|
Search Result for Genre JAZZ
viewing 1 To 25 of 3860 items
Next >>
|
|
|
|
|
|
|
|
|
|
|
|
LP
|
|
SDBAND 019LP
|
$31.50
PREORDER
RELEASE DATE: 11/8/2024
Sdban Records presents Doo's Blues, a collection of previously unreleased radio recordings capturing Serbian jazz trumpeter, composer and band leader Dusko Goykovich (1931-2023) at the moment he definitively established himself as one of Europe's most distinctive jazz artists. Dusko Goykovich was born and raised in Jajce, Bosnia and Herzegovina, at the time part of the Kingdom of Yugoslavia. He studied at the Belgrade Music Academy from 1948 to 1953, playing trumpet in Dixieland bands and joining the big band of Radio Belgrade at the age of 18. Moving to Frankfurt he first established himself on the West German jazz scene, where he played with the renowned big bands of Kurt Edelhagen and Kenny Clarke & Francy Boland. Then, after appearances at the world's largest jazz festivals such as Comblain-la-Tour in Belgium, Antibes in France and Newport, Goykovich moved stateside where he spent four years studying at the world famous Berklee College and worked with the likes of Woody Herman and Maynard Ferguson. Returning to Europe in the mid-sixties Goykovich soon introduced the world to his innovative Balkan jazz sound with Swinging Macedonia (1966), an album characterized by the melancholic melodies and sophisticated rhythms reminiscent of his native land. Not long after he was invited to record two sessions for BRT (Belgian Radio & TV), which he performed with three different ensembles. For the first session, recorded in late January of 1967, Goykovich was accompanied by Belgian vibraphonist Fats Sadi's quartet. Later that same day Goykovich was also joined by the BRT Jazzorkest, Belgium national radio's in-house jazz orchestra then playing under the direction of alto saxophonist Etienne Verschueren. Less than two months later Goykovich found himself once again ensconced in BRT's Brussels studios, this time heading up an international quintet that also included Bent Jædig (tenor saxophone and flute), Scott Bradford (piano), Jimmy Woode (bass) and Al Jones (drums). Whilst the metaphor "jazz with an accent" has been widely used to describe the music that European jazz artists created in the 1950s and 1960s, it fails to do justice to the entirely new language that Dusko Goykovich was developing. Doo's Blues was compiled by Lander Lenaerts, a DJ and writer who plays an important part in documenting the rich jazz history Belgium has to offer.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WJLP 077LP
|
$28.00
PREORDER
RELEASE DATE: 11/1/2024
It Was Always Time, the debut duo release from Berke Can Özcan and Jonah Parzen-Johnson on We Jazz Records, is a refreshing and full-throated expression of joy and curiosity. In a year when 76 countries hold national elections and listeners find themselves in an existential battle against apathy and cynicism, this effortlessly authentic album offers an innocent reminder that the antidote to stagnation is curiosity and the fuel for change is the joy of building something transformative together. In April 2022, Brooklyn based baritone saxophonist, Jonah Parzen-Johnson, found himself on a flight from New York to Istanbul to play a one-off duo concert with a veteran drummer and sound designer at the center of Istanbul's vibrant music scene, Berke Can Özcan. They met for the first time 30 minutes before soundcheck. The concert that followed could have been the culmination of years of collaboration. Both urgent and timeless, their musical partnership is instantly solid, innocent and joyful. Recorded across continents, time zones, and cultures, It Was Always Time meticulously builds on itself, weaving layers of found-sound samples over acoustic percussion to frame poignant saxophone melodies that melt into rich synth interludes. Although the album is almost completely improvised, the depth of texture and devotion to melody make it feel through-composed. From track to track, each musician places their trust in the other, and as ambition evolves into empathy, the whole becomes greater than the sum of its parts. This is not a protest album, or music that sets out to directly change the world. Rather, in the subtle way that only art is capable of, the music made by this international duo of strangers turned friends is a reminder: Be curious, find joy, build something better together. It's time. It was always time.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
MOM 051LP
|
