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Search Result for Genre JAZZ
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CD
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FARO 231CD
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$14.50
PREORDER
RELEASE DATE: 4/15/2022
Far Out Recordings present a reissue of José Roberto Trio's self-titled album, originally released in 1966. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
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CD
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FARO 232CD
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$14.50
PREORDER
RELEASE DATE: 4/15/2022
Far Out Recordings present a reissue of Os Tatuís' self-titled album, originally released in 1965. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
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LP
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FARO 232LP
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$25.00
PREORDER
RELEASE DATE: 4/15/2022
LP version. Far Out Recordings present a reissue of Os Tatuís' self-titled album, originally released in 1965. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
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LP
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FARO 231LP
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$25.00
PREORDER
RELEASE DATE: 4/15/2022
LP version. Far Out Recordings present a reissue of José Roberto Trio's self-titled album, originally released in 1966. The late José Roberto Bertrami is best known as the keyboardist and bandleader of legendary trio Azymuth. In 1965, at the age of just nineteen, Zé Roberto recorded his first studio album with his group Os Tatuís, and the José Roberto Trio in the following year. These largely slept-on albums of beautiful, expressive samba jazz, and bossa nova stand as a testament to the prodigious genius of one of the most important musicians in Brazil's history. In his late teens, and around the same time as he was regularly sneaking off to São Paulo by train to perform in nightclubs, Zé Roberto, alongside his brother Claudio and other musicians from Tatuí's emerging jazz and bossa nova scene, recorded the first album under the group name Os Tatuís. The self-titled LP featured Zé Roberto on piano, Claudio on double bass, a horn section and an organist. With compositions by Antonio Carlos Jobim, Roberto Menescal, Carlos Lyra, Durval Ferreira, and Adilson Godoy, the album also featured Bertrami's own composition "A Bossa do Zé Roberto", a mesmerizing piece of bossa jazz, which proved that already -- even as a teenager -- Bertrami's compositions could stand alongside those by the bossa greats. A year later, in 1966, Bertrami went back into the studio, but this time stripping the format back to a trio set up. Again, featuring Claudio Henrique Betrami on double bass, and with Jovito Coluna on drums, the José Roberto Trio recorded their one and only album, featuring compositions by Baden Powell, Manfredo Fest, and Marcos Valle. The album also featured three of Bertrami's own compositions: the wistful "Lilos Watts", the groovy "Kebar", and the dazzling "Talhuama". In the vein of the pioneering Tamba Trio who had so inspired Bertrami in the few years' prior, the José Roberto Trio typified an emerging movement within bossa nova in the mid-sixties, with a distinctively Brazilian reimagining of the piano jazz trio sound conceived by the likes of Nat King Cole, Oscar Peterson, and Ahmad Jamal, and further developed by Bill Evans. Following on from Tamba Trio, in Brazil, the mid-sixties saw a number of great Brazilian bossa jazz trios recording around this time, such as Bossa Três, Milton Banana Trio, Tenório Jr, and Bossa Jazz Trio, the latter another group helmed by Betrami. Across both of these historic albums, Bertrami's stunningly performed compositions are rich with harmonic complexity and rhythmic ingenuity, providing a precursor to some of Bertrami's futuristic fusion with Azymuth later in his career.
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LP
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HONEY 044LP
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$21.50
PREORDER
RELEASE DATE: 3/4/2022
Originally released on Colpix Records in 1963, this striking release consists of Art Blakey and the Jazz Messengers performing selected music from the Broadway musical Golden Boy. Arranged by three master musicians, Wayne Shorter, Curtis Fuller and Cedar Walton, the music is performed by an amazing all-star line-up featuring Freddie Hubbard and Lee Morgan (trumpet), Curtis Fuller (trombone), Julius Watkins (French horn), Bill Barber (tuba), James Spaulding (alto sax), Wayne Shorter (tenor sax), Charles Davis (baritone sax), Cedar Walton (piano), Reggie Workman (bass), and of course Blakey "the Boss" on drums.
