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Search Result for Genre JAZZ
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LP
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BF 024LP
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$27.50
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RELEASE DATE: 11/12/2021
LP version. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high-profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Göran Freese invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnäs, just outside of Stockholm, for a series of rehearsals and jam sessions. Long relegated to the status of a mysterious footnote in Don's session-ography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded. On July 20, the musicians gathered at Freese's summer house included Bernt Rosengren (tenor saxophone, flutes, clarinet), Tommy Koverhult (tenor saxophone, flutes), Leif Wennerström (drums), and Torbjörn Hultcrantz (bass) from Don's Swedish group; Jacques Thollot (drums) and Kent Carter (bass) from his newly formed international band New York Total Music Company; Bülent Ateş (hand drum, drums), who was visiting from Turkey; and Don (pocket trumpet, flutes, percussion) himself. Lacking a common language, the players used music as their common means of communication. In this way, these frenetic and freewheeling sessions anticipate Don's turn to more explicitly pan-ethnic expression, preceding his epochal Eternal Rhythm dates by four months. The octet, comprising musicians from America, France, Sweden, and Turkey, was a perfect vehicle for Don's budding pursuit of "collage music," a concept inspired by the shortwave radio on which Don listened to sounds from around the world. Using the collage metaphor, Don eliminated solos and the introduction of tunes, transforming a wealth of melodies, sounds, and rhythms into poetic suites of different moods and changing forms. The Summer House Sessions ensemble joyously layers manifold cultural idioms, traversing the airy peaks and serene valleys of Cherry's earthly vision. The double-CD version includes a bonus CD with a track featuring Jacques Thollot joined by Lindqvist, Tommy Koverhult, Sune Spångberg, and others.
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2LP
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BF 023LP
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$32.00
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RELEASE DATE: 11/12/2021
Double LP version. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician. The five-person band -- Don and Moki Cherry, Christer Bothén, Gérard "Doudou" Gouirand, and Naná Vasconcelos -- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance -- including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out) -- all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothén on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona.
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LP
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BEWITH 102LP
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$29.00
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RELEASE DATE: 10/29/2021
Be With Records present a reissue of Ian Carr's Nucleus' Roots, originally released on Vertigo in 1973. From the wild cover to the iconic breakbeats, Roots is thick, funky-prog jazz-rock heaven. Genius trumpeter and visionary composer Ian Carr was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. Working together with producer Fritz Fryer and engineer Roger Wake, the seven compositions by Carr, Brian Smith and Dave MacRae that make up Roots flirt with perfection, and Nucleus at that time made up of the cream of 1970s UK jazz with Brian Smith on tenor saxophones and flutes, Dave MacRae on piano and electric piano, Jocelyn Pitchen on guitar, Roger Sutton on bass, both Clive Thacker and Aureo De Souza on drums and percussion, Joy Yates delivering the vocals and of course Carr on trumpet. The title track is a low-slung, doped-out heist-funk. It was sampled by Madlib for Lootpack and Quasimoto's "Loop Digga". The soothing vocal fusion delight of "Images" follows. Meticulously constructed, with gorgeous flute work from Brian Smith, with Joy Yates' silky vocals and Dave MacRae's Rhodes never sounding better. The cool, driving "Caliban" closes out the first side. Originally the third movement in a four-part commission to celebrate Shakespeare's birthday it stands up on its own, all robust rhythms and blended brass. Keyboard color and Carr's trumpet are splashed across the funk drums and basslines (and there's even some bamboo flute). Side two opens with the short, thrilling samba of "Wapatiti". Next up, "Capricorn" forms a smoothed-out, jazzy constellation. Mellow and dreamy, its twinkling percussion and languid horns slowly build the vibe before head-nod drums and a killer bassline enter the fray. With a distinct heaviness that Black Sabbath would've envied, "Odokamona" is a venomous slice of riff-soaked jazz metal, elevated by Carr's wah-wah horns. The album closes with MacRae's exceptionally cosmic "Southern Roots And Celebration". Very much in conversation with Weather Report, it opens as a languorous, spiritual jazz of chiming keys and serene guitar that turns slowly, gorgeously into a mid-paced, brass-laced banger. Keith Davis's cover art for Roots is an acid-tinged airbrush dystopian/utopian living-room party scene. Remastered by Simon Francis from the original Vertigo master tapes. Cut by Pete Norman.
