Jazz | Fusion 5607 Items

To comemrate the the 20th anniversary of her death, rediscover the greatest interpretations, studio and live, by the iconic singer Nina Simone on a nice double vinyl.

Schlippenbach Quartet: Evan Parker - soprano & tenor saxophone, Alexander von Schlippenbach - piano, Alan Silva - double bass, Paul Lovens - drums, percussionThis album was originally released on FMP in 1983. Remastered in 2022 by Martin Siewert.CREDITS:Recording:live on September 11th, 1982 at the Quartier Latin in Berlin by Jost GebersProduction:Jost GebersRe-Mastering:2022 by Martin SiewertArtwork:G. Fritze MargullPublisher:FMPPhotos:Dagmar Gebers

Though she had been performing professionally since the late 1920s, as a teenager in Harlem, during its Renaissance, the immortal Billie Holiday didn't play a single night on the European continent until 1954. It was in that year that the great journalist and musician Leonard Feather, and a Swedish promoter organized the Jazz Club U.S.A. tour, named after Feather's wildly popular radio program. Featuring Red Norvo, Sonny Clark, and more, the centerpiece of Jazz Club U.S.A. was, undoubtedly, Lady Day. Recorded at various dates across the tour, Lady Love shows Holiday still had it, despite the turmoil, and drug and alcohol abuse, her voice remained strong, a stunning document of one of America's greatest treasures on her first ever tour of Europe.

Debut vinyl by Cruz Perro Maldito, a Tenerife based trio forever imbued in the collective imagination and folklore myths of the magical and misty mountain of Agua García, located in Tacoronte district at the foot of Teide Volcano (Tene-rife/Canary Islands). Their music is an explosion of free jazz improv where sophisticated sound textures emerging from modular synths and processed guitar create abstract and random rhythmic patterns with complex saxophone lines guid-ing the ensemble from quiet to menacing passages of sudden bursts of noise and frenzy.

Entitled Truquetin Resorte, the album takes inspiration from the rich history of mechanical automata, such as Talos, the bronze giant who defended the island of Crete and was eventually defeated by Jason and his Argonauts. Or Apega de Nabis, a replica of King Nabis’ wife whom crossed unsuspecting victims with its iron spikes hidden in the device's lower arms, hands and breasts. Or even René Descartes and his infamous daughter- like Automaton replica, an eerie creation from the renown philosopher to evoke his dead daughter

These myths and more serve as reminder of a mechanical world’s past, a world of complex automata stories with me-chanic ‘imitating’ beings as its problematic protagonists. An eerie counterpoint to our current uber modern digital world and its rapid advancing A.I.s.

Food for ‘mechanical’ thought...

Bog Bodies - the band consisting of Robert Stillman, Anders Holst and Seán Carpio delve into deep time to carve sonic abstractions across their self-titled new album on MIC. Navigating the “liminal territory between noise and signal, chaos and control, form and abstraction,” the trio recorded and mixed the album on an 8-track cassette machine. Bog Bodies is a searching inquiry into the mythologies and magical undercurrents that knit together our existence in the information age. Bog Bodies opens with a leftfield homage to Superman III, exploring the mythical qualities of technology through a series of angular horn lines that dissolve into the mire of feedback noise on the album’s raking, anthemic title track. Reverberating in tectonic sheets of sound on ‘One That Is Reflected In The Image Becomes All’ and Bog Bodies reaches its climax on the 11-minute ‘Cave Painting 2019’ - a subterranean epic of mystic force, drawn up from the earth in sweeping drones. Bringing together their combined experiences playing with the likes of Manuel Göttsching, Luke Temple, The Smile and more recently Coby Sey.

"Lisa Decker returned with her second studio album ""Soliloquise"" one year after her debut album ""Serendipity"" in 2021 with Japanese Jazz trio Nautilus from Tokyo and a superb single remix of ""Everytime"" by Pat Van Dyke featuring rapper John Robinson.

For this project she worked on eight new songs. Half of the album is arranged by Nautilus and the other half is produced by SaturnVybz who is known for his works with/and projects like Slick Walk, The Ruff Cats and Jazzanova.

Getting a step forward and conceptually a bit different this release gets the ""Oonops Drops"" FLIP SERIES treatment which means: Side A and Side B are made by different artists or differentiate from each other like the first volume with Nautilus X Anna Sato & Toshiyuki Sasaki (OD006LP).