Modern Obscure Music presents Sakuraza, a live album featuring Eiko Ishibashi (flute and electronics), Jim O'Rourke (electronics), Kei Matsumaru (alto saxophone), Tatsuhisa Yamamoto (drums), and Giovanni Di Domenico (piano). Recorded at the Sakuraza jazz club in Kofu, Japan, this dynamic and sophisticated performance blends jazz, electronic music, and pop elements. Giovanni Di Domenico, a frequent visitor to Japan, organized this June 2023 concert with long-time collaborators Ishibashi, O'Rourke, and Yamamoto, and invited saxophonist Matsumaru. The warm, intimate setting of Sakuraza provided the perfect backdrop for their unedited, improvisational session. Sakuraza captures the deep musical connection and spontaneity of these artists, offering an immersive auditory experience. Recorded on June 14, 2023.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
WJCD 073CD
|
$16.00
PREORDER
RELEASE DATE: 10/25/2024
Peter Evans makes his We Jazz Records debut with Extra. The band formation includes Evans on trumpet, Petter Eldh (Koma Saxo/Post Koma) on bass and Jim Black on drums. Peter Evans, an acclaimed trumpet player, improvisor, and composer based in New York City presents a gutsy new band that gets right to work with his eight new compositions. Extra was recorded at the iconic Namouche Studio in Lisbon and it has a feeling of a session where all musicians are pushing for the new together with great excitement. Both Eldh and Black are long-time collaborators of Evans, and every ounce of Extra brims with musical joy of togetherness and new discovery. Comprised of eight Evans originals, the album is a firecracker set off from the first beats of album opener "Freaks". While Peter Evans is often lauded for his remarkable technical prowess, he is first and foremost serving his broader musical vision at all times. That is, the remarkable musical ability of the trio doesn't outshine how together the unit is in realizing the music at hand. The strong rhythmic base of Eldh and Black allows for Evans to push his compositions to their limits and for the band to find new avenues of expression together while doing so. Tracks like "Freaks", "In See" and "Boom" are full on forward-looking fire music with more heat than a sunny day in Lisbon, while "Movement 56" and "The Lighthouse" flip the script in ways that stun and surprise like an alleyway you only discovered after taking a couple of left turns far away from the high street. This is effortless creative music by a band that's comfortable together while pushing each other forward at all times.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
SOW 052LP
|
$23.50
PREORDER
RELEASE DATE: 10/25/2024
Originally released on Roulette records in 1960, this is a unique and yet often overlooked document in the form of a split album featuring early, little known works by John Coltrane and Lee Morgan. Coltrane, already in full modal flight, is featured with an unusual quartet that includes McCoy Tyner on piano, Steven Davis on bass, and the great Billy Higgins on drums. Lee Morgan's straight ahead hard bop set sees the young trumpet genius leading a hard swinging group that includes a fabulous Wayne Shorter on tenor sax, Bobby Timmons on piano (both were Morgan's colleagues in Art Blakey Jazz Messengers), Jimmy Rowser on bass, and Art Taylor on drums. A must have item for fans of these two masters of modern jazz.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
TDP 54144LP
|
$24.00
PREORDER
RELEASE DATE: 10/25/2024
Licensed from Cherry Red. New York-born jazz pianist Mal Waldron's incredible career saw him backing Mingus, Coltrane, and Billie Holiday, and after surviving a heroin overdose and mental breakdown, he decamped to Europe to compose film scores; then, in 1970, he made his maiden voyage to Japan, where One For Lady was recorded with rising star Kimiko Kasai, drummer Hiroshi Murakami, and bassist Yoshio Suzuki from Sadao Watanabe's band. Waldron's expressive pianos and Kasai's sultry vocal delivery are the outstanding draws, the sensitive renditions of "Willow Weep For Me" and "Lover Man" summing up the album's enduring appeal.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WJLP 073LP
|
$26.00
PREORDER
RELEASE DATE: 10/25/2024
