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Search Result for Genre JAZZ
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LP
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ACV 2105LP
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$21.00
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RELEASE DATE: 11/30/2018
DOXY presents a reissue of the George Russell Septet's The Stratus Seekers, originally issued in 1962. Joe Goldberg, from the original liner notes: "'Color' is a word that crops up with great frequency whenever George Russell discusses music. 'Dixieland has a color,' he has said; 'bop is a definite color, and so is atonality.' Following that train of thought, one might extend Russell's thesis and refer to him as a kaleidoscopic musical figure: so many different 'colors,' to use his phrase, appear on this album in so many shifting patterns that such a designation becomes almost inevitable. Colors, kaleidoscopes, and a music that insists on pushing its way out of arbitrary bags and containers. And although Russell's music is experimental, often difficult, and based on considerable technical theory, it is definitely full of just such vivid, electric and appealing qualities." Numbered edition of 500.
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ESPDISK 5030CD
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$12.00
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RELEASE DATE: 11/30/2018
A product of the Association for the Advancement of Creative Musicians who studied with AACM founders Anthony Braxton and Roscoe Mitchell, saxophonist Mars Williams is most famous as a member of The Psychedelic Furs but has proven his jazz bona fides with Peter Brötzmann and Ken Vandermark and while guiding Liquid Soul and Hal Russell's NRG Ensemble, to name just a few. His rock CV is also varied, including many years in Akron new wave band The Waitresses and work with Billy Idol, Ministry, Massacre, and many more. He also leads the Albert Ayler tribute band Witches & Devils, and out of their holiday concerts grew a unique tradition. One look at this album's track titles and you'll understand the concept here. One listen and you'll hear that, as odd as that concept may seem, it's brilliantly effective, with the disparate melodies working together in their common projection of joy and celebration. And it's worth noting that Williams's worlds collide on track three here, featuring The Waitresses's biggest hit, "Christmas Wrapping", as he played on their original recording. After enjoying An Ayler Xmas Vol. 1 (2017) last year, ESP-Disk' invited him to make Vol. 2 a co-release of Williams's Soul What Records and ESP-Disk', the top Ayler label. Personnel: Mars Williams - saxes, toy instruments; Josh Berman - cornet; Fred Lonberg-Holm - cello; Jim Baker - piano, ARP synthesizer, viola; Kent Kessler - bass; Brian Sandstrom - bass, guitar, trumpet; Steve Hunt - drums, percussion; Jeb Bishop - trombone; Thomas Berghammer - trumpet; Hermann Stangassinger - bass; Didi Kern - drums, percussion; Christof Kurzmann - lloopp, vocals.
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LP
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DAD 108LP
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$18.00
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RELEASE DATE: 11/30/2018
Down At Dawn presents a reissue of Freddie Hubbard's The Artistry Of Freddie Hubbard, originally issued on Impulse! in 1963. This explosive session, recorded in 1962, was young lion Freddie Hubbard's debut album for the label. For the occasion Hubbard displays a solid post-bop horn section with Curtis Fuller on trombone and the great John Gilmore on tenor saxophone in one of his rare appearances outside the Sun Ra Arkestra. The sextet is completed by an extremely dynamic rhythm section featuring Tommy Flanagan (piano), Art Davis (bass), and the super-swinging Louis Hayes on drums.
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LP
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ACV 2106LP
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$21.00
PREORDER
RELEASE DATE: 11/30/2018
Doxy presents a reissue of Cecil Taylor and Buell Neidlinger's New York City R&B originally issued in 1972, recorded in 1961. Two nights in January, 1961, high up on West 57th St. A fantastic line-up. Nat Hentoff, in the original liner notes: "I asked Buell Neidlinger about the title of the album: New York City R&B. 'That's what it is', he answered. 'We were all based in New York City then. The session, moreover, has two blues ('O.P.' and 'Things Ain't What They Used To Be') and one of the songs, 'Cindy's Main Mood', has an l-got-rhythm set up. 'Cell Walk'? Well, that's Cecil.' It would be difficult, as well as pointless, to label the music on this Neidlinger/Taylor album. It is of itself, and is so strongly original that it has not dated in the least. Taylor and Neidlinger, to be sure, have gone on and beyond; but what they did on those nights in January is going to last forever." Personnel: Cecil Taylor - piano; Buell Neidlinger - bass; Billy Higgins - drums and tympani; Archie Shepp - tenor saxophone; Denis Charles - drums; Clark Terry - trumpet; Roswell Rudd -trombone; Steve Lacy - soprano saxophone; Charles Davis - baritone saxophone. Numbered edition of 500.