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LP
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HONEY 042LP
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$21.50
PREORDER
RELEASE DATE: 3/4/2022
South Africa is in fact the only country in the whole African continent that has developed a strong jazz tradition. Initially influenced by the great American stylists, (Ellington, Gillespie...) South Africa gradually developed its own soulful style based on a distinctive taste for melody and a deep sense of groove. Masterfully selected from the so-called "Golden Age" of the genre, (late '50s/ early '60s), this compilation represents the best introduction to the work of a large and varied body of musicians and composers who inevitably developed their music as part of the historical Anti-Apartheid struggle, and as means of self-expression in the dark times of exile. Kippie Moeketsi, Hugh Masekela (in The Jazz Epistles), Dollar Brand, Chris McGregor, Dudu Pukwana (in Chris McGregor & The Castle Lager Big Band), Mongesi Feza (in Chris McGregor & The Castle Lager Big Band), Barney Rabachan, Nick Moyake (in Chris McGregor & The Castle Lager Big Band), and of course the queen Miriam Makeba are just some of the main voices represented here. A bunch of true warriors. Also features John Mehegan, Dollar Brand Trio, and Gideon Nxumalo.
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LP
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HONEY 054LP
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$21.50
PREORDER
RELEASE DATE: 3/4/2022
Honey Pie Records present a reissue of Quincy Jones & Band's I Dig Dancers, originally released on Mercury in 1961. Deliberately presented as a dance music release, this brilliant Quincy Jones album comprises material from two marvelous big band performances recorded the year before in Paris and New York. Here the great composer and arranger leads a first class "dance organization", a top-flight big band featuring the cream of NY jazz musicians, among them: Clark Terry and Freddie Hubbard (trumpets); Curtis Fuller and Melba Liston (trombones); Phil Woods, Oliver Nelson and Sahib Shihab (saxes); and Stu Martin (drums). An exquisite platter of highly swinging and danceable grooves signed by the genius of Quincy Jones.
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LP
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ODIN 9578LP
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$24.00
PREORDER
RELEASE DATE: 2/25/2022
LP version. Plastic Wave comes as the sequel to 2018's celebrated Happy Endlings, where Ole Morten Vågan, one of the most sought-after bass players in Norway, collaborated with the unpredictable and creative Trondheim Jazz Orchestra, comprised of a sort of "who's who" in Norwegian jazz. Where Happy Endlings took the listener on a 72-minute-long ride on the edge of their seat through a myriad of innovation, chock, and surprises, Plastic Wave sees TJO and Vågan take their mischievous end time antics from the previous album to the next phase, in some sorts a musical excavation of the next evolutionary step -- and the sequel is no less than 12 minutes longer. Titles such as "Food Chain Reaction" and "Critical Mass Distraction" are given extra momentum by Flu Hartberg's cover art, again a trusty companion for the music. Having been recorded halfway through 2020, the music on Plastic Wave plays well against this unprecedented backdrop, the music on Plastic Wave plays well against this unprecedented backdrop, and elements like a sudden cameo by poet Frode Grytten places the music even further into the context of our time.
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CD
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ODIN 9578CD
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$14.50
PREORDER
RELEASE DATE: 2/25/2022
Plastic Wave comes as the sequel to 2018's celebrated Happy Endlings, where Ole Morten Vågan, one of the most sought-after bass players in Norway, collaborated with the unpredictable and creative Trondheim Jazz Orchestra, comprised of a sort of "who's who" in Norwegian jazz. Where Happy Endlings took the listener on a 72-minute-long ride on the edge of their seat through a myriad of innovation, chock, and surprises, Plastic Wave sees TJO and Vågan take their mischievous end time antics from the previous album to the next phase, in some sorts a musical excavation of the next evolutionary step -- and the sequel is no less than 12 minutes longer. Titles such as "Food Chain Reaction" and "Critical Mass Distraction" are given extra momentum by Flu Hartberg's cover art, again a trusty companion for the music. Having been recorded halfway through 2020, the music on Plastic Wave plays well against this unprecedented backdrop, the music on Plastic Wave plays well against this unprecedented backdrop, and elements like a sudden cameo by poet Frode Grytten places the music even further into the context of our time.