Songs like ""Free"", ""Let's Wake Up"" and ""Summer Child"" with their feel warm note of groovy, jazzy pop and the more swing-jazz tune ""Rimy Whitewater"" meet guitar-electronic touched songs like ""Love And Hope"", ""On My Way"" and ""True Blue"" or her dreamt away track ""Stay With Me"" with smooth bouncy beats and with an atmosphere for being the perfect soundtrack for a night ride on deserted streets.

Lisa is careful about the artwork and after working together with renowned artist Lindsey Kustusch from San Francisco on her first album she collaborates with local artist Sebastian Maria Otto who is known for his signature art style and exhibitions from Germany to Japan.

Lisa will perform live in Hanover, the 20th May at roof top of the Historical Museum together with Nautilus. Japan meets Germany. Lucky coincidence or: ""Serendipity""."

Since the release of the highly acclaimed album Mamari (2021), the Muito Kaballa project has continued to develop.

The new album Little Child (2022) starts with a cracker called Inside Outside. The song addresses the hypocrisy and double standards of the European Union when it comes to refugee policy. The group works together with the renowned German/Nigerian musician Ade Bantu and the Angolan guitarist Juresse Amie Tieti Ndombasi and picks up their listeners where they were parked with Mamari. Fat grooves with clearly recognizable Afrobeat influences.

However, the musical journey leads step by step away from the usual sounds of the band. Already the second track Dansez! Dansez! shows that. The sound leads to Angola, Congo and a bit of Mali. The band stacks so many rhythms on top of each other that the word poly appears in a whole new light. It becomes clear that the nine deal intensively with the music that is the source of their inspiration. The gifted guitarist Juresse Amie Tieti Ndombasi puts the icing on the cake with his sound.

Let's continue with No = No. Here at last it becomes clear: Muito Kaballa has escaped from his drawer and is now in free flight, somewhere between jazz, fusion, afrobeat and whatever. But who cares? The sound is convincing, the feet shake to the beat and cannot be calmed down even with great effort and the message "Don't protect your daughter, educate your son" can't be said often enough.

The next song, Memories, reveals completely different sides of the band. While the sound is suddenly much more relaxed and, let's call it jazzy, the lyrics also become much more intimate and poetic. "Keep in mind, it makes you blind, starring in the sun". We don't find out what memories Niklas Mündemann, composer of the song, has in mind here but that shouldn't bother us. We just put on our sunglasses and let ourselves be carried away by the almost epic track, which with its ten minutes of playing time leaves nothing to be desired in terms of diversity. Sophisticated listeners will wonder if Niklas Mündemann listened to a bit of Kamasi Washington while composing. Maybe even a lot? Be that as it may - a special treat in the piece: the trombonist Saskia-Marleen Dahms, who makes a guest appearance on this song, rounds off the sound of the brass section again.

Last but not least, we come to the namesake of the album: the song Little Child builds on the mood of the previous track and rounds off the musical odyssey with a good portion of goosebumps. But the song doesn't just leave its mark on the surface, no, it also gets under your skin. While the melody has considerable catchy tune potential, it is above all the lyrics and the message that grab you here. Niklas Mündemann wrote the song during a phase of mental depression. Above all, psychotherapy helped him to think more positively again and to comfort his own inner child. We've all heard about that child in us. But when was the last time we hugged it? The song Little Child is the perfect accompaniment for this, because when you hear it, you immediately feel hugged, pressed and safe. Another highlight are the incredibly beautiful solos, played by Benjamin Schneider on guitar and Saskia-Marleen Dahms on trombone.

That's the end of the album and, to be perfectly honest, you don't feel left out in the rain, but you do feel left out in a (warm) shower. Time flies when you hear Muito Kaballa's new album and in the end you want more. 4 remixes for the dancefloor are delivered by French producer Kuna Maze, Polish/Angolan duo Lua Preta, French producer La Dame and Brazilian producer Badsista, tipping the remix balance into more female input.

Here’s the historical Rome concert recorded at Radio Rai studios in Via Asiago, with extended versions of four original compositions, including a fantastic interpretation of the already popular “Lonely Woman.”

