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Search Result for Genre JAZZ
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LP
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KR 065LP
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$20.00
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RELEASE DATE: 9/27/2019
Turkish free jazzers Konstrukt continue their series of exciting collaborations with Ken Vandermark, one of the key figures of Chicago's vivid jazz scene. After two critically acclaimed albums with the Japanese avant-garde/noise icon, Keiji Haino, Konstrukt return with a new inspiring collaborative mind: Ken Vandermark, who for three decades now has been a highly prolific musician in contemporary jazz and free improvisation. With various groups like NRG Ensemble, Spaceways Inc., The Vandermark 5, Made To Break, or the Peter Brötzmann Chicago Tentet (to name just a few) and various spontaneous collaborations the saxophone/clarinet player has created an impressive catalog and performed/recorded with the who-is-who of today's jazz/improv scene: Paal Nilssen-Love, Hamid Drake, Fred Anderson, Paul Lytton, Joe Morris, The Ex, Axel Dörner, Mats Gustafsson, Joe McPhee, Zu, Peter Brötzmann, Paul Lovens, Lasse Marhaug, Yakuza, Kevin Drumm, and many more. Vandermark's enduring exploration and development of new paths in (free) jazz and improvisation not only made him a key figure of the vivid Chicago scene (since the days of AACM, a hotspot for musical creativity), but also gained the him the reputed Mac Arthur Fellowship in 1999. In November 2018, Konstrukt (who themselves can look back on a long list of class A collaborators like Joe McPhee, William Parker, Akira Sakata, Marshall Allen, Evan Parker, Thurston Moore, or Alexander Hawkins) met Vandermark in their homebase Istanbul for a recording session -- a match made in heaven that all musicians involved are extremely happy with. The resulting album, Kozmik Bazaar, starts with a reference to Ornette Coleman before turning more and more into a psychedelic trip that goes way beyond the "jazz idiom". But what else to expect from such a stellar constellation? Personnel: Kontstrukt: Korhan Futacı - alto saxophone, instant loops, vocal; Umut Çağlar - electric guitar, synthesizer, gralla, guimbri; Apostolos Sideris - double bass; and Berkan Tilavel - drums, electronic percussion; with Ken Vandermark - tenor saxophone, clarinet. Recorded by Ozan Öner at Pür Recording Studio, Istanbul. Mixed by Korhan Futacı and Umut Çağlar. Mastered and cut by Rashad Becker at Dubplates & Mastering, Berlin. 180 gram vinyl; includes download code.
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SDBANU 010LP
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$23.50
PREORDER
RELEASE DATE: 9/13/2019
LP version. TaxiWars is back after a three-year hiatus with new album Artificial Horizon, released via Sdban Ultra. An intensive collaboration between dEUS frontman Tom Barman, saxophonist Robin Verheyen, bassist Nicolas Thys, and drummer Antoine Pierre, TaxiWars are a mix of lyricism, poetry, and jazz with a rock sensibility. Three years in the making, Artificial Horizon, is a metaphorical step forward from 2016's critically-acclaimed album Fever. Reinventing themselves, Barman and Verheyen came up with something very fresh and personal, tastefully evolving from a cubistic jazz sound to a more melodious direction. The band took their music to the next level adding depth to their compositions, clarity to the beats and efficiency to their overall sound. Artificial Horizon is high on experimentation and creativity and demonstrates a kaleidoscope of styles and sounds. Tracks, like album opener "Drop Shot", are sharp and on point, with a heavy sense of groove, while recent single "Sharp Practice", is an impulsive, energetic vibration that steams jazz with late eighties hip-hop beats. Title track "Artificial Horizon", is both beguiling and insistent with an ingrained punkiness that sets the band apart from the plush jazz scene, all thanks to Verheyen's punchy, melodic lines and Barman's haunting lyrics. "I wanted TaxiWars to be sharp, to the point, punky and trashy -- much like the band Morphine. Long solos were no-go," says Barman. The exquisite piano ballad "Irritated Love" complete with smoky sax is an example of the ease in which TaxiWars merge certain traditional elements of jazz with an indie approach to songwriting while tracks like "The Glare" and "Infinity Cove" display TaxiWars' love for jazz musicians such as Pharaoh Sanders, Archie Shepp, and Charles Mingus -- full of swing, pulse, and the urge to break out of the genre's confinements.