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LP
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DAD 118LP
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$18.00
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RELEASE DATE: 11/30/2018
Down At Dawn presents a reissue of Indeed!, the debut album by genius trumpeter Lee Morgan, originally released in 1957. Recorded in 1956 at the very young age of 18, Indeed! is the result of a fine hard bop session featuring compositions by Benny Golson, Donald Byrd, Horace Silver and with Morgan leading his own band. The quintet features alto sax player Clarence Sharpe and a solid rhythm section with Horace Silver (piano) Wilbur Ware (bass), and Philly Joe Jones (drums).
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LP
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HEAVY 007LP
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$18.00
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RELEASE DATE: 11/16/2018
LP version; includes download. A Day At United, the name practically says it all. An album recorded in a single day, no rehearsals, no second takes. Just Mocky with friends, instruments, and some songs sketched in the week previous. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others is a refuge for artists seeking more control, or maybe "less interference". A Day At United is not an album about control, it's about putting certain conditions in place, then letting go, letting the magic happen. In an age of computer-led precision, this is an album about the struggle for imperfection. "I've always been inspired by the story of Miles Davis recording Kind Of Blue (1959)," says Mocky, "going into the studio with John Coltrane and Bill Evans, and making an album in real-time." Not that Mocky, who led the session from his drum kit, compares himself to the jazz greats; he doesn't even call himself a jazz musician. If this is his "jazz" album, it's because of the process that yielded it. The process began with a recording date, and to ensure a "classic" quality on the record, Mocky got together with producer Justin Stanley (Prince, Leonhard Cohen) who ended up recording and co-producing the album. "When everyone was in position, the charts in front them, the sticks in my hand, it was the first time I actually considered what I was about to do on drums. It was free-styling. Hearing the songs as they were being recorded, in complete real-time." Looking back on the origin of the album, Mocky sees it as an extension of his free-flowing Mocky and Friends nights. Picture a revolving cast of collaborators and co-creators, convening on the rooftop of the Ace Hotel in downtown LA, making music in the moment. "I wanted to attain a level of intention that was different from anything I had done on an album before," Mocky says. "Rather than playing all the instruments, I just drummed and let the ideas filter through this group of artists in real-time. If you multi-track or edit, the intention becomes a conceptual thing, considered and refined. At United, it was about this creative urgency. For me, it was waking up one day and, at the end of it, having an album done."
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CD
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BBS 009CD
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$17.50
PREORDER
RELEASE DATE: 11/16/2018
It's ten years that The Rongetz Foundation is hanging around the five boroughs. Ten years of wonderful jazz-tainted recordings, with Gary Bartz, Gregory Porter, Corey Fonville, and Ronnie Cuber, to name a few, "stained" with the grit of soul and funk music that Rongetz (aka Stephane Ronget) likes to bring to the table. This album, Alphabet City Music Club is a marvelous example of that stylish balance established in between raw and sophisticated feel. The place of the recording first, Alphabet City, is a genuine inner town in Manhattan that was for long time defined like this: "Avenue A, you're Alright. Avenue B, you're Brave. Avenue C, you're Crazy. Avenue D, you're Dead". There are two sessions that are part of the album: one is very much jazz-funk oriented with Corey Fonville (drums), Corcoran Holt (bass), Mathis Picard (keys), Morgan Guerin (tenor sax/EWI), and Erena Terakubo (alto sax/flute). The other one spreads soul music all around with: Homer Steinweiss (drums), Jeremy Kay (bass), Kyle Koehler (organ), and Guerin (tenor sax). The two sessions, ultimately came together with the help of talented young vocalists Alina Engibaryan (Snarky Puppy), Vuyo Sotashe, Vanisha Gould, Lewis Parker, and Mr Day. Mix all those elements in a rusty blender and you will enjoy the bootleg Bourbon, hard shake that is Alphabet City Music Club.