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LP
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KRXN 016LP
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$21.00
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RELEASE DATE: 10/22/2021
Brazilian-American power trio São Paulo Underground (Rob Mazurek, Mauricio Takara, Guilherme Granado) align their chakras with Tenerife electronic pranksters Tupperwear (Mladen Kurajica, Daniel Garcia) for an anything goes EP session of tropical jazz, Chicago post rock, and general head scratching psych chants. Recorded live in 2016 in a disused kerosene tank in Santa Cruz de Tenerife, Canary Islands after a week-long residency. Now recompiled by the Keroxen label and presented here in its ripest form, certified ready for human consumption. Each member plays multiple roles in creating Saturno Mágico's unique organic evolving sound. Mazurek plays cornet and modular synths; Takara's on drums, cavaquinho and electronics, whilst Granado plays keyboards, synthesizers, and sampler. Tupperwear add to the organic flow with Kurajica on various synths and keyboards whilst Garcia excels on electronics, live sampling, guitar and voices. Another unique document from the Keroxen Label, exponential Island music and insular collaborations spilled out onto the world -- so much more to come, blink it and you'll miss. Recorded Live November 9th, 2016 by Daniel Badal. Mixing and master by Daniel García. Artwork by Evan Crankshaw.
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7"
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JAZZ45 008EP
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$11.00
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RELEASE DATE: 8/27/2021
Any jazz lover will tell you that one of the main considerations in their appreciation of jazz is spontaneity, and the freedom it gives to improvise. In jazz, freedom is everything. Here you have a record that was recorded simply because some musicians met in the studio one day in 1996. They were not under instruction, they had no plans. What they had was the presence of mind to make music with one another, free to collaborate and spontaneously create new sounds. Drummer Harbans Srih tells Jazz45 about Short Story From Tabla, Drums & Trumpet: "We were tracking some funky jazz with a full band. All left at the end except for Pandit and myself. As there was a bit of time left I said to Pandit to have some fun tracking tabla and drums. Engineer pressed the record button and off we went without any prior rehearsal. This take is the result. Colin had turned up, took one listen and said he'd like to play trumpet on it. Again, without any particular discussion he went in and recorded this take, resulting in this fusion of Indo-Jazz." And then in 2003, "Oye Maia" came about: "We met at the recording studio one afternoon. I had an idea of recording an Indian themed track and had brought along a kalimba. I showed it to Shanti who started to play it. It was suggested that he recorded a two-bar loop while Pandit and I performed alongside. Shanti then improvised on trumpet utilizing Indian phrasing. The track was named after his daughter Maia, and translated it means 'Listen Maia'."
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LP
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WDSC 008LP
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$23.50
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RELEASE DATE: 8/27/2021
New wave dancefloor instrumentalists Snazzback release stunning second album on new label from Bristol's cultural instigators, Worm Disco Club. Bristol seven-piece Snazzback bring the sound of reopened dancefloors, of communal release, and of the joyful sound of dancing outside in the sunshine to live music. Their second album In The Place overflows with deep grooves and loose, lolloping rhythms that tease and play, sometimes languid and carefree, other times energy spiraling upwards -- and taking the listener with them, each and every time. Their music is soaked in great black American dancefloor music, whether that's the sound we call "jazz" or hip-hop. They also bring other flavors -- interlocking Afro-Latin rhythms, electronica and hypnotic rock, all marinated in Bristol's long musical histories. The album rests on the band's hypnotic, rolling musicality and inventive bringing-together of sounds, evident in their phenomenal live performances which were honed in legendary city center busking sessions and locally-famous venue residency. They're mad tight and heavily dexterous, a band who are tuned into each other and into the extended family of their audiences. Tracks like "Reading" suggest a smoked-out Ezra Collective or Moses Boyd, whilst "Triangle" brings powerfully scuzzed-out guitar sounds into the mix. Vocalists join them on a few tracks: Solomon OB and Soss. Vocalist China Bowls appears four times, including opening track "Alice", a sun-blessed deep jam that swoops and dives around the beautifully earth-bound rhythm section and which evokes Little Dragon gone groove-deep, and at the end, on closing track "BST". The track began life as a spin-off from a jam on their debut album Hedge which captured their live performances in full glory. Over time, it absorbed gorgeous new harmonies and is a perfect end point for this color-saturated snapshot of Snazzback's musical universe. In The Place was recorded in their tiny self-built studio. They wrote together, improvising sounds into a sonic scrapbook, with more production, electronics and ambient sounds than their previous live recordings. The album was fed by the band's deep community connections in the city, but also by the music the players listen to: Portico Quartet, Hendrix, Rip Rig + Panic, Azymuth, and iconic sax player Shabaka Hutchings to name just a few. There's an openness to collaboration, experimentation with unconventional sounds, and an exploration of genres outside of an immediately obvious palette.