LP version. Peter Evans makes his We Jazz Records debut with Extra. The band formation includes Evans on trumpet, Petter Eldh (Koma Saxo/Post Koma) on bass and Jim Black on drums. Peter Evans, an acclaimed trumpet player, improvisor, and composer based in New York City presents a gutsy new band that gets right to work with his eight new compositions. Extra was recorded at the iconic Namouche Studio in Lisbon and it has a feeling of a session where all musicians are pushing for the new together with great excitement. Both Eldh and Black are long-time collaborators of Evans, and every ounce of Extra brims with musical joy of togetherness and new discovery. Comprised of eight Evans originals, the album is a firecracker set off from the first beats of album opener "Freaks". While Peter Evans is often lauded for his remarkable technical prowess, he is first and foremost serving his broader musical vision at all times. That is, the remarkable musical ability of the trio doesn't outshine how together the unit is in realizing the music at hand. The strong rhythmic base of Eldh and Black allows for Evans to push his compositions to their limits and for the band to find new avenues of expression together while doing so. Tracks like "Freaks", "In See" and "Boom" are full on forward-looking fire music with more heat than a sunny day in Lisbon, while "Movement 56" and "The Lighthouse" flip the script in ways that stun and surprise like an alleyway you only discovered after taking a couple of left turns far away from the high street. This is effortless creative music by a band that's comfortable together while pushing each other forward at all times.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2LP
|
|
AMI 054LP
|
$31.00
PREORDER
RELEASE DATE: 10/25/2024
"Primitive Art Group 1981-1986 is presented on gatefold 2LP, and is a combination of the group's only two albums, consisting of one LP of Five Tread cuts plus 'Cecil Likes to Dance' a never-before-released live recording from Thistle Hall (1984) and the full 1985 LP Future Jaw-Clap. This material that has been unavailable since mid-1980s. It is well documented that in the early '80s, New Zealand was awash with adventurous new music. Though sharing the kind of happy isolation and the DIY ethic with contemporaneous outfits like Flying Nun, South Indies, and Xpressway, one band cut a decidedly different path. The Primitive Art Group, formed in Wellington, devoted itself to collective improvisation coming out of a jazz tradition. With the line-up of Anthony Donaldson (drums), David Donaldson (bass), Neil Duncan (saxes), Stuart Porter (saxes), David Watson (guitar), and originally with Pam Grey (on cello), the group's relatively brief existence left a lasting impression on the New Zealand's free music scene. Musically, there was no precedent in New Zealand for their combination of noise, collective playing and compositional freedom. The band's five-year lifespan was non-stop activity: rehearsing, touring, the creation of Braille Records (their own record label which released ten LPs), dance and theater work, appearances at music festivals, and hosting two hugely influential national festivals of improvisation at Thistle Hall, Wellington. In 1984, Primitive Art Group spent a week making their first recording, an ambitious double LP, Five Tread, which had only a single pressing and sold-out locally. One year later they were back in the studio making their second album, Future Jaw-Clap. This outing contained tighter pieces, as the band widened its repertoire with nods to broader influences and antecedents. In 1986, The Primitive Art Group gave their last concert at the Wellington Town Hall, just a half mile from Rawa House and the legendary Thistle Hall where their first shows had taken place. The band's Braille Records' recordings have never been released outside of New Zealand, nor have ever been available digitally. The group's brief tenure has continued to inspire new generations of improvisers, but nothing has ever quite matched the visceral blast of the Primitive Art Group's arrival on the scene. Every member of the group has carried on doing creative work at the highest levels: scoring films, making art, mentoring, organizing, touring and always playing."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
JMAN 145LP
|
$22.50
PREORDER
RELEASE DATE: 10/18/2024
Volume 8 of the Greasy Mike's series from Jazzman Records. Another 18 slices of rott and roll records from Weirdsville, USA. "'Ain't nobody here but us monsters!' I shouted out in desperation. 'Monsters? There are no monsters here!' came the reply out of the darkness, 'These are my children! My babies!' And with that the footsteps shuffled closer, closer. I could hear the shadowy figure breathing heavily. I could see the silhouette of his hunched figure lurching slowly towards the corner where I was crouching on the cold, sludgy floor. 