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LP
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TROST 182LP
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$22.00
PREORDER
RELEASE DATE: 11/16/2018
Rio is a limited live release by Peter Brötzmann's Full Blast. This is power free jazz in trio format, recorded at Audio Rebel, Rio de Janeiro, Brazil 2016. With all the projects Brötzmann is currently working on, Full Blast - with the precise and dynamic Swiss rhythm section of Marino Pliakas (electric bass) and Michael Wertmüller (drums) is the most consistent, the longest running. Mixed and mastered by Martin Siewert in Vienna. Artwork by Peter Brötzmann.
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CD
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HEAVY 007CD
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$15.50
PREORDER
RELEASE DATE: 11/16/2018
A Day At United, the name practically says it all. An album recorded in a single day, no rehearsals, no second takes. Just Mocky with friends, instruments, and some songs sketched in the week previous. Oh yeah, and a recording studio. United Recording, in fact. The legendary independent studio, financed by Sinatra among others is a refuge for artists seeking more control, or maybe "less interference". A Day At United is not an album about control, it's about putting certain conditions in place, then letting go, letting the magic happen. In an age of computer-led precision, this is an album about the struggle for imperfection. "I've always been inspired by the story of Miles Davis recording Kind Of Blue (1959)," says Mocky, "going into the studio with John Coltrane and Bill Evans, and making an album in real-time." Not that Mocky, who led the session from his drum kit, compares himself to the jazz greats; he doesn't even call himself a jazz musician. If this is his "jazz" album, it's because of the process that yielded it. The process began with a recording date, and to ensure a "classic" quality on the record, Mocky got together with producer Justin Stanley (Prince, Leonhard Cohen) who ended up recording and co-producing the album. "When everyone was in position, the charts in front them, the sticks in my hand, it was the first time I actually considered what I was about to do on drums. It was free-styling. Hearing the songs as they were being recorded, in complete real-time." Looking back on the origin of the album, Mocky sees it as an extension of his free-flowing Mocky and Friends nights. Picture a revolving cast of collaborators and co-creators, convening on the rooftop of the Ace Hotel in downtown LA, making music in the moment. "I wanted to attain a level of intention that was different from anything I had done on an album before," Mocky says. "Rather than playing all the instruments, I just drummed and let the ideas filter through this group of artists in real-time. If you multi-track or edit, the intention becomes a conceptual thing, considered and refined. At United, it was about this creative urgency. For me, it was waking up one day and, at the end of it, having an album done."
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CD
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CVSD 053CD
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$15.00
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RELEASE DATE: 11/16/2018
It's easy to be cynical these days, maybe difficult to imagine that music can change the world, but not for Joe McPhee and Hamid Drake. With Keep Going, they will make the planet a better place for humanity, a place to be humane, to preserve humankind. At 78 years old, Poughkeepsie multi-instrumentalist McPhee is a national treasure, and he's making more music than ever before, pushing himself to tour incessantly, issuing astonishing new records at a fierce rate. But this release, with legendary Chicago percussionist Drake, is something extremely special in the midst of many special records. The duo first recorded together in 1999, having only played together a limited number of times; the resulting music was issued as Emancipation Proclamation on the OkkaDisk label. When the opportunity arose to hit the studio for a second time, McPhee and Drake had two more decades of extensive work together under their belts, as members of the Peter Brötzmann Chicago Tentet and in many other contexts. But the session somehow consolidated their shared energy in an unexpected way; the drummer's incredible warmth and sense of buoyancy, the saxophonist and trumpeter's preternatural musicality and quest for social justice. The recording started with McPhee reciting words by Harriett Tubman, resulting in the title track; Drake's support was an achingly slow Max Roach-like beat. From this inspired, inspiring starting point, the twosome frolicked through a rich program, McPhee donning tenor and alto saxes, and pocket trumpet, Drake turning momentarily to the frame drum. Each musician contributes an introspective solo track. McPhee at one point plays trumpet into an open gong, which gives him otherworldly overtones, a sort of acoustic version of electric Miles. Drake makes too few records, so anything of his is mandatory; McPhee's been on a roll lately, releasing lots of music, but Keep Going is one not to be missed.