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LP
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TROST 214LP
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$22.50
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RELEASE DATE: 7/30/2021
LP version. Extended instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson, a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva. Press quotes from the S/T debut album (TROST 181CD/LP, 2019): "Lee Ranaldo/Jim Jarmusch/ Marc Urselli/Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity" --Daniel Sylvester, Exclaim! "It's exactly this unpredictability that makes the quartet's evocative sounds thoroughly captivating" --Antonio Poscic, The Quietus. "A magical, hypnotic and somehow frightening album" --Jazzthing Magazine. Personnel: Lee Ranaldo - guitar, pedals, bells; Jim Jarmusch - guitar, pedals, mini-synthesizer; Marc Urselli - bass, laptop; Balázs Pándi - drums.
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LP
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DEEP 003LP
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$25.00
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RELEASE DATE: 7/30/2021
Brixton based polymath Simon Jefferis has been setting mouths ajar with his expertly crafted, atmosphere-heavy beats over the past few years. With his reputation as both a talented instrumentalist, and adaptive producer steadily circulating through the city's hip-hop undercurrents, Jefferis return to rising label DeepMatter with his debut LP Vibrations. From the golden era energies of "Back 2 Ours" featuring Austin's Abhi The Nomad, through to the silky-smooth melodies of "White Rabbit" (featuring the incredible Rosie Lowe on vocals) and shoulder swaying rhythms of "Something In The Water", Vibrations is an expertly crafted production masterclass from start to finish. With ease, Jefferis demonstrates the breadth of his musical capabilities, turning his hand to guitar, keys, drums, and bass (with a little help from his friends along the way) with incredible results. Head nod inducing beats, jazz infused keys and interweaving make this a standout record amongst the already sonically rich London jazz scene. Features Sheldon Agwu, Rosie Lowe, Natty Reeves, Dylan Jones, Ife Ogunjobi, David Mrakpor, Ben Vize, and Shunaji. 180 gram vinyl; gatefold sleeve.
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CD
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FFL 067CD
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$13.50
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RELEASE DATE: 7/30/2021
"While he was working on the repertoire for the new version of his group Malagasy, with young Malagasy musicians he had met in Paris in 1972 (and who can be heard on the album Malagasy At Newport-Paris), Jef Gilson realized that two of his new discoveries, in addition to being established poly-instrumentalists (who both had sharpened their skills in the legendary seja-jazz band from La Réunion, Le Club Rythmique), were also skilled composers. They were capable of reinventing jazz and traditional Malagasy music, adding influences from the new generation inspired by pop, rock and funk into the mix. He offered them the chance to share the two sides of an album recorded on his own label, Palm, alongside their compatriots. Ange 'Zizi' Japhet, Gérard Rakotoarivony and Frank Raholison, this is how Del Rabenja and Sylvin Marc came to record this Madagascar Now / Maintenant 'Zao. The first side really showcases the valiha (a small Malagasy harp) of Del Rabenja who uses the occasion to pay homage to the sadly missed Rakotozafy, often called the Django Reinhardt of the instrument. His three compositions are full of spirituality and invite an almost trance-like state. But Rabenja is equally a very good tenor saxophonist and organist on the other tracks. The other side displays the full range of talents of the multi-instrumentalist and composer Sylvin Marc, who moves from bass to drums, from vocals to percussion and offers four compositions ranging from free jazz to cosmic groove. At the same period the five men could also be found amongst the cast list of the mythical albums, Funny Funky Rib Crib by Byard Lancaster and Soul Of Africa by Hal Singer and Jef Gilson. Later, Sylvin Marc would play bass for Nina Simone on her album Fodder On My Wings in 1982, then join the team of violinist Didier Lockwood, while Del Rabenja would be part of Manu Dibango's and Eddy Louiss' orchestras for a long time and would even be at the front of the top 50 at the end of the '80s with David Koven. He would also be the special guest of the Palm Unit trio (Fred Escoffier, Lionel Martin, Philippe 'Pipon' Garcia) on their first album, an homage to the oeuvre of Jef Gilson, in 2018." --Jérôme "Kalcha" Simonneau First ever standalone reissue; remastered. Licensed from Palm/Geneviève Quievreux.