'It's now or never' I told myself, and with that I leapt up and made a dash for the open door. All of a sudden the monsters in their cages began to howl and wail like death itself. The hairless, one-eyed monkey jumped and spat. The gorilla with twisted limbs began to thrash and tear at the iron bars that restrained him. The grotesque human head with the body of a dog let out a piercing, blood curdling scream, and its eyes bulged out of madness. But I had no time to be horrified, no time to be scared, and no time to stop and stare. I had to get outta there -- and fast. I moved quickly, but my feet struggled for grip on the slimy stone flagstones, which was covered everywhere in gooey blood and thick gunge. I slid and bounced haphazardly from cage to cage, hairy arms protruding and grabbing, gnashing teeth snapping and snarling, until I finally reached the dark, open doorway at the far end of the room. Turning my head back I yelled at the shadowy figure I'd left behind, 'It's witchcraft, you crack-brained crazy! You psychowhacko schizoid scumfreak!' And with that I disappeared through the void, and into the night." Featuring Los Vampiranos, Johnny Eager, Dick DeWayne Combo, Tommy Falcone & the Centuries, The Madmen, The Big Guys, Baron Daemon & the Vampires, The Phantom, Moe Koffman, Kenny & the Fiends, The Plaids, Dave Gray & the Graytones, Jerry Bryan, Mysterions, The Playboys, The Tomkos, The Phantoms Band, and The Bluenotes.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CPT 635CD
|
$16.00
PREORDER
RELEASE DATE: 10/18/2024
Peter Gall, drummer of Web Web, one of the most accomplished and sought-after German jazz drummers, releases his second solo album. An intense work full of passion for modal jazz, fusion and improvisation. Full support from Gilles Peterson. With highly virtuoso, prominent guests: Wanja Slavin, Rainer Böhm, Reinier Baas, Matthias Pichler, and a live tour in winter and spring 2025. In 2018, Peter Gall's sensational debut album Paradox Dreambox saw the light of day. What began as an experiment became a strong musical statement that met with an enthusiastic response in the jazz world and led to successful tours with a fantastic band. Now finally comes the long-awaited second album: on Love Avatar, the Berliner-by-choice, who was born in Bad Aibling in Southern Bavaria, continues his search for new musical galaxies and paradoxes, emotional eruptions, irresistible grooves and the unreal, the supernatural and the love in music. Love Avatar by Peter Gall and his colleagues is richer, more complex, but also more focused and consistent than its predecessor. Mystical, hotblooded and biting, multidimensional and, above all, with a great focus on rousing grooves. It is somehow not a pure jazz album, there are too many parallel worlds for that. Nevertheless, jazz, the unpredictable, blind interaction and the courage to take risks play the most important role in this conglomerate of post-bop, fusion, baião, anthemic indie rock, melancholy synth spheres and hypnotizing beats.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
CPT 635LP
|
$24.00
PREORDER
RELEASE DATE: 10/18/2024
LP version. Peter Gall, drummer of Web Web, one of the most accomplished and sought-after German jazz drummers, releases his second solo album. An intense work full of passion for modal jazz, fusion and improvisation. Full support from Gilles Peterson. With highly virtuoso, prominent guests: Wanja Slavin, Rainer Böhm, Reinier Baas, Matthias Pichler, and a live tour in winter and spring 2025. In 2018, Peter Gall's sensational debut album Paradox Dreambox saw the light of day. What began as an experiment became a strong musical statement that met with an enthusiastic response in the jazz world and led to successful tours with a fantastic band. Now finally comes the long-awaited second album: on Love Avatar, the Berliner-by-choice, who was born in Bad Aibling in Southern Bavaria, continues his search for new musical galaxies and paradoxes, emotional eruptions, irresistible grooves and the unreal, the supernatural and the love in music. Love Avatar by Peter Gall and his colleagues is richer, more complex, but also more focused and consistent than its predecessor. Mystical, hotblooded and biting, multidimensional and, above all, with a great focus on rousing grooves. It is somehow not a pure jazz album, there are too many parallel worlds for that. Nevertheless, jazz, the unpredictable, blind interaction and the courage to take risks play the most important role in this conglomerate of post-bop, fusion, baião, anthemic indie rock, melancholy synth spheres and hypnotizing beats.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
HONEY 099LP
|
$24.00
PREORDER
RELEASE DATE: 10/18/2024