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CD
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STUDIOMUL 010CD
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$15.50
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RELEASE DATE: 11/16/2018
Studio Mule present a re-recording of Motohiko Hamase's Remiscence, originally issued in 1986. Remiscence scores a decent prize at online vinyl-selling platforms and it is worth every penny! It's a perfect "refuge from nasty reality", as the glorious British 20jazzfunkgreats blog once said. And it comes from a man that knows his trade: bass playing. An artisan on his instrument, Hamase also wrote many theoretical books in his more than four decades-long career. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe, he played in the Isao Suzuki sextet and was part of their landmark jazz-funk album Ako's Dream (1976). In the following years, he also played on records like Mikio Masuda's Latin-funk-jazz gem Moon Stone (1978) or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album Moritato (1978). In the early 1980s, his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass playing. From 1985 to 1993, Hamase released five solo albums. Just recently Studio Mule issued his first one, Intaglio (STUDIOMUL 008CD/LP, 2018), in a new recording that sounds as stunning as the original release from 1986. Reminiscence is his second work for the celebrated defunct Japanese New Age record label Shi Zen, follows in a fresh shape on Studio Mule. As does the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothing beauty of an album, it reflects Hamase's search for spaces of melancholy, a rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As with Intaglio, the 66-year-old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original Reminiscence material anew, while keeping the moving musical story arc of the original album alive in a fresh wrapping. The result is a dazzling, blue mood seething, a strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a "refuge from nasty reality".
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LP
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WRJ 004LTD-LP
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$32.00
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RELEASE DATE: 11/16/2018
LP version; 180 gram vinyl, mastered at half speed; heavy cardboard old Stoughton tip-on sleeve with obi, sticker, and liner notes. We Release Jazz presents its fourth release, the first ever official reissue of 1974's Stuff Combe 5 + Percussion, a hard-to-find soul jazz jewel from a cast of illustrious jazzmen led by glorious Swiss drummer, Stuff Combe. The release follows reissues Ryo Fukui's Scenery (WRJ 001CD/LTD-LP) and Mellow Dream (WRJ 002CD/LTD-LP), and Le Cercle Rouge's soundtrack by Eric Demarsan (WRJ 003LTD-LP). Recorded in Geneva, Stuff Combe 5 + Percussion finds Stuff Combe conducting an all-star ensemble consisting of Bob Jacquillard on bass, Francy Boland (The Chet Baker Quintet, arranger for Count Basie, Benny Goodman, the list goes on...) on piano and electric piano, bebop and hard-bop legend Benny Bailey on trumpet, and Tony D'Adario on saxophone. The sessions ooze with funk, spaced-out sounds, breathtaking solos, and moments of absolute collective wizardry. It's soul jazz at its best with sci-fi and bossa excursions. Born in Bern in 1924, Etienne Stephen Jean Gustave "Stuff" Combe had a wonderfully prolific career, playing all over Europe and the US and working with Buck Clayton, Bill Coleman, Stan Getz, Kenny Clarke, Oscar Pettiford, Art Taylor, Dizzy Reece, and Lucky Thompson, just to name a few. He passed away in 1986, leaving behind a legacy that cemented him as one of the most important musicians in the history of Swiss jazz. Includes liner notes by Alain Morisod.
