strasbourg’s Downtown Studio to record the first KG 7”. A second single co-released by Lo-Fi and Orgasm Records featuring the same line up was released in 1996.Come Closer, We’re Cool compiles these early singles as well as tracks from a shelved release on Slumberland Records and other unreleased tracks. While similarities to Isn’t Anything-era My Bloody Valentine and the Jesus & Mary Chain’s Psychocandy abound, KG’s approach is markedly different by blending the swirling textures of shoegaze and dream pop with the immediacy and minimalism of punk. Though KGnever took off as a rock band – Bux has turned his efforts towards making electronic music under the KG moniker at the beginning of the century, and is nowadays producing a mix of both styles – Come Closer, We’re Cool showcases one of the underrated greats of the 2nd wave of shoegaze.
Come On - 1979 - 1980
Come On
1979 - 1980
LP | 2017 | US | Original (Manufactured)
31,99 €*
Release:2017 / US – Original
Genre:Rock / Indie
A regular fixture on New York’s downtown scene in the late 70’s, Come On released just two singles in their short but fruitful existence – the self-released “Don’t Walk On The Kitchen Floor/ A Kitchen In The Clouds” single in 1978 and the mysterious “Housewives Play Tennis / Howard After 6” single in 1980 (the band was unaware it had ever been released until a copy showed up on eBay 20 years later).Typical of the time, Come On was comprised of a ragtag group of artists and scenesters – seasoned musician George Elliott (guitar), conceptual guru Ralf Mann (bass), illustrator Page Wood (drums), teenager Elena Glasberg (guitar) who would study for class between gigs, and Jamie Kaufman (vocals) who had never sung before (or since) fronting Come On. With a unified egalitarian look of white button down shirts and black pants and Kaufman’s arresting stage presence the band embodied what they called “Nervous Rock Music.” Stripped down and tense, Come On’s brand of minimalist rock teemed with agitation, sexual frustration, and a wry, dark humor.This compilation consits of the band’s two singles, unreleased tracks, and live material from the late 70’s including a 20-page booklet full of archival images and liner notes by noted biographer Chris O’Leary.
Smart Remarks - Foreign Fields: 1982 - 1984
Smart Remarks
Foreign Fields: 1982 - 1984
LP | 2017 | US | Original (Manufactured)
22,99 €*
Release:2017 / US – Original
Genre:Pop
Smart Remarks began in 1980 with Todd Ellis (guitar, vocals), Chris Gordon (bass), and Ant Barbalace (drums) as an original punk/ power pop trio out of Bordentown, NJ. School friends and co-workers at the local Ocean Spray Cranberry factory, the band was influenced by early power pop bands like Paul Collins’ Beat, The Records, The Knack, and especially the Staten Island, NY three-piece Dirty Looks. Smart Remarks recorded their first single Was It Something We Said… in 1982, which spawned the power pop classic “Mary’s Got Her Eye On Me.” Often the opening act for larger bands that came through town (The Replacements, The Ramones, Joan Jett, Haircut 100), the band became the favorite house band at Trenton, NJ’s famous City Gardens Night Club. Smart Remarks re-entered the studio in 1984 to record the five track EP Seriously Speaking with new bassist Steve DeStefano, which would become their final recording together. Collecting Smart Remarks' entire discography and including liner notes from Randy "Now" Ellis, the famed owner of City Gardens, „Foreign Fields: 1982- 1984“ is a must for fans of classic, catchy US power pop.
Modulators, The - Tomorrow's Coming
Modulators, The
Tomorrow's Coming
LP | 2017 | US | Original (Manufactured)
22,99 €*
Release:2017 / US – Original
Genre:Pop
Formed in 1980, New Jersey’s The Modulators are one of the unsung greats of the American power pop scene. Initially the solo project of multi-instrumentalist Joe Riccardello with help from producer/ lyricist (and Vintage Vinyl Records owner) Rob Roth, Ricardello released his first single Girl Trouble in 1980 just before bringing on friends Mark Higgins (guitar) and Mark “Cakes” Westlake (drums) to join the band. As a fully-formed trio, the Modulators began playing out across New Jersey in the early 80’s and recorded tracks for two local compilations and the band’s second, enduring single She’s So Cynical in 1982. Live gigs and songwriting continued, with the band often writing and recording more material than their release schedule could keep up with. Finally in 1984, the band released their first and only LP, „Tomorrow’s Coming“ on Roth’s Vintage Vinyl Records. Full of timeless gems and quintessential 80’s power pop anthems, the record is now regarded as a genre classic by power pop collectors. Tracks like “Spin Me Around,” “If You Let Her Go,” and “Lost Without a Sound” display the Modulators’ smart songwriting, catchy hooks, and effortless pop sensibility. Though the band continued to play the Tri-State area until 1986 (and every now and then since), „Tomorrow’s Coming“ was the Modulator’s last vinyl release. Bringing together the band’s original LP with additional 6 unreleased songs and demo tracks and liner notes from power pop collector Steve Borchardt, Manufactured Recordings is proud to present the definitive release of this power pop classic.