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DMPY 011LP
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$19.50
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RELEASE DATE: 7/30/2021
PYJÆN is the reflection of five souls. Their joy, their happiness, their worries and experiences come together in one unified higher identity. PYJÆN's story will be expressed not only musically but also with other visual arts. Consisting of guitarist Dani Diodato, trumpeter Dylan Jones, saxophonist Ben Vize, drummer Charlie Hutchinson and bass player Benjamin Crane, PYJÆN have been touring in the UK this year with dates at iconic venues such as the Jazz Cafe, Vortex Jazz Club and Ronnie Scott's as well as playing Glastonbury, Love Supreme and Brainchild Festival. Described by Jazzwise as having "a groove propelled with dynamism and formidable technique", PYJÆN seamlessly meld funk, Afro-beat and contemporary sounds with nods to hip-hop and disco, whilst acknowledging the traditional era of 1920s jazz and dance music. 180 gram vinyl.
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CD
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TROST 214CD
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$16.50
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RELEASE DATE: 7/30/2021
Extended instrumental tracks from the nocturnal studio session of director and musician Jim Jarmusch, Sonic Youth's Lee Ranaldo, Balázs Pándi (Keiji Haino, Venetian Snares, Merzbow) and producer Marc Urselli (John Zorn, Mike Patton, Laurie Anderson, a.o). All was recorded live and analog, and in the moment. Mixed, mastered, recorded and produced by Marc Urselli at EastSide Sound Studios, NYC, 2019. Artwork by Italian artist Sara D'Uva. Press quotes from the S/T debut album (TROST 181CD/LP, 2019): "Lee Ranaldo/Jim Jarmusch/ Marc Urselli/Balázs Pándi is an egoless collection of ideas from four musicians who sound like they've been working together for an eternity" --Daniel Sylvester, Exclaim! "It's exactly this unpredictability that makes the quartet's evocative sounds thoroughly captivating" --Antonio Poscic, The Quietus. "A magical, hypnotic and somehow frightening album" --Jazzthing Magazine. Personnel: Lee Ranaldo - guitar, pedals, bells; Jim Jarmusch - guitar, pedals, mini-synthesizer; Marc Urselli - bass, laptop; Balázs Pándi - drums. CD version includes one additional track.
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LP
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TROST 209LP
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$22.50
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RELEASE DATE: 7/30/2021
LP version. Music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History Of Nothing (TROST 170CD/LP) got a huge number of excited reviews: "A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays." --Peter Margasak (Chicago Reader) "Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed." --Stuart Broomer, Free Jazz Collective "Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well." --Jan Granlie, Salt Peanuts Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017. Mixed by Joaquim Monte and Rodrigo Amado. Personnel: Rodrigo Amado - tenor saxophone; Joe McPhee - pocket trumpet, soprano saxophone, pvc pipe; Kent Kessler - double bass; Chris Corsano - drums.