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CD
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FFL 072CD
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$13.50
PREORDER
RELEASE DATE: 2/18/2022
Souffle Continu Records present a reissue of Jean-Charles Capon/Philippe Maté/Lawrence "Butch" Morris/Serge Rahoerson, originally released in 1977. "In November 1976, Jef Gilson's phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the '60s and who had played on his first album Malagasy (FFL 066CD/LP). Rahoerson announced that he was in Paris for a few days. Immediately, Jef wanted to organize a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous Comme À La Radio by Brigitte Fontaine, Un Beau Matin by Areski and Chorus by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis' first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album Nino Ferrer & Leggs . . . Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls . . . A saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of 'The Creator Has A Master Plan' on the album Malagasy... The great memories came flooding back (the nod on the title 'Orly - Ivato'), and the old magic worked again. Brought in momentarily from Europamerica, Gilson's new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France and the American Butch Morris were invited to record their parts later and Gilson mixed it all as if it had been one single session. The album would not appear until 1977, on Palm, Jef's own label, and was dedicated to the memory of Georges Rahoerson, Serge's father, who had also played on the album Malagasy and who had died prematurely at the age of 51 in 1974..." --Jérôme "Kalcha" Simonneau. Licensed from Palm / Geneviève Quievreux. Remastered from the master tapes. Includes four-page booklet with rare and unpublished photos.
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LP
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FFL 072LP
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$28.00
PREORDER
RELEASE DATE: 2/18/2022
LP version. 180 gram vinyl. Souffle Continu Records present a reissue of Jean-Charles Capon/Philippe Maté/Lawrence "Butch" Morris/Serge Rahoerson, originally released in 1977. "In November 1976, Jef Gilson's phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the '60s and who had played on his first album Malagasy (FFL 066CD/LP). Rahoerson announced that he was in Paris for a few days. Immediately, Jef wanted to organize a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous Comme À La Radio by Brigitte Fontaine, Un Beau Matin by Areski and Chorus by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis' first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album Nino Ferrer & Leggs . . . Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls . . . A saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of 'The Creator Has A Master Plan' on the album Malagasy... The great memories came flooding back (the nod on the title 'Orly - Ivato'), and the old magic worked again. Brought in momentarily from Europamerica, Gilson's new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France and the American Butch Morris were invited to record their parts later and Gilson mixed it all as if it had been one single session. The album would not appear until 1977, on Palm, Jef's own label, and was dedicated to the memory of Georges Rahoerson, Serge's father, who had also played on the album Malagasy and who had died prematurely at the age of 51 in 1974..." --Jérôme "Kalcha" Simonneau. Licensed from Palm / Geneviève Quievreux. Remastered from the master tapes. Includes four-page booklet with rare and unpublished photos.