Jamaican-born jazz trumpeter Dizzy Reece recorded one of his best opus in 1962. Released on the New Jazz label the album featured greats such as bassist Ron Carter, renowned saxophonist Cecil Payne and pianist Hank Jones, it's a beautifully recorded and sequenced album, the compositions reflecting Reece's interest in the music of the Asian continent and regions of North Africa, with each piece transitioning nicely into the next. Asia Minor would be the last session Reece would lead until 1967/68. A fixture of the European jazz scene of the '50s, Reece came to New York in 1959. This intriguing, Eastern-flavored date, is still regarded has one of the best examples of cross-pollination in the jazz genre.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
DMOO 079LP
|
$20.50
PREORDER
RELEASE DATE: 10/18/2024
Originally released in 1959, this is Blue Mitchell's third release as a leader. The brilliant trumpeter is joined by an all-star lineup that includes Wynton Kelly on piano, Philly Joe Jones on drums, Sam Jones on bass, Curtis Fuller on trombone, and Jimmy Heath on tenor sax. A great piece of forgotten late '50s hard-bop, it is truly a treasure of an album finally resurrected by Wax Love. This is one of the most precious jazz recordings of a year that would soon give sway to the Blue Note sound, and is in many real and important ways as much of a prelude as any other statement. It's a must-have for all serious mainstream jazz fans. Clear color vinyl.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
CVSD 113CD
|
$13.50
PREORDER
RELEASE DATE: 10/11/2024
The beginning of the 1970s was a watershed moment in the terrestrial life of Sun Ra. With his band, the Arkestra, he began touring internationally. He and his manager Alton Abraham penned a deal with ABC-Impulse! for a series of records which introduced him to many new and distant listeners, as did his Blue Thumb LP Space is the Place. The film of the same name was under way in northern California at the time, too, and Ra accepted a lectureship at University of California, Berkeley, in 1971, teaching a class titled "The Black Man and the Cosmos." This course of study was held in some secrecy, apparently open exclusively to Black students who were strictly forbidden to record the lectures. Ra's assistants did, however, document the sessions, and some of these recordings have made their way to YouTube. The incredible half-hour of Berkeley Lecture presented here, however, is previously unknown, extracted from the Creative Audio Archive's extensive holdings. It presents Ra walking his students through a series of wonderful paradoxes and riddles, the sound of his chalk on the chalkboard serving as a kind of Greek chorus, commenting on or complementing his highly creative pedagogy. At the end of the lecture, Ra performs two musical demonstrations, the first a piano version of the Arkestra classic "Love in Outer Space," followed by a blistering 16-minute solo on the Moog synthesizer. Available for the first time ever, with cover images of the original tape box and reel featuring Ra's annotations. Transfer by Todd Carter. Mastering by Alex Inglizian. Original tape box and reel from CAA. CD designed by David Khan-Giordano. Produced by John Corbett.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
AUM 120LP
|
$25.00
PREORDER
RELEASE DATE: 10/11/2024
LP version. Contains download card.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WMQ 009LP
|
$28.00
PREORDER
RELEASE DATE: 10/11/2024
LP version. Wojtek Mazolewski Quintet returns with a new, refreshed lineup with a new full-length album, Beautiful People. The album was recorded in December '23 at Polish Radio's S4 studio after a series of a dozen WMQ concerts in 2023. Buoyed by the wonderful reception in many cities and hungry for new sensations and sounds, the Quintet recorded this album while absolutely in full throttle. Beautiful People is a soulful album heading into the realm of contemporary spiritual jazz while maintaining WMQ's identity and Slavic tradition. The fresh material presents quality new energy, sound and composition of the band. Wojtek Mazolewski is a prominent Polish jazz artist known for his pioneering work in contemporary jazz. A virtuoso bassist and composer, Mazolewski blends traditional jazz with contemporary elements, delivering a mesmerizing and emotionally charged musical experience that has earned him enthusiastic reviews from All About Jazz, DownBeat Magazine, Kind of Jazz, and other publications. With a career spanning decades, he has become an icon in the Polish jazz scene, enchanting audiences worldwide with his fusion of classic and modern jazz styles. His live performances are renowned for their energy and captivating stage presence, providing a memorable and genre-defying jazz experience that has made him a celebrated figure in the global jazz community.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
