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viewing 1 To 18 of 18 items
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CD
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RR 123173CD
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$17.00
PREORDER
RELEASE DATE: 10/10/2025
('Oleo') and John Coltrane ('Mr. P.C.'). His alto and soprano lines remain faithful to bop's core, yet each track brims with modern twists: a playful siren-like motif, a free soprano/drums duet, polytonal shifts in 'Oleo.' At its center, the title piece is a solo-sax tour de force: 'perpetual' via circular breathing, 'groove' from deep African-American roots, and echoes of Roland Kirk, Roscoe Mitchell, minimalism, and industrial sonorities. Watson's parallel work with Sam Rivers and the 29th Street Saxophone Quartet underscores his experimental drive. Joining Watson are three Italian talents -- Piero Bassini, Attilio Zanchi, and Giampiero Prina -- whose provincial origins belie their cosmopolitan artistry. Together, they embody jazz's global, boundary-crossing spirit. Though Watson reconvened them on later Red Records projects, Perpetual Groove remains singular in its vibrant blend of tradition, innovation, and international collaboration."
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LP
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RR 123143LP
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$31.00
PREORDER
RELEASE DATE: 10/10/2025
"Red Records, a prime example of how small, independent labels capitalize on unique opportunities, thrived due to its streamlined structure and emotionally driven decisions. Founded by promoter Alberto Alberti and jazz aficionado Sergio Veschi, the label built its reputation by capturing pivotal moments in Italian jazz and recording international artists like Sam Rivers, whose album The Quest became a classic. Their credibility and passion were key to earning artists' trust. The album Duo 'Bones', recorded on November 17, 1978, is a product of such seizing-the-moment intuition. Trombonists Kai Winding, a Danish-American on tour, and Dino Piana, an accomplished RAI Orchestra member, reunited in Rome after years apart. Their collaboration echoed Winding's earlier work with J.J. Johnson. The rhythm section -- Enrico Pieranunzi on piano, Giovanni Tommaso on bass, and Tullio De Piscopo on drums -- added youthful energy and groove to the session. Recorded at Emmequattro studio, the atmosphere was relaxed and spontaneous, leading to quick, joy-filled takes, mostly first attempts. The album's tracklist blends classics with originals: Winding's 'Duo 'Bones',' 'Lady H,' and 'Stop Following Me'; Piana's 'Kai and Dino'; Pieranunzi's 'Soul Dance.' The result is spirited jazz rich in swing, fast phrasing, and effortless counterpoints, delivering pure musical joy free of political overlays common at the time. Winding's affection for the project was clear. Months later, during a televised concert in Rome with the RAI Orchestra, he proudly mentioned the album and performed a big band arrangement of 'Duo 'Bones'' with Piana on stage -- an enduring nod to their serendipitous session."
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RR 123333LP
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"Red Records record a piano solo album in 1985, Blues For Myself, a work that has even been mentioned in the Penguin Guide To Jazz by Richard Cook and Brian Morton, in which the pianist alternates the execution of his own compositions with some famous standards, and decided today to extract the alternate takes of some of those tracks and give to the press this More Blues For Myself. It is the worthy conclusion of a work that will reconcile the fans with some of the characteristics that make jazz -- a term that some don't want to use anymore, but this is another story yet to be told -- a fascinating and pleasantly charming world."
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2LP
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RR 123328LP
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"Baker was able to maintain this magical atmosphere, where time cease to exist both when he was playing his trumpet with his usual elegance and when he was singing with his ethereal voice and delicate and light scatting. Chet Baker realized the uniqueness of the evening from the first tune. 'The Touch of Your Lips' confirms how appropriate was Chet intuition to use Stilo at the piano. His comping perfectly complements Baker's voice and when given space he continues with along piano solo at a very slow tempo that gives continuity to the magic created by Bakers' voice. And finally, the trumpet takes center stage carrying the baton sweetly received from the pianist. Chet Baker solo is a way of storytelling, very moving and slow paced."
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RR 123161LP
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"In the spring of 1983, taking advantage of the Italian dates of the European tour, the quintet agreed to record some pieces at Studio Cavalieri in Bari. A vibrant quintet with Ricky Ford on tenor saxophone, Jack Walrath on trumpet, Bob Neloms on piano and Cameron Brown on bass in the thankless role of substituting Mingus. This is how Dionysius was born, an album showing a vital and creative ensemble in each of its components. Dionysius was the last album recorded in studio in his own name who finished his days on earth because of a stroke in New York on March 15th, 1988."