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2LP
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JMAN 115LP
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$33.00
PREORDER
RELEASE DATE: 9/13/2019
Double LP version. 180 gram vinyl; includes download card.
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SDBANU 010CD
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$14.50
PREORDER
RELEASE DATE: 9/13/2019
TaxiWars is back after a three-year hiatus with new album Artificial Horizon, released via Sdban Ultra. An intensive collaboration between dEUS frontman Tom Barman, saxophonist Robin Verheyen, bassist Nicolas Thys, and drummer Antoine Pierre, TaxiWars are a mix of lyricism, poetry, and jazz with a rock sensibility. Three years in the making, Artificial Horizon, is a metaphorical step forward from 2016's critically-acclaimed album Fever. Reinventing themselves, Barman and Verheyen came up with something very fresh and personal, tastefully evolving from a cubistic jazz sound to a more melodious direction. The band took their music to the next level adding depth to their compositions, clarity to the beats and efficiency to their overall sound. Artificial Horizon is high on experimentation and creativity and demonstrates a kaleidoscope of styles and sounds. Tracks, like album opener "Drop Shot", are sharp and on point, with a heavy sense of groove, while recent single "Sharp Practice", is an impulsive, energetic vibration that steams jazz with late eighties hip-hop beats. Title track "Artificial Horizon", is both beguiling and insistent with an ingrained punkiness that sets the band apart from the plush jazz scene, all thanks to Verheyen's punchy, melodic lines and Barman's haunting lyrics. "I wanted TaxiWars to be sharp, to the point, punky and trashy -- much like the band Morphine. Long solos were no-go," says Barman. The exquisite piano ballad "Irritated Love" complete with smoky sax is an example of the ease in which TaxiWars merge certain traditional elements of jazz with an indie approach to songwriting while tracks like "The Glare" and "Infinity Cove" display TaxiWars' love for jazz musicians such as Pharaoh Sanders, Archie Shepp, and Charles Mingus -- full of swing, pulse, and the urge to break out of the genre's confinements. CD version comes in digipack; includes booklet.
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JMAN 115CD
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$14.50
PREORDER
RELEASE DATE: 9/13/2019
With 20 years passing since his first foray into recorded jazz, Nat Birchall now ranks as one of the premier saxophonists of his generation. With several highly acclaimed albums in the locker, he now returns with his most ambitious project yet: a tribute to the legend that is Yusef Lateef titled, The Storyteller - A Musical Tribute to Yusef Lateef. Double-LP version comes in a gatefold; 180 gram vinyl; Includes download card.
Nat Birchall on the project: "When Jazzman Gerald first mentioned to me the idea of doing an album as a tribute to the jazz giant Dr Yusef A. Lateef, my first thought was 'Where on earth do I start?' Lateef was such a colossus of music, and his scope so broad, that I couldn't hope to begin to cover his musical universe. He was a master of the tenor saxophone, a master of the flute, a master ballad player, a master blues player. Not to mention his skills as a composer and arranger and of course his exploration and use of musical methodology and instruments from all over the world. I've always been a great admirer of Lateef, and the challenge was intriguing, so I decided to give it go. We interpreted some of his own compositions (Brother John, Morning and Ching Miau) as well as some compositions by others that he made his own by careful arrangement and interpretation ('Love Theme from Spartacus', 'Ringo Oiwake'). I also wrote some original songs that, while certainly not written in his style, might be said to fall into his very broad approach to music making. I also wanted to utilize as many different instruments as possible, something I hadn't explored too much until this album. So it was a nice opportunity to finally get around to playing some of the many small instruments I've collected over the years; the Turkish zurna, the mbira from Zimbabwe, the balaphon from Mali and the arghul from Egypt. We have also tried to use varied time signatures in the music, so we have songs in 3/4, 5/4 and 7/4 time, as well as the standard 4/4. Ultimately the best music tells a story to the listener and takes them to places they might not have imagined themselves. Yusef Lateef certainly did that, and as such was a master storyteller."