AUM 120CD
|
$13.00
PREORDER
RELEASE DATE: 10/11/2024
"Legend of e'Boi (The Hypervigilant Eye) is the powerful new work by composer and alto saxophonist Darius Jones. Both of his tremendous artistic strengths are to the fore here in a fully committed trio communion with longtime collaborator Gerald Cleaver (drums) and Chris Lightcap (bass). Five potent new Jones compositions, and a striking arrangement of 'No More My Lord' (the prison song recorded by Alan Lomax at Parchman Farm). Legend of e'Boi is the seventh chapter (of nine on completion) in Jones' expansive Man'ish Boy epic, begun with AUM Fidelity in 2009. Includes liner notes by acclaimed writer and poet Harmony Holiday, cover art photography by Jesse Ponkamo, and additional artwork by Risha Rox. Typical of his work, Legend of e'Boi serves as a larger creative vehicle for artistic exchange. This project is about Black mental health and healing from personal and collective trauma through therapy, community and creative expression. In addition to the liner notes, CD/digital editions include booklets with contributions from seven writers and artwork which also address this theme. Jones has received wide acclaim not only for his albums featuring music and images evocative of Black Futurism, but also for his commissioned work as a composer throughout the U.S. and Canada. Jones' fLuXkit Vancouver (i̶t̶s̶ suite but sacred) was ranked #3 in The Wire's Top 50 Albums of 2023 and chosen among NPR's 50 Best Albums of 2023."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
WMQ 009CD
|
$16.00
PREORDER
RELEASE DATE: 10/11/2024
Wojtek Mazolewski Quintet returns with a new, refreshed lineup with a new full-length album, Beautiful People. The album was recorded in December '23 at Polish Radio's S4 studio after a series of a dozen WMQ concerts in 2023. Buoyed by the wonderful reception in many cities and hungry for new sensations and sounds, the Quintet recorded this album while absolutely in full throttle. Beautiful People is a soulful album heading into the realm of contemporary spiritual jazz while maintaining WMQ's identity and Slavic tradition. The fresh material presents quality new energy, sound and composition of the band. Wojtek Mazolewski is a prominent Polish jazz artist known for his pioneering work in contemporary jazz. A virtuoso bassist and composer, Mazolewski blends traditional jazz with contemporary elements, delivering a mesmerizing and emotionally charged musical experience that has earned him enthusiastic reviews from All About Jazz, DownBeat Magazine, Kind of Jazz, and other publications. With a career spanning decades, he has become an icon in the Polish jazz scene, enchanting audiences worldwide with his fusion of classic and modern jazz styles. His live performances are renowned for their energy and captivating stage presence, providing a memorable and genre-defying jazz experience that has made him a celebrated figure in the global jazz community.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FFL 095CD
|
$13.50
PREORDER
RELEASE DATE: 10/4/2024
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell, and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. A few months after recording Us, Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings. On March 8th, 1974, Lancaster and Jackson headed up a group composed of Jean-François Catoire (electric and double bass), Keno Speller (percussion) and Jonathan Dickinson (drums). Together, they create an immediate impression. From the first seconds of "We The Blessed", they develop a free jazz which rapidly abandons any virulence under the effect of blues and soul based interventions. When Gilson's composition "Mother Africa" begins, listeners are transported into the studio, listening to the musicians setting up: chatting and joking... Then comes the melody: a dozen or so notes of a repeated theme which is accelerated and deformed according to their whims. This CD edition contains a bonus track, the magnificent "Love Always" that was originally released on the fourth (and last) volume of the Jef Gilson anthology series released in 1975. Recorded on March 8th, 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running. First ever CD reissue; carefully remastered and restored by Gilles Laujol; graphic design by Stefan Thanneur; digipack. CD Licensed from Palm / Geneviève Quievreux.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
GG 473CD
|
$19.00
PREORDER
RELEASE DATE: 10/4/2024