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LP
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FFL 069LP
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$28.00
PREORDER
RELEASE DATE: 2/18/2022
Souffle Continu Records present a reissue of Michel Portal's Alors !!!, originally released in 1970. Could the missing link between Eric Dolphy and Albert Ayler be the Michel Portal of 1970? After having worked alongside François Tusques defending a free jazz "made in France", you find him here, heading up an international quintet of which each member is on fire: John Surman, Barre Phillips, Stu Martin, and Jean-Pierre Drouet. The quintet had full leeway to break out the free-form in long ambient tracks to compose this Alors!!! which leaves listeners with just one word to say: More! Do we still need to present Michel Portal?... Clarinetist destined for the classical and contemporary world after his passage in the Paris Conservatory, he decided to try his hand at jazz, with an incendiary flamboyance. After his first experience with André Hodeir and Pierre Michelot, he would break all the codes with François Tusques (Free Jazz, in 1965) before starting the emblematic Michel Portal Unit. It is the Portal of those years that Alors!!! offers you the chance to listen to again. "There are periods of insolence," the musician declared and the year 1970 was one all on its own. Heading up an impetuous international troupe, a quintet consisting of John Surman (saxophones, bass clarinet), Barre Phillips (double-bass), Stu Martin (drums) and Jean-Pierre Drouet (percussion), Portal moves from alto sax to clarinet in the compositions shared with his partners. From the off, the group sparks an explosion with the sound of "OO Bam Ba Deep" battered by the horns and percussion. Next up is the fabulous free jazz of "Yes, Oh Yes, You Wonderous Sun Kissed Maiden!" and the fantastic disjointed march of "Ça Boom?" which shakes up the musicians every which way. The quintet imagined that listeners would need to catch their breath, and thoughtfully added: "Billie The Kid" and "Undercurrent", marvelous moments of ambient mystery. Audacious from beginning to end, including the sleeve -- the bird-man and his quintet brain designed by Avoine -- the album is a fabulous object, to which the label Futura gave wings at the time. And as it is being reissued today there is just one word to use: the French translation of the title, "So!!!" Carefully remastered from the master tapes. Licensed from Futura / Marge. 180 gram vinyl.
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LP
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FFL 070LP
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$28.00
PREORDER
RELEASE DATE: 2/18/2022
Souffle Continu Records present a reissue of Ted Curson's Pop Wine, originally released in 1971. Originally from Philadelphia, invited to New York by Miles Davis, playing at Antibes in 1960 with Charles Mingus and Eric Dolphy, here is trumpeter Ted Curson in 1971... in Paris. With him, a legendary trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). A new transatlantic alliance in the service of jazz of all kinds: classic, modal, fusion and even free... Pop Wine is -- between Coltrane and Miles with a nod to roots in the club the Caveau de la Huchette -- an explosive cocktail but which leaves no stains! In 1960, trumpeter Ted Curson played with Charles Mingus and Eric Dolphy on stage at the Antibes jazz festival. Eleven years later he was in Paris to record one of the gems of his discography, with a hard-hitting French trio: Georges Arvanitas (piano), Jacky Samson (double bass) and Charles Saudrais (drums). Arvanitas was also someone who had travelled widely. Originally from Marseille, he had accompanied visiting American musicians in Paris before moving to the States. It was when he came back that the charismatic trio was created with Samson and Saudrais and who recorded, in 1970 on Futura, the unforgettable In Concert and then, the following year, Pop Wine with Ted Curson. Pop Wine: don't be fooled into thinking you are going to hear jazz musicians trying to play pop after uncorking too many bottles. For, although the album occasionally tends toward fusion, it is first and foremost a wonderful jazz recording; and a recording with enough fizz to make your head spin. There are five tracks in total: "Quartier Latin" is reminiscent a little of Olé Coltrane (Curson, like the saxophonist, is originally from Philadelphia), "Flip Top" where the trumpet and piano play out a chase scene through the streets of Paris, Pop Wine where funk and cool jazz meet on the barricades of black and white, "L.S.D. Takes A Holiday" which breaks out in a style close to free jazz, and finally "Lonely One", with the impression that ends this unclassifiable album. Unclassifiable, unless we decide to elevate Pop Wine to the rank of a great vintage. Carefully remastered from the master tapes. Licensed from Futura / Marge. 180 gram vinyl.
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CD
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FFL 071CD
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$13.50
PREORDER
RELEASE DATE: 2/18/2022
Souffle Continu Records present aa reissue of Jacques Thollot's Watch Devil Go, originally released in 1975. "To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the Watch Devil Go which interests us here . . . A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn't seen again for the three days. When he reappeared, he had already forgotten why he had left. The music of Jacques Thollot is in the image of its' author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened. Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesizers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track -- that Madlib would one day end up hearing and sampling. Watch Devil Go was in the right place in the Palm catalog, which welcomed the cream of the French avant-garde in the '70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), Europamerica, until the end of the '70s. In a career lasting half a century and centered on freedom Jacques Thollot played with the most important experimental musicians and they all heard in him a pulsation coming from another world." --Jérôme "Kalcha" Simonneau. Licensed from Palm / Geneviève Quievreux. Remastered from the master tapes. Includes eight-page booklet with rare and unpublished photos.