Santiago - 22 Somerset Drive
Santiago
22 Somerset Drive
LP | 2016 | US | Original (Manufactured)
26,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
In the late 1960's, Neftali Santiago's family bought their first home in Willingboro, New Jersey at 22 Somerset Drive. Here he would learn to play the drums and honed his skills, which landed him a spot as the drummer and a singer/ songwriter in Mandrill, one of the most diverse funk bands of all time. In 1975, Santiago took a hiatus from the band and returned home to start a new project. Though he would return to Mandrill in 1978, between the years of 1975 and 1978 Santiago recorded an album's worth of material that has largely been unreleased until now. Under the moniker Santiago, Neftali and the talented multi-arranger Joe Byrne recorded four tracks, two of which landed on the band's first single in 1975. Despite the limited success of the band's only single, Neftali's manager secured high profile tours with The Ohio Players and Gil-Scott Heron. After moving across the country, Neftali started new bands (the SantiagoBand, Santiago & Friends, and Neftali’s Beast) and kept recording, though nothing came of the tracks except the mysteriously bootlegged “Bionic Funk” 45 in the late 70’s. Though Neftali’s solo career came to an end in 1978 when he rejoined Mandrill, he left a treasure trove of unreleased funk tracks that are sure to please fans of Parliament/ Funkadelic, Boosty Collins, Sly & The Family Stone, and 70’s rare groove. This is the first collection of Santiago's complete recordings for the first time ever on vinyl.
Milton Marsh - Monism
Milton Marsh
Monism
LP | 2016 | US | Original (Manufactured)
27,99 €*
Release:2016 / US – Original
Genre:Organic Grooves
In 1975, Milton Marsh released his first album“Monism”for the Strata-East label. Marsh, a composer, arranger, saxophonist and flautist, recorded the album in New York City from 1973-1974. The musicians onMonismrepresent some of the finest living in NYC at the time: pianist Cedric Lawson, bassist Don Pate along with two rising stars at the time, David Ware on saxophone and Greg Bandy on percussion. Ironically, all of these artists would go on to record several volumes of music in their careers except for Marsh, who recorded only one additional album, 1985’s“Continuum”, after a decade long absence. Marsh composed and arranged all of the album’s six compositions, each of which featured between nine and 17 players. This sizable headcount explains the album’s ability to soar from quiet, minimal moments to robust, dissonant explosions, depending upon the track. “Vonda’s Tune”, the album’s opener, begins with a brief solitary and somber horn solo, which later opens up to the more “avant” sounds of “Community Music”. The title track is where Marsh’s compositions reach their most unpredictable and exciting moments, however. “Monism” closes out the A side with a free Jazz jamboree, complete with a spoken word delivery of a Sufi poem from Marsh himself. The album’s B-side is relegated to more traditional structures, and features some of the most driving piano, drum and saxophone playing fans of the genre could hope to hear; at once loose and decidedly collaborative in its delivery. Perhaps prompted by Marsh’s ten-year disappearance from the recording world, this long out of print recording has become a collector’s edition for those familiar with it. Original copies have been known to sell for more than $100 among collectors. Manufactured Recordings is proud to present this reissued volume again on vinyl for the first time in 40 years.