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LP
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MARREG 011LP
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$31.00
PREORDER
RELEASE DATE: 8/30/2019
Mad About Records present a reissue of Reggie Andrews and The Fellowship's Mystic Beauty, originally released in 1969. '60s jazz holy grail LP out of California -- a mythical album on many jazz collector's want-lists. This LP is on the extremely limited and sought-after private press label HME. It has deep Latin, Afro/Cuban-influences, and consists primarily of acoustic jazz pieces. Influences also range from the cerebral to the soulful, but it defies any one-dimensional tag like "spiritual jazz" or "soul-jazz" or "jazz-funk." Heralding from LA and led by pianist Reggie Andrews, it doesn't sound particularly "west coast". It's a beautiful session all around, really something special and profound. In recent years, Reggie Andrews has taught, mentored, and produced many talented musicians including Patrice Rushen, Terrace Martin, Ndugu Chancler, and the Dazz Band who wrote "Let It Whip", along with his close friend Leon Ndugu Chancler. He is the founder of the jazz-fusion group Karma. He worked with Earth, Wind & Fire, produced Moacir Santos for Blue Note Records, served as an "electronics consultant" for Donald Byrd, and took to mentoring The Pharcyde and J Dilla. 180 gram vinyl; Heavy cardboard sleeve with obi.
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NOAJ 005LP
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$26.50
PREORDER
RELEASE DATE: 8/30/2019
Notes On A Journey present a reissue of Phrydderichs Phaelda's Bruchstuecke, originally released in 1981. Even those of you who are already familiar with the label's concept of rediscovering music which has unjustifiably been lost, overlooked, or forgotten will be surprised by the reissue of the six-track-record Bruchstuecke LP by free-jazz artists Phrydderichs Phaelda. This band was a short living school band project of the Gymnasium Voerde Mitte (West-Germany) led by pianist and music teacher Friedrich Schepers joined by other teachers and students: Hans Klimek on bass, Lutz Leonhardt on drums, Wolfgang Kulawik on guitar. In 1975 they went to the studio to record six instrumental tracks in a style that could be best described as jazz/fusion with hints of R'n'B and rock, which are brimming with crisp snare drums played in polyrhythmic and ever-changing patterns and tempos. Alongside that, the astounded listener gets to enjoy thrilling electric guitar lines and breathtaking electric piano excursions together with ultrawarm and elaborate bass guitar parts. All this is held together by the four musicians great overview and ability to improvise and react spontaneously to their fellows. This creates a kind of magic which is rare to hear in music these days. Stefan Leisering and Juergen von Knoblauch, the two record digging members of Jazzanova have immediately understood the unique quality of Bruchstuecke and decided to re-release this overlooked masterpiece. In the course of the original release of this album in the early 1980s only a small amount has been pressed. Now this reissue on Notes On A Journey provides this gem to a larger audience -- to people who share a great interest in the remarkable development of underground jazz in Germany during those years. 180 gram vinyl; Old school tip on cover; Includes download card.