A Drum Is a Woman is a musical allegory by American pianist, composer, and bandleader Duke Ellington and his long-time musical collaborator Billy Strayhorn. It tells the story of Madam Zajj, the personification of African rhythm, and Carribee Joe, who has his roots firmly in the jungle with his drums. Zajj travels out into the world seeking fame and sophistication and melds with the influences of cultures she weaves through the story, which gives a brief history of the rise of jazz and bebop. Originally recorded for the Columbia label in 1956, it was produced for television on the US Steel hour on May 8, 1957

The singer-songwriter and pianist Nina Simone came to prominence in the late 1950s after she signed to the Bethlehem label for her debut album, Little Girl Blue. Her move to Coolpix Records, the audio subsidiary of Columbia Pictures, allowed her near total artistic control of her material and her lengthy tenure with the company brought plenty of popular album releases. The 1966 oddity Nina With Strings was issued by Coolpix a couple of years after she left the company to begin recording for Philips; a strange mix of live recordings and studio outtakes, released without her knowledge or permission where the presence of orchestral strings on several tracks gives the album its title and overriding theme.

The versatile singer, songwriter, pianist, musical arranger and civil rights activist Nina Simone was one of the most iconic of all jazz performers. Operating in a range of genres, from folk, blues and rhythm 'n' blues to pop, gospel and classical, Simone issued over 40 albums during a long and successful career, though bipolar disorder dramatically affected her later years. Born Eunice Kathleen Waymon in 1933, she was one of eight children in a poor black family. Coolpix's1963 release, Nina's Choice, was titled in reference to the fact that Simone chose the entire contents, drawing from a range of pop, folk, blues and show tunes, all interpreted and delivered in her uniquely expressive style.

Award-winning Vibraphonist Lewis Wright with Matt Brewer (Double-Bass) and Marcus Gilmore (Drums) partnered together in 2019 on their 'The Color of Intention' CD album. We believed that the recordings deserved release on vinyl. “The Colour of Intention refers to the creative process itself: that in order to express yourself honestly in music, you have to generate clear intentions developed from thoughts and emotions which then colour the work rather than explaining every aspect of it. In the moment of performance, the goal then becomes to put all these previous investigations out of mind and exist in the present. The colour of intention is describing everything except performance; the slower processes of development, reflection and refinement and how they’ll seep, often unpredictably, into everything that ends up being realised. Working with Matt (Brewer) and Marcus (Gilmore) adds the last and most engaging dimension. How they interpret the music, interact and bring their own highly developed languages to bare, creates something that’s both a reflection of my intentions and also infinitely more sophisticated than it’s possible for me to conceive of. I think in this sense, human connection is the greatest element of what it is we do as musicians.” – Lewis Wright

Damage Mécanique thrusts the listener into a malfunctioning industrial sci-fi soundscape. Trance inducing guitars beckon with haunting wails, high-tension wires spin and spit with a crackling hiss. Circular kosmische rhythms and anxiety-drenched beats destroy and rebuild around fractured melodies and noise. The band oxidizes and melts into experimental post-punk and acousmatic environments as hypnotic groove and vertigo copulate in cinematic assemblage. Limited Edition black vinyl LP. Damage Mécanique was recorded by Evan Schiller, mixed by Randall Dunn at Figure 8 in Brooklyn, NY and mastered by Alan Jones at Laminal Audio, Tracyton, WA. Pressed at Gotta Groove Records. Edition of 500.

Normal Street is a fractured collection of songs, sounds, ideas, sometimes brief and other times delicately sustained; its stream of consciousness mischievousness bringing to mind Zappa and the Mothers filtered through the angst of bedroom pop and tape label minimalism.

A native of Montreal, Canada, via NYC and Boston, Zack Lober is a bassist and composer now based in The Netherlands. Over his 20 plus years as a performer he has shared the stage with some of the most respected artists in Jazz and Improvised music including David Binney, Henry Threadgill, Butch Morris, John Escreet, Greg Ward, Jamie Baum, Jerry Bergonzi, Ben van Gelder, Jason Palmer and Chet Doxas among many others.



His latest project, NO Fill3r represents his debut as a band leader and is an exploration in minimalist writing for trio combined with maximum improvisation and creativity. The group features two rising stars on the European Jazz scene; trumpeter Suzan Veneman and drummer Sun-Mi Hong to help bring the vision to life.



Lober presents a set of deeply personal music with themes touching on our shared humanity, love, loss and the infiniteness of the universe, coupled with the spirit of freedom, openness and group improvisation.

The album was recorded live in one large room at the world-renowned Wisseloord Studios in Hilversum, The Netherlands. It was produced by Lober’s longtime friend and musical peer Ben van Gelder.