"Sainkho Namtchylak is a singer originally from Tuva, an autonomous republic in the Russian Federation just north of Mongolia. She is known for her Tuvan throat singing or Khöömei. Her music encompasses avant-jazz, electronica, modern composition and Tuvan influences. Once the Soviet Union had collapsed, she moved to Vienna, making it her base, although she traveled widely, working in any number of shifting groups and recording a number of discs that revolved around free improvisation. Amongst them are collaborations with Evan Parker, Ned Rothenberg, The Moscow Composers Orchestra, and Wolfgang Puschnig. Lost Rivers 2 is the follow-up album to Sainkho's seminal release on FMP in 1991. The album is divided into three parts, all of which are focusing on the singer's experimental work of sound poetry and the extreme use of the human voice to express the strong power of nature, the human scream. Such techniques were an important resource in extraordinary situations, for example at the beginning of a tribe hunting or the start of hostilities. The first part is a recording of Sainkho with Ned Rothenberg on clarinet. Part two is the trio of Sainkho, Hamid Drake on drums, and William Parker on double bass. Part three is the purest version of Lost Rivers: Sainkho's voice combined with self-made instruments by Slumberland. An album that will appeal to fans of free improvisation and jazz, but also lovers of extreme music and noise."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
REPOSE 141LP
|
Limited-edition, 300 only worldwide on deep-yellow colored vinyl, housed in a reverse board sleeve, with hype sticker, polylined inner bag and download code. Stars align and Oli Heffernan brings his ever-(d)evolving Ivan The Tolerable to Riot Season for two LPs of sublime entropic drift. Having this time recruited Christian Alderson (The Unit Ama) on drums, John Pope (Ponyland) on double bass, Kevin Nickles (Ecstatic Vision) on flute and saxophone and Ben Hopkinson on electric piano -- both works were recorded as a quintet almost instantaneously, the players barely brushing or breathing a note before the whole thing was done. The first LP, Vertigo (REPOSE 142LP), is all claustrophobic, dense and disorientating -- like Sun Ra sitting in with Exploding Star Orchestra. The second LP, Water Music, is the music of lapping waves, becalmed, creaking hulls, circling birds and gentle winds. Equal parts Laraaji and Natural Information Society.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
7LP BOX
|
|
FFLBOX 002LP
|
$151.50
PREORDER
RELEASE DATE: 10/4/2024
Souffle Continu presents Byard Lancaster -- The Complete Palm Recordings 1973-1974, the definitive seven LP deluxe package of Philadelphia born jazz wizard Byard Lancaster, including his four legendary albums released on Jef Gilson's Palm Records in the 1970s: Us, Mother Africa, Exactement, and Funny Funky Rib Crib, along with the first ever standalone edition of "Love Always," a fifteen minute modal jazz beauty plus a 20-page booklet with rare photos and in-depth article about Byard Lancaster's Parisian years by Pierre Crépon. At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell, and Ted Daniel. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. He would come back to France in 1971 and in 1973. This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Us, the first of the four records was recorded on November 24th, 1973 with Sylvin Marc on electric bass and the evergreen Steve McCall on drums. A few months after recording Us, Lancaster recorded Mother Africa along with Clint Jackson III, a trumpeter, partner of Khan Jamal or Noah Howard on other recordings. The recording of Exactement required two sessions in the studio: February 1st and May 18th 1974. Two names appear on the cover of Exactement: Lancaster (Byard) and Speller (Keno). Funny Funky Rib Crib is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre, this one is an homage to James Brown and Sammy Davis. The magnificent "Love Always" was originally released on the fourth (and last) volume of the Jef Gilson Anthology series released in 1975. Recorded on 8th March 1974, it is a beautiful 15-minute-long modal jazz piece. Four notes from the bass (the relentless Jean-François Catoire, who makes up the rhythm section alongside drummer Jonathan Dickinson and percussionist Keno Speller), and the group is up and running! On piano, Gilson shows the subtle tact of a sideman, leaving the lions' share of the place to the horns. And if further proof was required of the confidence that Byard Lancaster and Jef Gilson inspire, "Love Always" provides it on this one-sided release exclusive to the box set. Carefully restored and remastered by Gilles Laujol. Graphic design by Stefan Thanneur.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