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FFL 066CD
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$13.50
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RELEASE DATE: 7/30/2021
"Paris, May 13th 1968. There was a general strike. One last plane left the runway, strewn with flaming oil drums. On board were three jazz musicians wondering whether they would be able to return home one day. But for the time being they really want to make it to Madagascar where concerts and workshops with young local musicians were waiting for them. Pianist and bandleader Jef Gilson was accompanied by his bassist Gilbert 'Bibi' Rovère (Martial Solal Trio) and the young drummer Lionel Magal (Crium Delirium). Gilson, who already had a reputation for finding new talent (it was thanks to him that, amongst others Jean-Louis Chautemps, Henri Texier, Jean-Luc Ponty or Michel Portal first became known) was literally blown away by the standard of the young Malagasy musicians, all capable of imitating their American idols by ear. Their names were known only to jazz fans on the island; Serge, Allain and Georges Rahoerson, Arnaud Razafy, Roland de Comarmond, Joel Rakotomamonjy, Alain Razafinohatra, Samuel Ramiara... Gilson then had a vision: he wanted to encourage them to play jazz which was truly Malagasy and which would find its' soul in the island's culture and traditional instruments (Sodina flute, valiha, various percussion instruments...) He would go back to the big island three times, in March (with cellist Jean-Charles Capon), in October 1969 (alone), then in February 1970 (as a trio with guitarist Raymond Boni and drummer Bertrand Gauthier). The two trips in 1969 would lead to the sessions, recorded on a simple ReVox with two Neuman microphones, which would make up the essential part of this mythical album entitled Malagasy, and first issued in 1972 on the Lumen label, and then reissued, as early as 1973, on Palm, Jef Gilson's own label. Apart from the last track, recorded in Paris in 1971 with Malagasy instruments brought back from trips by the trio which would play on the avant-garde Le Massacre du Printemps (Futura), all the other compositions on the album are by Jef Gilson, Jean-Charles Capon and the young saxophonist Serge Rahoerson. There is also a cover of a song issued just a few months earlier and that the Malagasy musicians had only heard through bits and pieces played by Gilson on piano: the song is 'The Creator Has A Masterplan' by Pharoah Sanders, and it is one of the most wild and mystical versions you will ever hear. In May 1972, Madagascar itself would be the theater of youth revolt. And the composition 'Avaradoha' by Serge Rahoerson would be the anthem of the revolution on the streets." --Jérôme "Kalcha" Simoneau First standalone reissue. Licensed from Palm / Geneviève Quievreux. Remastered.
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FFL 066LP
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$28.50
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RELEASE DATE: 7/30/2021
LP version. 180 gram vinyl. "Paris, May 13th 1968. There was a general strike. One last plane left the runway, strewn with flaming oil drums. On board were three jazz musicians wondering whether they would be able to return home one day. But for the time being they really want to make it to Madagascar where concerts and workshops with young local musicians were waiting for them. Pianist and bandleader Jef Gilson was accompanied by his bassist Gilbert 'Bibi' Rovère (Martial Solal Trio) and the young drummer Lionel Magal (Crium Delirium). Gilson, who already had a reputation for finding new talent (it was thanks to him that, amongst others Jean-Louis Chautemps, Henri Texier, Jean-Luc Ponty or Michel Portal first became known) was literally blown away by the standard of the young Malagasy musicians, all capable of imitating their American idols by ear. Their names were known only to jazz fans on the island; Serge, Allain and Georges Rahoerson, Arnaud Razafy, Roland de Comarmond, Joel Rakotomamonjy, Alain Razafinohatra, Samuel Ramiara... Gilson then had a vision: he wanted to encourage them to play jazz which was truly Malagasy and which would find its' soul in the island's culture and traditional instruments (Sodina flute, valiha, various percussion instruments...) He would go back to the big island three times, in March (with cellist Jean-Charles Capon), in October 1969 (alone), then in February 1970 (as a trio with guitarist Raymond Boni and drummer Bertrand Gauthier). The two trips in 1969 would lead to the sessions, recorded on a simple ReVox with two Neuman microphones, which would make up the essential part of this mythical album entitled Malagasy, and first issued in 1972 on the Lumen label, and then reissued, as early as 1973, on Palm, Jef Gilson's own label. Apart from the last track, recorded in Paris in 1971 with Malagasy instruments brought back from trips by the trio which would play on the avant-garde Le Massacre du Printemps (Futura), all the other compositions on the album are by Jef Gilson, Jean-Charles Capon and the young saxophonist Serge Rahoerson. There is also a cover of a song issued just a few months earlier and that the Malagasy musicians had only heard through bits and pieces played by Gilson on piano: the song is 'The Creator Has A Masterplan' by Pharoah Sanders, and it is one of the most wild and mystical versions you will ever hear. In May 1972, Madagascar itself would be the theater of youth revolt. And the composition 'Avaradoha' by Serge Rahoerson would be the anthem of the revolution on the streets." --Jérôme "Kalcha" Simoneau First standalone reissue. Licensed from Palm / Geneviève Quievreux. Remastered.