Zack Lober – double bass

Suzan Veneman – trumpet

Sun-Mi Hong - drums

Charles Mingus brought together an amazing lineup spanning the totality of the nation's jazz scene with such luminaries as Eric Dolphy, Buddy Collette, Clark Terry, Zoot Sims, Pepper Adams, Jaki Byard, Grady Tate, and more. Brought together to perform new Mingus compositions for the first time in public, the recording was initially considered weak due to limited rehearsal time but the years have been kind to this recording and it's a fantastic set of Mingus compositions, including the powerful "Freedom" which rivals the works on Mingus Ah-Um (1959) for its strength of purpose and message, in a similar vein to Max Roach's legendary We Insist! album (1960). Mingus is one of the most important figures in 20th century music and this live recording documents his compositional and arranging process as well as sheer swinging joy.

An imaginary train journey between Bologna and Moscow. The original recording of the entire experimental electronic session performed at the audiovisual festival "Geometry of Now," Moscow (2017) curated by Mark Fell, reworked in Bologna (Italy) with custom analog equipment in 2022. Alexei Borisov, the Moscow underground legend who has spanned new wave, electronic noise and constructivist experimentation, measures up with artist and curator Sergey Kasich, a sound and media artist originally from Sevastopol, Crimea, founder and main curator of the Sa)) community for experimental sound artists from the post-Soviet regions (https://soundartist.ru), as well as the Sa))_gallery and Sa))_studio in Moscow. The deconstruction of that live performance is meant to underscore the evidence of the lie of the end of history and the inadequacy of theories produced by the relativist burden of postmodernity with its illusory recombinations, revivals and remixes, lead to the search for a misaligned and alt-modern subjectivity that concretely emerges from an imaginary journey into the era of the materialization of the unexpected, like the sudden concreteness of a window that no longer squeaks, but slams... The “Petroni apartment session” was recorded in Bologna, by also mixing concrete elements of environmental recording to emphasize the sudden impending immediacy of the real dimension.

The magic 80s nostalgia is here! Sonor Music Editions in collaboration with Beppe Savoni and Giuseppe Giammetta, respectively known in the digital space as Disco Bambino and Sovraimpressione announce a special release by the Italian queen of silver screen, actress Eleonora Giorgi. The limited edition 7-inch includes a rework of the 1981 soulful disco track "Quale Appuntamento...", written by Bipap, Cristiano Malgioglio & Pino Presti, originally released on the iconic Ricordi label; on the B-side, restored and for the first time ever on vinyl, "Magic", taken from the 1980 original soundtrack of the film "Mia Moglie È Una Strega", with music arranged and directed by Detto Mariano.

Unreleased but perfectly formed "hidden" album, recorded in 1989-90 by Nuno Rebelo on the wake of his "Sagração Do Mês De Maio" double LP (composed in 1988 as soundtrack to the third Manobras de Maio fashion event in Lisbon). The tracks convey a sense of investigative curiosity regarding computer composition and they sound wonderfully artificial. Titles as "Moon OK", "Tiny Space Ships" or "Dança Das Creaturas Elásticas" ("Elastic Creatures Dance") embody this idea of otherworldness, a kind of music actually coming from another place, composed and played by elastic creatures. It displays the functional qualities of Library Music, illustrating playful as much as moody and dense moments. In this way the album comes across as a soundtrack for moving images, sure, but with unusual framing and sharp angles. A unique object in the Portuguese avantgarde, keeping its distance from Academia but also from contemporary independent releases ("Plux Quba" by Nuno Canavarro comes to mind). António Duarte's 2019 mastering enhances this collection of music liberated from the archives of one of the most brilliant, active and challenging musicians of his generation.

BIO: Nuno Rebelo was born in 1960, graduated in Architecture, founded Street Kids and Mler Ife Dada, played in the "transitional" line up of GNR in 1982. His creativity expanded into improvised music. Performances and recordings with other musicians multiplied. He composed music for theatre, dance, jingles and, on an almost contradictory scale to his underground credentials, soundtracks for the Expo 98 and Porto 2001 mega events.

“Improvisações Cristalizadas” by Nuno Rebelo: Short electronic pieces composed in 1989-90 using the Atari 1040st computer with Steinberg Pro24 Software, Two Yamaha Sound Modules (tx81zx and Tg55) and Ensoniq Mirage Sampler with keyboard. The composition method for each piece evolved from a short improvisation on the Mirage keyboard, recorded in Midi to the computer. Counterpoint permutations (inversion, reversion, inverted reversion, transpositions) were then applied through the software, distributing the variations of the initial improvisation by other timbres. No other musical material was used.