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MARGRI 012LP
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$31.00
PREORDER
RELEASE DATE: 8/30/2019
Mad About Records present a reissue of Johnny Griffith's The Geneva Connection, originally released on the Detroit Geneva label in 1974. Detroit jazz-funk, hard-to-find -- an extremely rare album left by Detroit-based jazz keyboard player Johnny Griffith known for the album Together, Togetherness on RCA (1974). Music From The Connection was composed by jazz pianist Freddie Redd for Jack Gelber's 1959 play The Connection. This first recording of the music was released on the Blue Note label in 1960. It features performances by Redd and Jackie McLean. Jack Gelber originally planned for the play to feature improvised music performed by jazz musicians who would also play small roles in the production. Freddie Redd, however, persuaded Gelber to include his original score. Redd re-recorded the score later in 1960 as Music From The Connection. In 1974, the pianist Johnny Griffith, a member of the prestigious Motown rhythm section Funk Brothers at the time, covered the whole album, playing electric piano here, which really changes the vibe of the music -- and the players are supposedly a host of Motown studio musicians -- playing jazz here, but with a nice funky soul undercurrent. Pianist Johnny Griffith can be heard on classic Motown sides, as well as on recordings from other Detroit-area labels. Like Motown's other pianists, Joe Hunter and Earl Van Dyke, Griffith's had an extensive musical background. Signed to Motown's Jazz Workshop label, he recorded the albums Detroit Jazz and The Right Side of Lefty Edwards (1964). When the march of the Motown hits began, Griffith started playing on sessions for their R&B/pop acts. But rather than signing a work-for-hire contract with Motown like other musicians, Griffith remained a freelancer, doing other dates and sessions in New York and nearby Chicago. The Motown hits that Griffith played on include: Marvin Gaye's "How Sweet It Is (To Be Loved By You)", his celeste trills are heard on "Mercy Mercy Me (The Ecology)", adding Wurlitzer electric piano on both Gaye's "I Heard It Through the Grapevine", and the Temptations' "Ain't Too Proud to Beg", organ on the Supremes' "Stop In The Name Of Love", and organ and shotgun effects on Junior Walker and the All Stars' "Shotgun". Griffith's non-Motown hits are with Edwin Starr, Jackie Wilson, The Chi-Lites, and Young-Holt Unlimited's "Soulful Strut". 180 gram vinyl; Heavy cardboard sleeve with obi.
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2LP
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US 499LP
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$30.50
PREORDER
RELEASE DATE: 8/16/2019
Double LP version. The Express Brass Band is a Munich based group of international musicians. It has been influenced by the second line marching bands of New Orleans, as well as experimental jazz formations, such as the Sun Ra Arkestra and the Art Ensemble of Chicago. The band's repertoire reaches from jazz, soul, and Afrobeat tunes, to Eastern European and oriental music creating a unique and very own style. Who's Following Who is the fourth album by the Express Brass Band and it offers 13 new tracks.
"The sound of the Express Brass Band not only is in search of freedom. It is synonymous with freedom. A freedom, by the way, that is not free of something but free for something." --Dirk Wagner
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2LP
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TPR 241LP
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$96.00
PREORDER
RELEASE DATE: 8/16/2019
Trumpeter Bill Dixon and pianist Cecil Taylor, friends going back to their Truman-era school days, associated copiously in nearly every artistic fashion -- except making music together. Duets is their only meeting in studio apart from both artists appearing on Taylor's 1966 landmark Blue Note LP, Conquistador. In 1992 they made the briefest summer festival tour to Italy and France, budgeting in two additional days for this recording session. That musical output was prepared for a release that was shelved for more than a quarter century and now comes out as a posthumous release in tribute to both giants. The initiative to release this music began with the Bill Dixon Trust and was approved by Taylor in his final years. Now, a wider public will hear music that they both prized, documenting the extraordinary relationship between their musicalities. Duets is a remarkable and unique item in the extensive catalogs of both men's recordings. Fans familiar with Dixon and Taylor's distinctive styles will approach with curious uncertainty: How could it possibly work to blend styles of Joyce and Hemingway? Pollock and Kline? Nevelson and Brancusi? Bill Dixon and Cecil Taylor share a fundamental fiber of taste and reaction as the basis for their interaction. The complementary nature of Duets makes the case thoroughly that the project stands apart not just from the numerous duet projects of both instrumentalists, but from the wide field of improvised duets in this sector of the music. This double-LP set has been scrupulously mastered from the original tape, preserving both the high gloss and the brutal physicality of the recording. Plates cut by Sterling Sound's Grammy®-winning mastering master Steve Fallone have been pressed into virgin vinyl at QRP, and wrapped in a hand-numbered Old-Style Tip-On® gatefold jacket that Stoughton has perfected. The package also includes a new contextualizing essay by historian Ben Young, hitherto-unpublished photographs from the collaboration, and artifacts reproduced from the original release plans. Bill Dixon conceived this as a deluxe digital release; Triple Point is honored to bring Duets to vinyl reality in the 21st century. Strictly limited edition of 665 (hand-numbered).