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LP
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FS 4473LP
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$22.50
PREORDER
RELEASE DATE: 2/18/2022
Future Shock present a reissue of Hiroshi Suzuki/Masahiko Togashi Quintet's Variation, originally released in 1969. Essential jazz album among the influences of the future-jazz quartet Sleep Walker by trombonist Hiroshi Suzuki. Variation is a joint project including the legendary jazz drummer Masahiko Togashi featuring pianist Yuji Ohno, saxophonist Jun Suzuki and trumpeter Tetsuo Fushimi. Masahiko Togashi was a major figure alongside Masahiko Sato, Masayuki Takayanagi, and Yosuke Yamashita in the blooming of free jazz in Japan in the late sixties whose Variation is one of the iconic masterpieces.
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LP
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FFL 071LP
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$28.00
PREORDER
RELEASE DATE: 2/18/2022
LP version. 180 gram vinyl. Souffle Continu Records present aa reissue of Jacques Thollot's Watch Devil Go, originally released in 1975. "To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the Watch Devil Go which interests us here . . . A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn't seen again for the three days. When he reappeared, he had already forgotten why he had left. The music of Jacques Thollot is in the image of its' author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened. Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesizers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track -- that Madlib would one day end up hearing and sampling. Watch Devil Go was in the right place in the Palm catalog, which welcomed the cream of the French avant-garde in the '70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), Europamerica, until the end of the '70s. In a career lasting half a century and centered on freedom Jacques Thollot played with the most important experimental musicians and they all heard in him a pulsation coming from another world." --Jérôme "Kalcha" Simonneau. Licensed from Palm / Geneviève Quievreux. Remastered from the master tapes. Includes eight-page booklet with rare and unpublished photos.
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LP
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NS 4146LP
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$40.00
PREORDER
RELEASE DATE: 2/11/2022
"Recorded in October of 1983. Horace Tapscott accompanied by only flute and sax, a sparse and beautiful album containing some of Horace Tapscott's best playing (the Tapscott solos are among his finest on record). Two sidelong tunes. Cut directly from the original master tapes. Tip-on sleeve. Insert with photos of Kafi Roberts (sax) and Aubrey Hart (flute) and a new essay by Mark Weber."
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CD
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ODIN 9579CD
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$14.50
PREORDER
RELEASE DATE: 2/11/2022
One of Norway's most influential bassists the last 30 years, Ingebrigt Håker Flaten celebrates 50 years on Earth, releasing his most personal album so far. You can imagine the journey of Ingebrigt Håker Flaten, bass player and composer, as an odyssey in a Viking ship of classic "knar" construction, with its long range, high speed, and strong seaworthiness in a storm. His story can also be told purely in music, as he does in the commissioned work (Exit) Knarr. The piece is divided into six destinations along the route -- a tribute to the people, music and places that have shaped him. (Exit) Knarr was commissioned by Vossajazz and the premiere was set to March 2020, but of course the pandemic has postponed the premiere twice. On the third try it is finally going to happen, Sunday September 26th. Not only is there going to be a concert, this will also be the first time the commissioned work by Vossajazz is recorded before the premiere.
The award-winning Norwegian bassist, improviser, composer, and bandleader Ingebrigt Håker Flaten has been at the forefront of modern creative music both in his native country Norway and internationally since the early 1990s. Perhaps best known as a founding member of the Scandinavian super group Atomic, Håker Flaten has merged post-free jazz explorations and experimentation with skillful use of attributes from many other idioms in countless collaborations, bands and projects.