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10"
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STAGO 135LP
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$17.50
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RELEASE DATE: 11/16/2018
It was neither a "stormy Monday", nor "a similar bad Tuesday", when the Retrograph got a call for doing the artwork of old pal Little Victor's "Lo-Fi Recordings" vinyl platter for Stag-O-Lee. They were in touch and shortly after, the idea of compiling weird stuff for "the 5th season" was born. It would have been way too easy concentrating on titles with "Ghost", "Spook", or "Devil" simply in the titles of often very boring and only fast or unbelievable lame tracks, so they went ahead doing something more subtle and special, spanning the decades from the 1920s through the 1940s in a very wild manner. At last, they kicked the term "Halloween" as it should be played the whole year through and every track is solid sending stuff for sophisticated Lindy Hop, Shag, or Balboa-dancing. It was so much fun digging through tons of old 78 rpm records, recording lots of material, and listening to them over and over again, kicking out, taking in, discovering stuff that was unheard over the last years and seemed sleeping til dawn. Then came the artwork and Stag-O-Lee wanted to do something special here as well, so they have taken an old Vocalion shellac sleeve from the '30s as a base for their own needs, trying to preserve the feel of old records from about eight decades ago. It is a nice anachronism in a time, where it is possible, to simply press a button on the telephone to make you hear whatever you like, almost everything and everywhere. Hopefully, there will be still lots of black holes in the world wide web in future. Features Fats Waller & His Rhythm, Count Basie Orchestra with Jimmy Rushing, The State Street Ramblers, Artie Shaw Orchestra with Helen Forrest, Sidney Bechet with Noble Sissle's Swingsters, Teddy Foster And His Kings Of Swing, Benny Goodman with Jack Teagarden, Woody Herman Orchestra, Llyod Smith's Gut-Bucketeers with Jabbo Smith, and Georgia Gibbs.
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LP
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DAD 114LP
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$18.00
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RELEASE DATE: 11/16/2018
Down At Dawn presents a reissue of Dexter Gordon's A Swingin' Affair, originally issued in 1962. "Swingin'" is the key word for this great 1962 recording session with the Gordon's tenor saxophone, leading an all-star quartet including Sonny Clark (piano), Butch Warren (bass), and Billy Higgins (drums). The album opens with the infectious, Afro-Cuban groove of "Soy Califa", featuring the unique Higgins beat, and develops through some high class renditions of romantic standards such as "Don't Explain" and "You Stepped Out Of A Dream", plus the dynamic Latin rhythm of Warren's "Backbone".
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2CD
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CVSD 052CD
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$18.50
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RELEASE DATE: 11/16/2018
Corbett Vs. Dempsey presents a reissue of Milford Graves's Bäbi, originally issued in 1977 on Graves's own IPS label. This is the first reissue of one of the most legendary albums in the history of free music. Recorded live in concert in 1976, when Graves' trio with saxophonists Arthur Doyle and Hugh Glover was at the height of its powers, Bäbi is a testament to the absolutely unique approach the drummer had established for himself. He had reconfigured the drum kit, removing the second heads on all the drums and replacing the snare with two toms, which allowed him a much more nuanced sense of indirectness in his multi-directional adventures in time. The track "Ba" remains one of the most astonishing feats of percussion alchemy ever waxed, as funky as ten slap bassists and as free as an exploding grenade. Doyle and Glover are incendiary, too, inspired by Graves to new and shocking heights of achievement, their hoarse cries and whistling split-tones carried to thrilling plateaus on the energy of Graves' hands and feet. The original tapes for the session have been lost, so the reissue was lovingly remastered from virgin vinyl, itself now worth a mint. In 2017, Graves discovered a previously unknown tape in his archives featuring the same trio at its inception, in home recordings made seven years earlier, in 1969. Graves pummels a huge gong while Glover plays an instrument that, after sounding like none ever known, turns out to be bass clarinet. Extreme music recorded up close and very hot, it is among the most searing sessions never heard, until now. Rounding out the two-CD package are three previously unpublished photos by Gérard Rouy, and the original LP cover design by Graves himself.
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CD
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HH 3086CD
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$17.00
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RELEASE DATE: 11/16/2018
Hi Hat presents Barney Kessel, live from Hoboken, NJ 1980. In his twenties, this relentlessly inventive guitarist was topping magazine polls and recording with Charlie Parker, Oscar Peterson and others. He went on to become one of America's top session guitarists, as well as making albums under his own name and touring widely, both on his own and with other renowned guitarists. The superb performance on Hoboken, NJ 1980 was broadcast on WBGO-FM radio, and finds him playing alongside the great Herb Ellis. It's presented here digitally remastered together with background notes and images. Personnel: Barney Kessel - guitar; Herb Ellis - guitar, track 3; Bob Magnuson - bass; Sherman Ferguson - drums.