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LP
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FOX 012LP
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$17.50
PREORDER
RELEASE DATE: 8/16/2019
New York Contemporary Five: Live at Koncertsal, Copenhagen, 17.10.1963. The short-lived quintet known as the New York Contemporary Five had a lasting impact on the free jazz movement. It was formed in 1962 with trumpeter Don Cherry, who had been working with free jazz pioneer Ornette Coleman; tenor saxophonist Archie Shepp, who'd been working with Cecil Taylor, Gil Evans, and more recently, Bill Dixon; Danish alto saxophonist John Tchicai (whose father was Congolese), a former member of the quintet assembled by the poet and filmmaker Jorgen Leth, who moved to New York shortly before the Contemporary Five's formation; acoustic bassist Don Moore, who had played with Shepp and Dixon; and drummer JC Moses, who had played with Clifford Jordan and trumpeter Kenny Dorham. This rare performance, given at Copenhagen's Koncertsal on October 17, 1963, has epically-extended cuts of Don Cherry's "Consequences" and Ornette Coleman's "Emotions", plus a peppy take of Thelonious Monk's "Monk's Mood".
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FOX 013LP
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$17.50
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RELEASE DATE: 8/16/2019
Keith Jarrett: Live at Sendai Jazz Festival, Den-Ryoku Hall, Japan, 20.10.1986. The gifted American pianist Keith Jarrett is one of the jazz world's greatest musicians. Born in suburban Allentown, Pennsylvania in 1948 with a mixed European cultural heritage, Jarrett was a child prodigy that played piano at the age of two, appeared on television, aged five, and gave his first classical recital, aged seven. After studying at the prestigious Berklee College of Music, he moved to New York in 1964 to perform at the Village Vanguard and then joined Art Blakey's Jazz Messengers. Drummer Jack DeJohnette subsequently brought him into the Charles Lloyd Quartet, resulting in European tours, and when that group disbanded in 1968, Jarrett began fronting his own trio with bassist Charlie Hayden and drummer Paul Motian, and also began longstanding collaboration with Miles Davis, helping to shape noteworthy releases such as Live/Evil. From 1983, Jarrett's trio featured DeJohnette and former Albert Ayler collaborator Gary Peacock on bass, that version of the trio being the musicians featured on this beautiful concert staged at the Sendai Jazz Festival in 1986. Along with a sensitive rendition of showtune and Miles anthem "Stella By Starlite", highlights include a driving cut of Paul Desmond's "Late Lament" and a moving take of "I Remember Clifford", Art Blakey's memorial to trumpeter Clifford Brown.
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LP
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FOX 014LP
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$17.50
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RELEASE DATE: 8/16/2019
Alternative Fox present a reissue of Mary Lou Williams's Black Christ Of The Andes, originally released in 1965. Pianist and composer Mary Lou Williams played with nearly every major jazz performer during her long, illustrious, and varied career, in addition to recording many solo works. Born Mary Winn in Atlanta in 1910 and raised in a "shotgun shack", where local musicians gathered to jam, she played by ear from a tender age and learned the boogie-woogie style upon moving to Pittsburgh with her older sister Mamie. While still in high school, Williams toured with the Theatre Owners' Booking Association, bringing her into the orbit of Earl Hines, Louis Armstrong, and blues singer, Irene Scruggs, among others; later, based in Kansas City during the 1930s, she began composing and recording solo work. After a stint at the Cotton Club, she formed a combo in Pittsburgh that featured Art Blakey, but was soon recruited by Duke Ellington and once back in New York, began jamming with Thelonious Monk and Charlie Christian at bop hotbed, Minton's Playhouse. Art Tatum, Count Basie -- you name it, she played with them! Black Christ Of The Andes is easily one of the most individual albums created by Williams, or anyone else in jazz, for that matter; recorded in New York in late 1963 and first issued on Williams's own Mary Records, the album has jazz explorations of divine concepts, delivered with suitably complex arrangements; "Anima Christi" and "Praise The Lord" both feature soaring assembly by Melba Liston, "The Devil" and the title track have elaborate choral voices from the Howard Roberts Singers, and instrumentals such as "Miss D. D." and "A Fungus Amungus" use her expert piano skills to shock, titillate and provide light relief.