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ODIN 9579LP
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$24.00
PREORDER
RELEASE DATE: 2/11/2022
LP version. One of Norway's most influential bassists the last 30 years, Ingebrigt Håker Flaten celebrates 50 years on Earth, releasing his most personal album so far. You can imagine the journey of Ingebrigt Håker Flaten, bass player and composer, as an odyssey in a Viking ship of classic "knar" construction, with its long range, high speed, and strong seaworthiness in a storm. His story can also be told purely in music, as he does in the commissioned work (Exit) Knarr. The piece is divided into six destinations along the route -- a tribute to the people, music and places that have shaped him. (Exit) Knarr was commissioned by Vossajazz and the premiere was set to March 2020, but of course the pandemic has postponed the premiere twice. On the third try it is finally going to happen, Sunday September 26th. Not only is there going to be a concert, this will also be the first time the commissioned work by Vossajazz is recorded before the premiere.
The award-winning Norwegian bassist, improviser, composer, and bandleader Ingebrigt Håker Flaten has been at the forefront of modern creative music both in his native country Norway and internationally since the early 1990s. Perhaps best known as a founding member of the Scandinavian super group Atomic, Håker Flaten has merged post-free jazz explorations and experimentation with skillful use of attributes from many other idioms in countless collaborations, bands and projects.
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2LP
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BEA 001LP
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$35.50
PREORDER
RELEASE DATE: 2/11/2022
Black Editions presents Historic Music Past Tense Future, the first ever album to feature the meeting of Peter Brötzmann, Milford Graves, and William Parker. Three of the towering figures in the history of free jazz forge an incredibly vital free music born from lifetimes of uncompromising, ceaseless artistry. Historic Music Past Tense Future is the inaugural release by Black Editions Archive and the first in a series of records that will present previously unreleased works featuring Milford Graves.
"2002-03-29, in the front room of CBGBs, fourteen years after their last performance together, three of the defining musicians in Free Jazz history convened for a third and final time. Peter Brötzmann had once again successfully talked his way into the U.S. without a visa to play this concert (organized by Arts for Art) and concerts with a historic drummer of a different era, Walter Perkins (organized by eremite). On March 31 and April 1, Brötzmann and Perkins recorded their duo album The Ink Is Gone (2003). William Parker had just returned from concerts in Italy with the David S. Ware Quartet. On April 2 and 3 he debuted his 'Curtis Mayfield Inside Songs' project in Boston & Amherst. And he still found time to sit-in for the entire March 30 Brötzmann/Perkins Amherst Meetinghouse gig. Scarcely to be found on bandstands and an even rarer presence on record, Milford Graves was a different story, a state of affairs that in 1995 prompted Thurston Moore to proclaim Graves 'a living myth.' Between 1999 and 2015, Graves appears on just six recordings, two of those solo; Brötzmann and Parker combined made half as many records the same week as this gig . . . The eremite Mobile Unit happened to be in the house March 29. The trio performed on a small riser facing the front door of CBGBs, with Graves' hand-painted, Orisha-adorned double bass drum kit, captured in its full thunderous glory on this recording, occupying most of the available space . . . For this rather hastily set-up recording, Parker's small amp was placed on a barstool behind Graves' kit, yet you still clearly feel and hear Parker's vivid contributions. By 2002 Milford Graves was four decades into developing and refining his radical approach to drumming. Graves' unique and unbounded creativity across multiple mediums is only recently entering the early stages of wider discovery and appreciation . . . The music here comes from a moment of relative high visibility for the free jazz continuum. Brötzmann and Parker, among others, were taking it to the people through relentless touring..." --Michael Ehlers
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LP
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MAR 051LP
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Mad About Records present the first ever worldwide reissue of Joel Fairstein's Umbra, originally released in 1978. Rare jazz funk fusion LP released on a private label in 1978. Hailing from Knoxville, Tennessee, Joel Fairstein has earned critical praise as jazz pianist, composer, producer, and studio musician. His first album, Umbra, an LP recorded at age 24 with eighteen sidemen, has since become a sought-after collector item. This reissue includes an insert with interview and exclusive photos. Transferred directly from master tapes.