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LP
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DAD 119LP
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$18.00
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RELEASE DATE: 11/16/2018
Down At Dawn presents a reissue of Mary Lou Williams's Black Christ of the Andes, originally issued in 1965. One of the highly regarded pieces of music by the great pianist and composer Williams, the concept behind Black Christ Of The Andes is about the ideal meeting between jazz and the spiritual, from the dark, smoky atmospheres of the Devil's music to the luminous sound of the African-American Church. A very enjoyable record made up of different materials like "Jump Blues" numbers, a cappella choral pieces and some striking piano trio cuts. All arranged and conducted by the great Melba Liston and featuring performances of jazz luminaries such as Milt Hinton, Grant Green, Percy Heath, and Williams herself.
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LP
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DAD 117LP
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$18.00
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RELEASE DATE: 11/16/2018
Down At Dawn presents a reissue of Billie Holiday's Lady Day, originally issued in 1954. Based on a very accurate selection from different recordings from the golden era 1935-1937, Lady Day consists of a gorgeous collection of classic performances by Holiday accompanied by a stellar cast of jazz greats such as Lester Young, Teddy Wilson, Benny Goodman and the great Count Basie's rhythm section with Freddie Green, Walter Page and Jo Jones.
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CD
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ESPDISK 5027CD
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$12.00
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RELEASE DATE: 11/16/2018
Gabriel Zucker's first ESP-Disk' album, Evergreen (Canceled World) (ESPDISK 5017CD, 2016), was made with his big band, The Delegation. His second, Weighting is a quartet, with Delegation members Adam O'Farrill and Eric Trudel joined by acclaimed drummer Tyshawn Sorey. A suite inspired by Rachel Kushner's novel The Flamethrowers (2013), Weighting is a spacious mix of composition and improvisation, frequently intimate -- sometimes consisting of just intertwined sax and trumpet lines -- but occasionally punctuated with rowdy outbursts or densely-woven passages. Personnel: Gabriel Zucker - piano, compositions; Tyshawn Sorey - drums; Adam O'Farrill - trumpet; Eric Trudel - saxophone.
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5LP BOX
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JMAN 106LP
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$118.00
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RELEASE DATE: 11/16/2018
Jazzman Records presents the Don Rendell/Ian Carr Quintet's The Complete Lansdowne Recordings, 1965-1969. After an epic licensing odyssey that's taken Jazzman almost 20 years, the label is finally able to announce the five-LP box set release of the first-ever official re-issue of all five of the iconic Lansdowne recording sessions by legendary UK jazz combo, the Don Rendell/Ian Carr Quintet. The five albums (Shades Of Blues (1965), Dusk Fire (1966), Phase III (1968), Change Is (1969), and Live (1969)) have reached almost mythical status in the collector's world. Regarded as holy grail artifacts for even the seasoned aficionado, the collective second hand market value comes to an astonishing £6000. Many have tried -- and failed -- to reissue these albums by legitimate means, the main problem being that Universal Music, the largest record company in the world, didn't know the whereabouts of the original documentation in amongst the tens of thousands of other files in their archives. Understandably, locating the necessary paperwork pertaining to some obscure jazz albums from the 1960s wasn't and never will be top priority for such an organization. However, two decades since our initial approach, we have managed to succeed. The complete Don Rendell & Ian Carr Lansdowne recording sessions have now undergone a full and unprecedented box set reissue. We located and acquired the original analog master tapes from the Universal vaults and created masters at Abbey Road Studios to produce audiophile quality 180 gram pressings replete with replica artwork: shape, design, and even paper stock. No stone has been left unturned to deliver this absolute labor of love to the highest possible standard! The enclosed booklet contains never-before-seen photographs, interviews with the remaining living band members and liner notes from BBC Radio 3 presenter and award-winning jazz writer Alyn Shipton. The band played together for seven years and during this fruitful time they made a plethora of deeply melodic, post-bop British jazz compositions that later on took influences from Indo and more spiritually guided jazz. Produced by the influential Denis Preston and recorded at his Lansdowne Studios in London, the band was primarily made up of saxophonist Rendell, trumpeter/composer Carr, and pianist/composer Michael Garrick. This is UK jazz at its absolute finest, and the quality of our box set pays testament to that. Five LP box set housing LPs in original replica flipback color sleeves, with poly-lined printed inners and 180 gram vinyl. Includes color booklet with original liner notes and unpublished photographs. Numbered edition of 1000.