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RR 123339LP
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"I could play jazz, but, first of all, I play black music. We have a message. Louis Armstrong had it, Ellington had it, and Gillespie has it. It can be political, sociological, economic, it can be about the good times or the bad ones. It is our way of communicating. You don't have to read big books about a country or a population to know what they want. Listen to the music and you will know what they have to say." --Johnny Dyani
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2CD
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RR 123342CD
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"In more recent times, archival research in the Red Records tape vault yielded two quarter-inch tapes, previously thought to be blank, lodged with the Sphere holdings. However, on closer inspection a single Sphere track was discovered on each of the otherwise blank reels. This was a major discovery, as incredibly, for such an important jazz group. And here, perhaps, is the reason why the precious few recordings of Sphere can be returned to time and again and they are still able to reveal a little more of themselves each time. They are informed by one of the great masters of modern jazz, but not dominated. Rather, Monk's inspiration acts as a spur to creativity as each member congregates around their very specific group ethic while remaining true to the spirit of the masters."
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RR 123233LP
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"If listeners are to judge by the common, very fine musical sensibility demonstrated in this recording, it was inevitable that the three would meet. And perhaps it was also logical that they constituted a group with equal responsibilities; the music we listen to is in fact interwoven with references, dialogues, passages of ideas, instinctive convergences, confirming a choral and shared intention. It is a pity that the group lived shortly, from 1988 to 1991, when they recorded the other album for Red Records with saxophonist Jerry Bergonzi as a guest. But this certainly also depends on the success that each of the three had on the contemporary jazz scene; so, above all listeners must rejoice that the circumstances allowed at least this album to be born. To quote Jim Hall's admiring commentary on the tracks on this album: 'Great trio, variety in material, light swing, fantastic ballads interpretation, excellent solo developments, splendid dynamic nuances -- and so on.'"
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CD
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RR 123189CD
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"It is widely believed that one of Grossman's 'career best' albums was his May 1985 album Love Is the Thing for Red Records. Accompanied by the Cedar Walton Trio, who were touring Europe at the time, their unequivocal bebop-into-hard bop saw Grossman turn more towards 1950s Sonny Rollins for inspiration than his formative influence John Coltrane. This apparent shift in allegiance is captured on what is probably the album's finest track, 'Easy To Love,' although his love of Coltrane's music is not forgotten with the choice of 'Naima,' whose challenging changes are negotiated with aplomb and conviction."
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RR 123184LP
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"In the competent liner notes edited by Mark Gilbert, the deputy editor of the English Jazz Journal International, the emphasis is placed among other things on the flawless integration of the components of the Open Form Trio 'greater than the sum of their individual talents.' The maturity achieved by the three, individually and especially collectively, allows Watson to deploy all his saxophone artistry, which is indebted (and how could it be otherwise?) to the immortal lesson of Parker, but which through Jackie McLean and Cannonball, and generally the post-Coltranian, reinvents a language that is somewhat archetypal. Hand numbered limited edition, 180 grams, black vinyl cut and pressed at Pallas."
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LP
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RR 123156LP
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2025 restock, originally released in 2023. "At the beginning of its formation, the ensemble functioned as a jazz group with a wide variety of instruments. During a tour of Europe, the group's line-up was reduced to just three members, with El'Zabar on percussion and two wind instruments. This line-up, born out of necessity, became the ensemble's signature sound. 'We were very scared, having such a unique instrumentation. But we were far from home, we were 20 years old and we had to survive. And we developed a language and a formula that allowed us to play with non-traditional instrumentation all these years,' El'Zabar recounted. 'I didn't realize this until last year when someone said, 'You started the band in 1973,' and I said, 'Yes.' ' And they said, 'Well, won't it be 50 years next year?' reports Zabar, laughing. 'I feel very grateful for the experiences I've had and the musicians I've been lucky enough to work with. If your work is of value to others, then you feel you have served. That has been the main thing for me as an artist.'"
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RR 123193LP
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Originally released in 2023. "The three recordings The Trio volumes 1/2/3, offer a now-tested repertoire in principle (carefully selected standards, extremely interesting originals, intense Monk revisitations and a thoughtful Bossanovian digression. And at the same time they give full credit to a group that in a field so beaten but also so peculiar as that of the trio, which always has to reckon with great models-it really seems to have no rivals at present. Most striking is its expressive balance, propitiated as best it could be by a with his astonishing technique, moderately driven and exquisitely multifaceted pianism, always original in every harmonic, melodic and rhythmic detail; plus a percussion (Higgins) now risen to a veritable model of drumming for reduced formations; plus a bass contribution (Williams) clean, essential, fluid."