Beach Bullies - We Rule The Universe
Beach Bullies
We Rule The Universe
LP | 1980 | US | Reissue (Manufactured)
24,69 €* 25,99 € -5%
Release:1980 / US – Reissue
Genre:Pop
From 1975 -1979, things were going well for James A. Smith, musically speaking. He was writing prolifically, getting encouragement from his contemporaries -- namely, his friend Robyn Hitchcock of The Soft Boys -- and his band, The Containers, had recorded some promising demos and were playing regular live gigs. But, by January of 1980, The Containers disbanded suddenly, and James was on his own. ""Sod it!"" he thought, and, rather than waste time lamenting the situation, he plotted a new course as a solo artist. Armed only with his guitar, a drum machine and his flatmate's girlfriend, Jill Fricker, to sing backup vocals, James forged ahead with his new project: The Beach Bullies.The Beach Bullies somehow manage to sound simultaneously classic and exceptionally ahead of their time. Fans of kindred spirits from the same era, such as The Television Personalities, Young Marble Giants, and yes, The Soft Boys, will find much to admire in The Beach Bullies. On the other hand, their alternating vocals, stripped-down aesthetic and minimal arrangements will also appeal to fans of artists who would emerge much later, such as The Vaselines, The Pastels, Shop Assistants and Small Factory.
Bethany Curve - Mee-Eaux
Bethany Curve
Mee-Eaux
Tape | 1995 | US | Reissue (Manufactured)
13,99 €*
Release:1995 / US – Reissue
Genre:Electronic / Dance
„Mee-Eaux“ was the debut release from 90’s second wave shoegaze band Bethany Curve. The band takes their name from a street sign near the cliffs of the Monterey Bay in Santa Cruz where they formed in 1994, just as the first generation British shoegaze bands like Slowdive, My Bloody Valentine, and Lush began to dissolve.„Mee-Eaux“, originally self-released on cassette only, was a 45 minute, 10 track introduction to Bethany Curve’s dark space-rock approach to the droning, melancholic, distorted, and ethereal tones that had come to be associated with the shoegaze sound. The band's motto, Atmosphere | Arrangement | Sound | Layering | Noise, is a perfect reflection of Bethany Curve's compositional and performative approach to their debut effort, and remained so through the release of three more LPs: Skies a Crossed Sky (1996), Gold (1998), and You Brought Us Here (2001) on Unit Circle, and their final release, the Flaxen EP (2003), released on Kitchen Whore Records.Final track "Mey Voy" appeared on Cherry Red's 2016 shoegaze compilation, Still In A Dream: A Story Of Shoegaze 1988-1995, alongside other US shoegaze and noise pop groups such as Alison's Halo, Bowery Electric, Bardo Pond, and Astrobrite. The band also appeared on Dewdrop Records' 2002 compilation Half Gifts: A Tribute To The Cocteau Twins with a cover of "Ivo”.
Brother Ah - Divine Music
Brother Ah
Divine Music
5LP Box | 2017 | US | Original (Manufactured)
123,99 €*
Release:2017 / US – Original
Genre:Organic Grooves
Following the reissues of Brother Ah’s three studio albums in 2016, Manufactured Recordings is proud to present Divine Music, a collection of three unreleased albums from this jazz visionary: The Sea (1978), Mediation (1981), and Searching (1985). Moving from rich spiritual jazz to more meditative ambience, Divine Music further explores Brother Ah’s unique sound and musical vision. Released as a deluxe 5LP box package, Divine Music includes an extensive interview with Brother Ah by Pitchfork and Resident Advisor contributor Andy Beta. Recommended for fans of Laraaji, Alice Coltrane, Terry Riley, Brian Eno, Popul Vuh, and the recent new age renaissance.The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 40 years.Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras.Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, The Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s and ‘80s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures.