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NA 5211LP
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"The Tribe co-founder's debut, lacquered directly from his master tapes in an all-analog transfer by Bernie Grundman. The definitive reissue of this spiritual jazz album which set the stage for his Vibes from the Tribe. The Tribe label, one of the brightest lights of America's 1970s jazz underground, receives the Now-Again reissue treatment. This is your chance to indulge in the music and story of one of the most meaningful, local movements of the 20th Century Black American experience, one that expanded outwards towards the cosmos. In the words of the collective themselves, 'Music is the healing force of the universe.' Included in an extensive, oversized booklet, Larry Gabriel and Jeff 'Chairman' Mao take us through the history of the Tribe, in a compelling story that delves not just into the history of the label and its principals, but into the story of Black American empowerment in the latter half of the 20th Century. The booklet features never-before-seen archival photos and rare ephemera from Tribe's mid-1970s heyday."
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LP
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MAR 046LP
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First ever world reissue of Raposa Velha's self-titled album, originally released in 1981. Raposa Velha was a notable jazz group from Brazil, which was part of the wave of great musicians and bands in Bahia during the 1980s, such as Sexteto do Beco, Saul Barbosa and Andréa Daltro. Thus, Raposa Velha only released this album, independently in 1981. Lined between jazz-fusion and avant-garde jazz, this LP has become a very obscure piece within the Brazilian jazz universe and one of the rarest of Brazilian jazz. 180 gram vinyl; deluxe hard-cardboard sleeve with OBI and resealable outer sleeve.
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FARO 228CD
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Stargazing from the sands of the Niterói beach, Tempos Futuros is low-end-led Brazilian futurism from one of Brazil's most prolific and influential bassmen. As one third of legendary trio Azymuth, Alex Malheiros has pioneered a unique fusion of space-funk, samba and jazz since the early seventies. His playing can be heard on the records of Jorge Ben, Milton Nascimento, Roberto Carlos, Marcos Valle, and Mark Murphy (to name a few), and he's performed and toured with everyone from Stevie Wonder to Chick Corea. Written and recorded in Niterói, Brazil, overlooking Guanabara and the beaches, mountains and forests of Rio de Janeiro, Tempos Futuros has deep roots in Brazilian soil. The rhythms of Malheiros' homeland have always permeated his music. But just like the Oscar Niemeyer designed Niterói Contemporary Art Museum which stands spaceship-like over the water, Tempos Futuros - while inspired by terrestrial forms, reaches out, deep into the great unknown. Produced by acclaimed London-based producer Daniel Maunick, who has worked with Marcos Valle, Azymuth, Terry Callier, and Ivan Conti, the funk comes full circle. Daniel's father Jean-Paul "Bluey" Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the '80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk. But just as with Azymuth's music, you can also hear the influence of stateside jazz-funk masters like Roy Ayers, Weather Report, Lonnie Liston Smith, Mtume and Pleasure. Tempos Futuros features Alex's daughter, a Brazilian star in her own right, vocalist Sabrina Malheiros, Brazilian percussion master Sidinho Moreira, London based saxophonist Sean Khan, Marcos Valle's go-to drummer Massa, and Brazilian keyboard player Dudu Viana. Featuring the late Azymuth keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track "Tempos Futuros" was originally recorded as a demo in 1995. On this finished version, Alex Malheiros used Bertami's original keyboard take, explaining the posthumous release.
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LP
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SOW 010LP
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Sowing Records present a reissue of Eric Dolphy's Conversations, originally released in 1963. A landmark in Eric Dolphy's discography. Conversations is the result of a historical studio session held in New York in 1963 with Dolphy at the core of various line-up configurations featuring a bunch of young innovators like Prince Lasha, Sonny Simmons, Woody Shaw, Bobby Hutcherson, Clifford Jordan, Richard Davis... Each of the four tracks is a fine example of Dolphy's highly eclectic language including an alto sax solo of rare beauty ("Love Me"), a landmark duet with Richard Davis ("Alone Together") and two magnificent quintet pieces ("Jitterbug Waltz" and "Music Matador"). A real piece of art from a true jazz genius in the early New Thing era. Clear vinyl; edition of 300.
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