CD
|
|
FFL 097CD
|
$13.50
PREORDER
RELEASE DATE: 10/4/2024
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell, and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of... Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. Funny Funky Rib Crib is an unforgettable recording (made up of several sessions dating from the middle of 1974) of creative jazz overwhelmed by funk and soul. If Lancaster had already made successful albums in the same genre -- notably New Horizons, under the name Sounds Of Liberation, which he co-led with Khan Jamal -- this one is an homage to James Brown and Sammy Davis enjoying the company of a host of guests including François Tusques (electric piano), Clint Jackson III (trumpet), François Nyombo (guitar), Joseph Traindl (trombone). Funny Funky Rib Crib's cover is a three-quarter profile portrait of the saxophonist (who can also be heard on flute, piano and even vocals), however, on the record, it is the whole group, inspired and frenetic, that tests the melodies of "Just Test," "Dogtown," or "Rib Crib" -- the two versions of which display leader Lancaster's art of nuance. On both sides of the album, the group also moves into a calmer groove, infused by blues and soul, "Work And Pray" and "Loving Kindness" are meditative tracks where listeners can lay back and relax before asking for more. Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Digipack CD.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
WJLP 067LP
|
$28.00
PREORDER
RELEASE DATE: 10/4/2024
Finnish duo Lampen presents their second album Halogen on We Jazz Records. Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. The band makes its home between Helsinki and Berlin, where Kalima is based. Lampen's sound is reminiscent of the wide-screen meditations of the likes of Earth and The Necks, but on a territory of their own. Think meditative deep contemporary jazz drawing from way outside of the genre's borders and landing somewhere with heightened levels of low-key sonic intensity. Ideas form in time and nothing is rushed, and when you land in the full eruption of the duo's force, you get there surprisingly yet logically.
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
2CD
|
|
FFL 096CD
|
$19.00
PREORDER
RELEASE DATE: 10/4/2024
At the beginning of the 1960s, at the Berklee College of Music, Byard Lancaster met some feisty friends: Sonny Sharrock, Dave Burrell, and Ted Daniel. It is easy to see why he rapidly became involved in free jazz. Once he was settled in New York, he appeared on Sunny Murray Quintet, recorded under the leadership of the drum crazy colleague of Albert Ayler. In 1968, the saxophonist and flutist recorded his first album under his own name: It's Not Up To Us. The following year he came to Paris in the wake of Sunny Murray. He would come back to France in 1971 (again with Murray) and in 1973 (without Murray for a change). This is when he met Jef Gilson, the pianist and producer who encouraged him to record under his own name again. On Palm Records (Gilson's label), he would release four albums: Us, Mother Africa, Exactement, and Funny Funky Rib Crib. The recording of Exactement required two sessions in the studio: February 1st and May 18th 1974 -- in between the two dates, Lancaster recorded, alongside Clint Jackson, the excellent Mother Africa. Two names appear on the cover of Exactement: Lancaster (Byard) and Speller (Keno). Byard Lancaster wanted to be precise, moving regularly from one instrument to another: first on piano, which was the first instrument he learned. On "Sweet Evil Miss Kisianga," his inspiration is first and foremost Coltrane (even if leaning more towards Alice than John), this announces the storm to follow. It is Lancaster's horn-playing which really stands out: on alto or soprano saxophones, as well as on flute or bass clarinet, the musician walks a tightrope making the most of all the risks he takes. Using the full register of his instruments, he has fun with the possibilities. Then, Lancaster invokes or evokes Ornette Coleman, Eric Dolphy, and even Prokofiev, before going into a danse alongside Keno Speller on percussion. Above all, he has a unique sound. Byard Lancaster, on whatever instrument he plays and by continually seeking, always ends up hitting the right note. First ever CD reissue. Carefully remastered and restored by Gilles Laujol. Graphic design by Stefan Thanneur. Digipack 2CD.
|
viewing 1 To 25 of 3860 items
Next >>
|
|