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TROST 208CD
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$16.50
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RELEASE DATE: 7/30/2021
A powerful collision of musical personalities -- American saxophonist (and Dutch resident) John Dikeman invited avantgarde trumpeter Jaimie Branch, bassist Luke Stewart (Irreversible Entanglements) and drummer Aleksandar Skorić to form a new band project. This quartet presents its own definition of contemporary improvised jazz; with no distinct leader and with tight and supportive interplay, they demonstrate the independent musical voice of each own. Album cover by Jaimie Branch. Personnel: John Dikeman - saxophone; Jaimie Branch -trumpet; Luke Stewart - bass; Aleksandar Skorić - drums.
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FARO 225CD
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$14.00
PREORDER
RELEASE DATE: 7/30/2021
From the slums of Recife in Brazil's North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. His debut and sophomore albums Sangue Negro (2016) and Rasif (FARO 205CD/LP, 2018) arrived on a wave of instant acclaim. His new album Sankofa -- a spiritual quest into the forgotten stories, ancient philosophies and inspirational figures of Black Brazil -- is his most stunning and sincere work to date. But for Amaro Freitas, work isn't just playing the piano, his art delves far deeper than music theory and practice. Explaining the impetus behind Sankofa, Amaro elucidates the imperative behind his music: "I worked to try to understand my ancestors, my place, my history, as a black man. Brazil didn't tell us the truth about Brazil. The history of black people before slavery is rich with ancient philosophies. By understanding the history and the strength of our people, one can start to understand where our desires, dreams and wishes come from." Sankofa is an Adinkra symbol depicting a backward-facing bird. He soon came to understand what it represents, and it became the foundational concept for his new album. With the help of Jean Elton (bass) and Hugo Medeiros (drums), who have formed the Amaro Freitas Trio since the very beginning, Amaro employs intricate rhythmic patterns and time-signature variations as if reimagining the ancient designs of his ancestors, and every track is imbued with a message or a story Amaro is compelled to tell. "Baquaqua" highlights the seldom told story of the West African Mahommah Gardo Baquaqua, who was brought to Brazil as a slave but escaped to New York in 1847 where he learned to read and write. The delicate "Vila Bela" takes its name after an area near the Bolivian border, in Brazil's Mato Grosso region, where the 18th century Quilombola queen Tereza de Benguela led the black and indigenous community in resisting slavery for two decades. "Nascimento" is a warmhearted tribute to the great star of Minas Gerais, who Amaro sees as a talisman of contemporary Black Brazilian culture. "Ayeye", Sankofa's most joyful moment, means celebration in Yoruba and features gorgeous, fluttering piano, shuffling hi-hats and a stuttering bass groove, at times sounding as much like a D'Angelo or Alicia Keys hit as it does Bill Evans or Thelonious Monk. Named after a mythical bull from the tropical region of Maranhão, "Cazumbá" represents the interdependence of all living things. A jazz rock pulse represents a noisy urban city port, and as the track develops it's as if the group moves out into the tranquility of the rainforest river.
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CD
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WRJ 010CD
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$15.50
PREORDER
RELEASE DATE: 7/30/2021
We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.
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WRJ 010LTD-LP
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$34.00
PREORDER
RELEASE DATE: 7/30/2021
LP version. 180 gram vinyl, half speed mastered; heavy sleeve with obi and gold ink. We Release Jazz announce the official reissue of Hiroshi Suzuki's Cat, a glorious jazz-fusion-funk holy grail originally released in 1976. Cat was recorded in October 1975 at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two-day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lo-fi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike. Sourced from the original masters. Liner notes by Teruo Isono.
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LP
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FFL 068LP
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$28.50
PREORDER
RELEASE DATE: 7/30/2021
LP version. 180 gram vinyl. "In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their Afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange 'Zizi' Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn't have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch Malagasy. He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the '50s/'60s and also included more recent tunes. The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, 'Le Newport', in rue Grégoire de Tours, Saint Germain des Prés, not far from the 'Kiosque d'Orphée' where Gilson worked at the beginning of the '60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn't be the last time." --Jérôme "Kalcha" Simonneau First ever standalone reissue, remastered. Licensed from Palm/Geneviève Quievreux.