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US 499CD
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$17.00
PREORDER
RELEASE DATE: 8/16/2019
The Express Brass Band is a Munich based group of international musicians. It has been influenced by the second line marching bands of New Orleans, as well as experimental jazz formations, such as the Sun Ra Arkestra and the Art Ensemble of Chicago. The band's repertoire reaches from jazz, soul, and Afrobeat tunes, to Eastern European and oriental music creating a unique and very own style. Who's Following Who is the fourth album by the Express Brass Band and it offers 13 new tracks.
"The sound of the Express Brass Band not only is in search of freedom. It is synonymous with freedom. A freedom, by the way, that is not free of something but free for something." --Dirk Wagner
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ROG 093CD
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$16.00
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RELEASE DATE: 8/9/2019
"Tiger Trio - Map of Liberation. Joëlle Léandre (double bass), Myra Melford (piano), Nicole Mitchell (flute, alto flute, piccolo)."
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2LP
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DAD 140LP
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A very welcomed reissue of this long out-of-print and hard-to-find Stanley Turrentine live album. Originally released on Blue Note as two separate volumes in 1961, Up At Minton's catches the Stanley Turrentine quintet live at the mythical Minton Club in New York, in 1961, when the tenor saxophonist was leading a super tight quintet featuring Grant Green (guitar), Horace Parlan (piano), George Tucker (bass), and Al Harewood (drums). This is hard swinging soulful jazz at its best.
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2CD
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D 20002CD
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$10.00
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RELEASE DATE: 8/2/2019
36 classics and great namedropping on a double-CD set. The stylistic origins of jazz are blues, ragtime, spirituals, folk, marches, classical, music of West Africa, and the cultural origin was in the late 19th century, Southern United States. Typical instruments include piano, trumpet, trombone, saxophone, clarinet, keyboards, double bass, drums, guitar, vocals. Known subgenres: avant-garde, jazz, bebop, big band, chamber jazz, cool jazz, free jazz, gypsy jazz, hard bop, Latin jazz, mainstream jazz, modal jazz, M-Base, neo-bop, post-bop, progressive jazz, soul jazz, swing, third stream, and traditional jazz. This double-CD collection features: Artie Shaw, Benny Goodman, Gene Krupa, Harry James, Tommy Dorsey, Chick Webb, Count Basie, Fletcher Henderson, Duke Ellington, Glenn Miller, Jimmie Lunceford, Jimmy Dorsey, Earl Hines, Charlie Barnet, Les Brown, Cab Calloway, Nat King Cole & George Shearing, Louis Prima, Chet Baker, Louis Armstrong, John Coltrane, Oscar Peterson, Dave Brubeck, Woody Herman, Chris Barber, Dorsey Bros Orch., Humphrey Lyttelton, The Nat King Cole Trio, Thelonious Monk, Art Blakey and The Jazz Messengers, and Miles Davis.
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LP
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ZEP 021LP
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For this album debut by Black Flower, the Ethio-jazz project of and around saxophonist Nathan Daems, fans were already waiting since heard the five tracks on their self-titled EP from 2013. For Abyssinia Afterlife, Daems drew inspiration from the legend of Prester John (see also Tommy T's The Prester John Sessions (2009) and be sure to read the crazy story behind the album on Black Flower's website) and that resulted in an album that sounds like a feverish LSD-trip through the streets of the Ethiopian capital Addis Ababa. But Abyssinia Afterlife exceeds the boundaries of Ethio-jazz: in songs like "Upwards" (featuring Smokey Hormel's splendid guitar playing) or "Again I Lost It", Dengue Fever's psychedelic Cambodian rock is not far away and Wouter Haest keyboard sounds are at times reminiscent of the work of The Doors keyboardist Ray Manzarek ("I Threw A Lemon At That Girl", together with "Winter" the only song from the EP also featured on Abyssinia Afterlife). Black Flower only serves up eight songs on Abyssinia Afterlife, but with several compositions lasting more than five minutes, this album will certainly not leave you feeling unfulfilled. Gatefold sleeve.