Hörförstaelse - Listening Comprehension (1980-1982)
Hörförstaelse
Listening Comprehension (1980-1982)
LP | 2016 | US | Original (Manufactured)
25,99 €*
Release:2016 / US – Original
Genre:Rock / Indie
Born out of the instant high of first hearing the Ramones' "Blitzkrieg Bop" and the Sex Pistols, Dan Personne and Klas Björkman threw out their hard rock records and formed a band together with creative/doer Anders Sjölander in suburban Stockholm. Taking advantage of Sweden's close proximity to London, they shuttled back and forth to explore punk and new wave and scoured Rough Trade for the latest sounds. This eventually gave birth to Hörförståelse including new members Mats Wigerdal (formerly of minimal synth legends Kitchen & the Plastic Spoons), Örjan Magnusson and Olle Öfverberg in 1980. "Förläst Jävel" (which roughly translates as "overeducated bastard") is one of the keystone DIY punk 45s of the era. Casual ranting over a dizzying bassline and a scrappy keyboard which sounds like it was recorded in the apartment next door, Hörförståelse channels bands like The Fall or The Desperate Bicycles but through an intangible yet somehow distinctly Swedish filter. The band moved a bunch of copies of the record through its own distribution network, which included donating 50 copies to the aforementioned Rough Trade shop in London, but as the story usually goes, the record garnered little attention even domestically. With the punk era starting to wane and Swedish labels increasingly prioritizing English-language bands, there was no one willing to take a chance on Hörförståelse. Thankfully for us, the band went into the studio again in 1982 to record 8 hitherto unreleased songs, making up the backbone of this collection. This very rare collection also includes the track “Förläst Jävel” and the Dub version the much sought-after single.
John E. Tinsley - Country Blues Roots Revived
John E. Tinsley
Country Blues Roots Revived
LP+7" | 2016 | US | Original (Manufactured)
24,69 €* 25,99 € -5%
Release:2016 / US – Original
Genre:Organic Grooves
John E. Tinsley was born in 1920 in Chestnut Mountain, Virginia and later moved to Henry County in an area just outside of Martinsville. According to the liner notes of Smithsonian Folkways Compilation Virginia Traditions: West Piedmont Blues, which featured two John Tinsley recordings, Tinsley began playing guitar at the age of 15, at the behest of his neighbor. He would go on to be influenced by other Piedmont and East Coast bluesmen such as Blind Boy Fuller, Josh White and Buddy Moss. However, it wasn't until 1952 that Tinsley and friend, Fred Holland, first recorded any of Tinsley's repertoire. Bassett, Virginia's Mutual Records released “Truble Blues” and “Keep Your Hands Off Her” as a 78 that year. Following the poor sales of the “Truble Blues” 78, a discouraged Tinsley briefly left the world of secular music behind, playing religious music exclusively in the mid-1950s and 60s. Yet, flash forward to 1978 to find Tinsley recording the session featured on this reissue of “Country Blues Roots Revived” for the primarily Bluegrass label Outlet Recordings, accompanied on most cuts by his son William on piano and J.P. Young on harmonica. This recording has not been available since the 70s and is a rarity treasured by lovers of the Piedmont blues style. This co-release by Manufactured Recordings and Steady Sounds also includes his lone 78 release on Mutual as a Bonus 7”.
Brother Ahh - Move Ever Onward
Brother Ahh
Move Ever Onward
LP | 1975 | US | Reissue (Manufactured)
27,99 €*
Release:1975 / US – Reissue
Genre:Organic Grooves
The renowned French horn player known as Brother Ah (aka Robert Northern) is one of the most prolific and respected musicians in the history of jazz music, with a recorded output spanning more than 30 years. Born in 1934 and raised in the south Bronx, Brother Ah was playing jazz trumpet as early as fifteen years of age. Following a classical French horn education at Austria’s Vienna State Academy, he emerged in the late ‘50s and established himself as a skilled and consistent session musician, playing with the Metropolitan Opera Orchestra, the Radio City Music Hall Orchestra, and numerous Broadway theater orchestras. Brother Ah recorded well into the ‘60s with some of the most illustrious names in the genre, including Donald Byrd, Dizzy Gillespie, John Coltrane, Thelonious Monk, Miles Davis, Gil Evans and, perhaps most influentially, Sun Ra. In 1969, Ah formed his own group, the Musical Sound Awareness Ensemble, and released several works under his own name from 1974 onward. In the late ‘60s, his interest in non-western music developed, and his ‘70s recordings, incorporated elements of Eastern and “Third World” music, fusing them with jazz structures. In 1975, Ah released his second LP,“Move Ever Onward”on his own label, Divine Records. A more straightforward affair, the record infused Indian, Japanese and African folk music elements into more traditional jazz structures than Ah’s debut LP. Of its eight tracks, four include vocals by the artists Dara, Aiisha, Kwesi Gilbert Northern and Ayida Tengemana. The instrumental tracks provide more colorful moments, such as the cacophonous percussion on “Boundless Rhythm” and the hypnotic Kora and Koto notes on “Enthusiasm” and “Celestial Strings”.
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