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LP
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FFL 067LP
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$28.50
PREORDER
RELEASE DATE: 7/30/2021
LP version. 180 gram vinyl. "While he was working on the repertoire for the new version of his group Malagasy, with young Malagasy musicians he had met in Paris in 1972 (and who can be heard on the album Malagasy At Newport-Paris), Jef Gilson realized that two of his new discoveries, in addition to being established poly-instrumentalists (who both had sharpened their skills in the legendary seja-jazz band from La Réunion, Le Club Rythmique), were also skilled composers. They were capable of reinventing jazz and traditional Malagasy music, adding influences from the new generation inspired by pop, rock and funk into the mix. He offered them the chance to share the two sides of an album recorded on his own label, Palm, alongside their compatriots. Ange 'Zizi' Japhet, Gérard Rakotoarivony and Frank Raholison, this is how Del Rabenja and Sylvin Marc came to record this Madagascar Now / Maintenant 'Zao. The first side really showcases the valiha (a small Malagasy harp) of Del Rabenja who uses the occasion to pay homage to the sadly missed Rakotozafy, often called the Django Reinhardt of the instrument. His three compositions are full of spirituality and invite an almost trance-like state. But Rabenja is equally a very good tenor saxophonist and organist on the other tracks. The other side displays the full range of talents of the multi-instrumentalist and composer Sylvin Marc, who moves from bass to drums, from vocals to percussion and offers four compositions ranging from free jazz to cosmic groove. At the same period the five men could also be found amongst the cast list of the mythical albums, Funny Funky Rib Crib by Byard Lancaster and Soul Of Africa by Hal Singer and Jef Gilson. Later, Sylvin Marc would play bass for Nina Simone on her album Fodder On My Wings in 1982, then join the team of violinist Didier Lockwood, while Del Rabenja would be part of Manu Dibango's and Eddy Louiss' orchestras for a long time and would even be at the front of the top 50 at the end of the '80s with David Koven. He would also be the special guest of the Palm Unit trio (Fred Escoffier, Lionel Martin, Philippe 'Pipon' Garcia) on their first album, an homage to the oeuvre of Jef Gilson, in 2018." --Jérôme "Kalcha" Simonneau First ever standalone reissue; remastered. Licensed from Palm/Geneviève Quievreux.
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TROST 208LP
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$22.50
PREORDER
RELEASE DATE: 7/30/2021
LP version. A powerful collision of musical personalities -- American saxophonist (and Dutch resident) John Dikeman invited avantgarde trumpeter Jaimie Branch, bassist Luke Stewart (Irreversible Entanglements) and drummer Aleksandar Skorić to form a new band project. This quartet presents its own definition of contemporary improvised jazz; with no distinct leader and with tight and supportive interplay, they demonstrate the independent musical voice of each own. Album cover by Jaimie Branch. Personnel: John Dikeman - saxophone; Jaimie Branch -trumpet; Luke Stewart - bass; Aleksandar Skorić - drums.