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LP
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DAD 143LP
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$18.00
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RELEASE DATE: 8/2/2019
Down At Dawn presents a reissue of Coolin', originally released in 1959. An obscure and excellent 1957 session produced by master Rudy Van Gelder and originally released on Prestige Records. A tight sextet with a distinctive sound run by vibraphonist Teddy Charles, featuring great pianist Mal Waldron and some fine and often underrated musicians, such as Idrees Sulieman on trumpet, John Jenkins on alto saxophone, Addison Farmer on bass, and Jerry Segal on drums. The album consists of one standard and five originals, all based on complex melodies and hard swinging rhythms.
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SONOR 012CD
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$18.00
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RELEASE DATE: 8/2/2019
Founded in 2013 and based in Rome, Italy, Sonor Music Editions specializes in synchronization music for films, radio, and television. The label shares rare and obscure pop, jazz-funk, breakbeats, cinematic lounge, funk, psychedelic and progressive music, spacey cosmic sounds, easy listening, and all that good vintage Italian vibes hailing from library and soundtrack music production. The latest album on the label is by the legendary Italian jazz sax player Enzo Scoppa, and it's the first CD ever released on the label. New & Old Friends, featuring the famed and timeless duo Santucci-Scoppa active since 1958, is a modern jazz work and interpretation of bebop, big band, and contemporary jazz with sestet, quintet, and orchestra accompaniment. Alongside Basso-Valdambrini Sextet, the Santucci-Scoppa Quintet is the most ancient and solid ensemble in the history of Italian jazz. On this refined jam session, every performance is high quality and perfectly executed, thanks to the skill of talented musicians like the great arranger Antonello Sorrentino, the legendary trumpet Cicci Santucci, and the expert drummer Pietro Iodice. Liner notes by Adriano Mazzoletti.
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LP
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DAD 142LP
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$18.00
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RELEASE DATE: 8/2/2019
Down At Dawn present a reissue of Brown And Roach Incorporated, originally released in 1955. Recorded at Capitol Studios in Los Angeles in August 1954, this is the first Emarcy recording of the legendary Brown & Roach Quintet featuring the great Harold Land on tenor sax, Richie Powell on piano, and George Morrow on bass. Under the direction of two modern jazz masters such as trumpeter Clifford Brown and drummer Max Roach the quintet shines through a fine set of classic standards, including "Stompin' At The Savoy", Cole Porter's "I Get A Kick Out Of You", and a couple of Brown-Roach originals.
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LP
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DAD 144LP
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$18.00
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RELEASE DATE: 8/2/2019
Down At Dawn present a reissue of Miles Davis's Kind of Blue, originally released in 1959. One the most beautiful and essential albums of all times. The 1959 Miles Davis masterpiece is one of those rare pieces of art beyond ages and genres. A must have for any musically sensitive human being on earth. Personnel: Miles Davis - trumpet; John Coltrane - tenor sax; Cannonball Adderley - alto sax; Bill Evans and Wynton Kelly - piano; Paul Chambers - bass; Jimmy Cobb - drums.