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CD
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CVSD 055CD
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$15.00
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RELEASE DATE: 11/16/2018
Some recordings, the world is just not ready for them when they're made. In 2008, Swedish born, Austrian resident saxophonist Mats Gustafsson and Poughkeepsie, New York multi-instrumentalist Joe McPhee made a suite of studio recordings, Brace For Impact that they loved so much they immediately culled, mixed, and mastered them. A decade later, when the original label for which they were planned had not yet issued them, Gustafsson and McPhee offered them to Corbett Vs. Dempsey, and when the label couldn't believe the music. As searching and searing as anything either of them has made, the duets lived up to their explosive title. Gustafsson is known for his energy, and it's here in droves, but there are other nuances brought out by McPhee, a supple sense of melodicism (hey now, Gustafsson is a Swede, so by birthright he's melodic) and the love of experimental sound-making that McPhee displayed on his sound-on-sound recordings in the late 1960s. Although the two wind-players have worked together very extensively in Peter Brötzmann's large groups, with McPhee as a guest in Gustafsson's band The Thing, and in all manner of large and small group improvisations, they have never issued a record of duets before. This duo debut, now a decade in the can, is insanely powerful. Prepare yourself for the impact. Cover image by Charline von Heyl, interior photo of McPhee and Gustafsson bracing themselves back in 2002 by John Corbett. The package is completed by a haunting cover image by artist Cauleen Smith.
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CD
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CVSD 056CD
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$15.00
PREORDER
RELEASE DATE: 11/16/2018
Corbett vs. Dempsey presents a reissue of Misha Mengelberg's Groupcomposing, recorded in 1970 and originally released in 1978. Comprised of a one-time international free music supergroup, and originally released as the sixth production on pianist Mengelberg and drummer Han Bennink's ICP label, Groupcomposing has been largely absent from the history books. This is the case because the record has been so unavailable, certainly not as a comment on the magnitude and magnificence of the music. With its Bennink cover (take that Andy Warhol!) and its two side-long tracks, it is an improvised music aficionado's treasure. Mengelberg and Bennink are joined by Bennink's brother, Peter Bennink, on alto saxophone and bagpipes(!), with an incredible reed section of Evan Parker and Peter Brötzmann, Paul Rutherford on trombone, and Derek Bailey on guitar. Moving from peaks of intensity to droning deescalation, totally improvised live in concert in 1970, Groupcomposing should be heard in the company of related records like Brötzmann's Machine Gun (CF 020LP, 2018) and Nipples (CF 013LP, 2016), early London Jazz Composer's Orchestra and Globe Unity Orchestra, and Manfred Schoof's European Echoes (CF 008LP, 2013. The music is reissued here for the first time as a stand-alone CD, with original album art and an interior salon of never-published period photographs by Gérard Rouy. The first in an ongoing series of ICP reissues on Corbett vs. Dempsey, Groupcomposing restores a classic LP to its rightful place in the canon.