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LP
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FARO 225LP
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$22.00
PREORDER
RELEASE DATE: 7/30/2021
LP version. Includes 60x30cm poster. From the slums of Recife in Brazil's North-East to international jazz icon, Amaro Freitas has worked tirelessly to become the artist he is today. His debut and sophomore albums Sangue Negro (2016) and Rasif (FARO 205CD/LP, 2018) arrived on a wave of instant acclaim. His new album Sankofa -- a spiritual quest into the forgotten stories, ancient philosophies and inspirational figures of Black Brazil -- is his most stunning and sincere work to date. But for Amaro Freitas, work isn't just playing the piano, his art delves far deeper than music theory and practice. Explaining the impetus behind Sankofa, Amaro elucidates the imperative behind his music: "I worked to try to understand my ancestors, my place, my history, as a black man. Brazil didn't tell us the truth about Brazil. The history of black people before slavery is rich with ancient philosophies. By understanding the history and the strength of our people, one can start to understand where our desires, dreams and wishes come from." Sankofa is an Adinkra symbol depicting a backward-facing bird. He soon came to understand what it represents, and it became the foundational concept for his new album. With the help of Jean Elton (bass) and Hugo Medeiros (drums), who have formed the Amaro Freitas Trio since the very beginning, Amaro employs intricate rhythmic patterns and time-signature variations as if reimagining the ancient designs of his ancestors, and every track is imbued with a message or a story Amaro is compelled to tell. "Baquaqua" highlights the seldom told story of the West African Mahommah Gardo Baquaqua, who was brought to Brazil as a slave but escaped to New York in 1847 where he learned to read and write. The delicate "Vila Bela" takes its name after an area near the Bolivian border, in Brazil's Mato Grosso region, where the 18th century Quilombola queen Tereza de Benguela led the black and indigenous community in resisting slavery for two decades. "Nascimento" is a warmhearted tribute to the great star of Minas Gerais, who Amaro sees as a talisman of contemporary Black Brazilian culture. "Ayeye", Sankofa's most joyful moment, means celebration in Yoruba and features gorgeous, fluttering piano, shuffling hi-hats and a stuttering bass groove, at times sounding as much like a D'Angelo or Alicia Keys hit as it does Bill Evans or Thelonious Monk. Named after a mythical bull from the tropical region of Maranhão, "Cazumbá" represents the interdependence of all living things. A jazz rock pulse represents a noisy urban city port, and as the track develops it's as if the group moves out into the tranquility of the rainforest river.
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CD
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FFL 068CD
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$28.50
PREORDER
RELEASE DATE: 7/30/2021
"In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their Afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange 'Zizi' Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison. By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn't have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch Malagasy. He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the '50s/'60s and also included more recent tunes. The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, 'Le Newport', in rue Grégoire de Tours, Saint Germain des Prés, not far from the 'Kiosque d'Orphée' where Gilson worked at the beginning of the '60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA. This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn't be the last time." --Jérôme "Kalcha" Simonneau First ever standalone reissue, remastered. Licensed from Palm/Geneviève Quievreux.
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TROST 209CD
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$16.50
PREORDER
RELEASE DATE: 7/30/2021
Music by four strong individual players with room for eruptive solo-parts, but always held together by intense communication and beautiful interwoven melodies. The quartet's second album A History Of Nothing (TROST 170CD/LP) got a huge number of excited reviews: "A superb quartet outing. The music is all improvised, but it's firmly rooted in jazz, with superb interaction between all of the players, both on ripping, high-velocity blowouts and more delicate forays." --Peter Margasak (Chicago Reader) "Freedom is clearly a responsibility as well as a joy, and it's emphasized here by the group's shared commitment: each musician is constantly working in two directions, stretching further and creating cohesion. The music is improvised with such an ear to complementary detail that it's literally being collectively composed." --Stuart Broomer, Free Jazz Collective "Together, this quartet is dynamite. It's exciting to hear a European musician along with three Americans, and notice that they communicate so well." --Jan Granlie, Salt Peanuts Recorded by Klaus Hedegaard Nielsen at Jazzhouse, Copenhagen, March 2nd, 2017. Mixed by Joaquim Monte and Rodrigo Amado. Personnel: Rodrigo Amado - tenor saxophone; Joe McPhee - pocket trumpet, soprano saxophone, pvc pipe; Kent Kessler - double bass; Chris Corsano - drums.
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LP
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LTJC 013LP
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$30.50
PREORDER
RELEASE DATE: 7/23/2021
Le Tres Jazz Club present a reissue of George Otsuka Quintet's Sea Breeze, originally released in 1971. George Otsuka, sadly passed away in March 2020, was one of Japan's most renowned jazz drummers. After three records with the George Otsuka Trio in the late part of the '60s, Sea Breeze was released in 1971 on the Union label, his first record in quintet formation and a superb album which showcases the thrilling talent of this band. Included the brilliant jazz-funk track "Sea Breeze" and the astonishing cover of "Fool on the Hill". Personnel: George Otsuka - drums; Shunzo Ohno - trumpet, flugelhorn; Takao Uematsu - tenor sax, soprano sax; Takashi Mizuhashi - bass; Hideo Ichikawa - electric piano. Gatefold sleeve.
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