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OTR 008LP
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Outernational Sounds present the first legitimate vinyl reissue of Nate Morgan's Journey Into Nigritia, originally release in 1983. A major statement from a crucial figure on the Los Angeles jazz underground -- Journey Into Nigritia is pianist Nate Morgan's spiritualized deep jazz classic. How many 16-year-olds would have the confidence to walk up to a revered bandleader at a gig, and inform him that one day they'd be playing together? As improbable as it sounds, this is how pianist Nate Morgan introduced himself to the great Horace Tapscott, founder of the Pan Afrikan Peoples Arkestra. The teenage Morgan had heard Tapscott's Flying Dutchman LP The Giant Is Awakened (1969) being played by Greg Kufahamu on local Los Angeles radio station KUSC, and Arthur Blythe's wailing sax had gone straight to the heart. Morgan showed up to all the Arkestra shows he could find. He was already studying with Joe Sample and Hampton Hawes and playing in local bands, but the draw of the Tapscott's band was too much for the gifted young pianist: "I could only take about two or three more concerts before I had to run up on stage. When I first introduced myself to Horace, he tells everybody that I said, 'Yeah, I'm Nate Morgan. I'm going to play with you all.' Not that I want to, but that I'm going to." Over the next decade and beyond, Morgan would become a central figure in Tapscott's UGMAA (Union Of God's Musicians and Artists Ascension), bringing new figures into the fold (like Jesse Sharps), running jam sessions, and eventually being given the task of organizing the Arkestra songbook. During the early 1970s he also worked commercially, doing a stint with Rufus and Chaka Khan and appearing on Willie Hutch's Foxy Brown soundtrack (1974). Into the 1980s and 1990s he remained active, keeping the UGMAA flame alive and working tirelessly around LA, including collaborations with Bone Thugs N' Harmony; he was also part of the early 2000s LA jazz collective Build An Ark. A true musician's musician, Morgan died in 2013. Journey Into Nigritia, featuring fire-breathing reedsman Dadisi Komolafe, was the first of two LPs Morgan recorded for Tom Albach's storied Nimbus West imprint. A committed, spiritualized work that showcases Morgan's heavy composing as well as his McCoy Tyner-influenced and technically flawless playing, Journey features dedications to Coltrane ("He Left Us A Song") and Cecil Taylor ("Study In C.T."). Surging, modal jazz from the LA underground, Journey Into Nigritia is a crucial recording by an unsung jazz legend. Fully licensed from Nimbus West founder Tom Albach.
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LP
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STSAFJ 200LP
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"Recorded in Oslo's small and intimate St. Edmund's Church the 13th of December 2017, this LP features compositions by James Weldon Johnson, Thelonious Monk and Joe McPhee plus two by McPhee and Nilssen-Love. The album was mixed, edited and mastered by Lasse Marhaug and is vinyl only, no digital. 500 copies made and no re-press. Artwork by Kim Hiorthøy."
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LP
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FFL 056LP
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Souffle Continu Records present a reissue of Baroque Jazz Trio's self-titled album, original released on Saravah in 1970. Mixing Baroque, free-jazz, and world music, the unique album of the Baroque Jazz Trio (which is in fact 3/5 of the Bach Modern Quintet) is a difficult-to-label sound object which is far from being typical of the psychedelic sounds associated with the early 1970s. Because, although fusion with Indian music (amongst others) and jazz (but also pop) was popular at the time, rarely had all this been mixed together with Baroque music. Even mentioning Jacques Loussier adapting Bach does not come close, as here, all barriers are broken down, with an audacity which begins with the highly original and extraordinary use of the harpsichord, an instrument which it is unusual to hear in such a context, even though indicated by the "baroque" in the title. Of course, jazz specialists will mention Johnny Guarnieri in the Gramercy Five with Artie Shaw, Martial Solal playing "Four Brothers" in 1965, or Lalo Schifrin in his homage to the Marquis de Sade? But no, none of these references really makes sense, as they pale in comparison to the wild adventures of Georges Rabol, probably closer to Call Cobbs with Albert Ayler, or, better still, Odile Bailleux in another remarkable French group, Armonicord, than anyone else. With George, the rhythm section is no less outstanding: Jean-Charles Capon, who, two years later would record the magnificent L'Univers-Solitude (FFL 046LP) on the same label, is a flying cello virtuoso, while Philippe Combelle, a great drummer rarely heard in such experimental circumstances, plays daringly mixed percussion. Also noteworthy is the presence of flutist, Michel Roques on one track, who was also behind a Saravah album, the splendid Chorus (FFL 048LP). In France, whether or not groups like Moravagine, Confluence, or Synchro Rhythmic Eclectic Language, working in similarly unusual areas, are taken into account, it is rare to find a group which, like the Baroque Jazz Trio, have been able to so blur the boundaries, especially by adding an exotic breath of fresh air inherited from the Third Stream. This record, alongside the album by Brigitte Fontaine with the Art Ensemble of Chicago made Pierre Barouh stand out as a pioneering producer and destroyer of stylistic frontiers. Remastered audio. Licensed from Saravah.
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