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LP
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STUDIOMUL 010LP
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LP version. Studio Mule present a re-recording of Motohiko Hamase's Remiscence, originally issued in 1986. Remiscence scores a decent prize at online vinyl-selling platforms and it is worth every penny! It's a perfect "refuge from nasty reality", as the glorious British 20jazzfunkgreats blog once said. And it comes from a man that knows his trade: bass playing. An artisan on his instrument, Hamase also wrote many theoretical books in his more than four decades-long career. In the 1970's Hamase was no stranger to Tokyo's vibrant jazz scene. Together with jazz pianist Tsuyoshi Yamamoto and jazz-rock guitarist Kazumi Watanabe, he played in the Isao Suzuki sextet and was part of their landmark jazz-funk album Ako's Dream (1976). In the following years, he also played on records like Mikio Masuda's Latin-funk-jazz gem Moon Stone (1978) or Japanese female jazz singer, actress, and essayist Minami Yasuda's last album Moritato (1978). In the early 1980s, his work shifted from pure jazz to electronic and ambient spheres and he started to compose his own music around his deeply emotional bass playing. From 1985 to 1993, Hamase released five solo albums. Just recently Studio Mule issued his first one, Intaglio (STUDIOMUL 008CD/LP, 2018), in a new recording that sounds as stunning as the original release from 1986. Reminiscence is his second work for the celebrated defunct Japanese New Age record label Shi Zen, follows in a fresh shape on Studio Mule. As does the original, it features deeply touching moments of sheer pristine perfection and distributes Hamase's inner emotional landscape with a bewitching bass performance. A soothing beauty of an album, it reflects Hamase's search for spaces of melancholy, a rhizome of soundscapes that capture, settle and sound elusive while simultaneously being awe-inspiring. As with Intaglio, the 66-year-old artist gathered again some befriended musicians, rented a studio, staged his gear and recorded most of the original Reminiscence material anew, while keeping the moving musical story arc of the original album alive in a fresh wrapping. The result is a dazzling, blue mood seething, a strongly hypnotic long-player, full of personality and hybrid ambient electronic jazz spheres that open doors to unheard sound universes and that perfectly work for all those stress-relieved souls that love the disclosure of the mind and seek for a "refuge from nasty reality".
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LP
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BBS 009LP
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$25.00
PREORDER
RELEASE DATE: 11/16/2018
LP version. It's ten years that The Rongetz Foundation is hanging around the five boroughs. Ten years of wonderful jazz-tainted recordings, with Gary Bartz, Gregory Porter, Corey Fonville, and Ronnie Cuber, to name a few, "stained" with the grit of soul and funk music that Rongetz (aka Stephane Ronget) likes to bring to the table. This album, Alphabet City Music Club is a marvelous example of that stylish balance established in between raw and sophisticated feel. The place of the recording first, Alphabet City, is a genuine inner town in Manhattan that was for long time defined like this: "Avenue A, you're Alright. Avenue B, you're Brave. Avenue C, you're Crazy. Avenue D, you're Dead". There are two sessions that are part of the album: one is very much jazz-funk oriented with Corey Fonville (drums), Corcoran Holt (bass), Mathis Picard (keys), Morgan Guerin (tenor sax/EWI), and Erena Terakubo (alto sax/flute). The other one spreads soul music all around with: Homer Steinweiss (drums), Jeremy Kay (bass), Kyle Koehler (organ), and Guerin (tenor sax). The two sessions, ultimately came together with the help of talented young vocalists Alina Engibaryan (Snarky Puppy), Vuyo Sotashe, Vanisha Gould, Lewis Parker, and Mr Day. Mix all those elements in a rusty blender and you will enjoy the bootleg Bourbon, hard shake that is Alphabet City Music Club.
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CD
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TROST 177CD
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$17.00
PREORDER
RELEASE DATE: 11/16/2018
Chicago Edge Ensemble is a special project of the finest Chicago musicians dealing in free jazz and improvisation, put together by Dan Phillips. Insidious Anthem is their second album, and first on Trost. Personnel: Dan Phillips - guitar; Hamid Drake - drums; Mars Williams - saxophones and percussion; Jeb Bishop - trombone; Krzysztof Pabian - double bass.
"Dan Phillips leads a quintet with muscle and a big Chicago sound and memorable compositions." --The Wire.
"Chicago jazz is the complexity of the postmodern sound with a predisposition for rump shaking. The Quintet rarely lowers the flame from boiling." --All About Jazz.
"Fans of both traditional and more adventurous jazz will find much to like here. Indeed, the Chicago Edge Ensemble does manage to succeed in representing the city's diverse musical roots, and in a highly enjoyable fashion to boot." --Avant Music News.
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