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RR 123194LP
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Originally released in 2022. "Cedar Walton defined hard bop as much as it defined him, and throughout his life remained one of its foremost ambassadors. He was also one of jazz's finest composers, and even by the 1970s had contributed several compositions that were considered jazz standards including Bolivia, Mosaic, Clockwise, Firm Roots, Ugetsu, Ojos de Rojo and Mode for Joe. This album, The Trio 3, comes from the third trio session. By the time of this recording the group had been playing together since 1983 and were able to bring to the table the kind of learned and intuitive responses to each other's playing that contributed to the kind of mutual empathy that went a long way in helping produce the superior jazz performances we hear on this recording -- the graceful invention of drummer Billy Higgins supporting and framing Walton's playing and the powerful, swinging pulse of bassist David "Happy" Williams."
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RR 123206LP
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Originally released in 2022. "The sound he produces with his instrument can only be described as sensual and, in combination with his balanced, spontaneous, seemingly effortless improvisations, Baker finds a purity in music that he has not found in life."
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RR 123106LP
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Originally released in 2023. "'When everything was ready the trio played four tracks in a row, all in one breath' recalls Veschi. There was no need to record many takes for each piece. Everything went for the best. The trio played for pieces that Rivers baptized with the evocative titles of 'Expectation,' 'Vision,' 'Judgement,' and 'Hope.' There is no doubt The Quest was an album of an absolute vanguard, reflecting the experimentations and the freedom of expression that was swarming among the lofts of New York. It was alive and vital music, spontaneous and sincere, violently hitting the listener and not leaving him or her indifferent."
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CD
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RED 003CD
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Restocked. "The young Red Label celebrates its third release with Pasada Profesional. This is a transatlantic meeting between Angel Molina, one of the most renowned Spanish deejays, and Frágil Discos, an amazing label from the city of Buenos Aires that keeps growing in popularity and acceptance both inside and outside Argentina. Described by Angel Molina as an Argentinean version of the sound associated with Traum, Kompakt or Force Tracks, the catalogue of Frágil Discos is the main source of this mix where you will find, among others, the names of Pablo Reche, Leandro Fresco, Fantasias Animadas, Gustavo Lamas and Romina Cohn, all of them members of the Frágil crew. What we get from this meeting between Molina (well know for his work in the sheer-techno field) and the crystalline and minimalistic Frágil selected tracks is an interesting collection of melodies, rhythms and acoustic textures, melted with imagination and highly exploratory techniques."
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2CD
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RED 002CD
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"The third edition of Barcelona's Primavera Sound Festival brings again to the city some of the most well-know independent artists (both national and international). The fragile and fresh pop of The Go Betweens; the acoustic sensibility of L'Altra; the cinematic country of John Parish or the oppressive lyricism of Arab Strab. These are just some of the highlights of this year's edition of the Primavera Sound Festival. Other names, closer to the new electronic tendencies are also listed in the line-up of this two-day festival. Among others, you'll find: Tocotronic, Console, Rjd2, DJ Rupture And Super_Collider." Artists include: The Go-Betweens, L'Altra, Tocotronic, Nacho Vegas, Thalia Zedek, Arab Strap, Grupo Salvaje, A Room With A View, John Parish, Migala, Calc, Audience, Soledad Brothers, Standstill, Tokyo Sex Destruction, Mishima, Élena, Beef, Console, Motormark, Larry Tee, Ellen Allien, Märtini Brös, Le Hammond Inferno, Rjd2, Dj/Rupture, Super_Collider, and Umek.
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2CD
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RED 001CD
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OFFF 2003 is a double CD plus booklet that resumes all the artistic worries that converges at OFFF and includes information about every artist taking part in the fest. The first CD, 'Experimental Audio', contains 19 unreleased or rare tracks by musicians playing at OFFF 2003. From click-techno (Sutekh, Mikael Stavostrand) to digital dub (System, Johan Skugge), and also avant-pop (Ulrich Troyer, Daedelus), IDM (Fibla, Iso 68, Osso Bucco), surrealistic collages (The Rip-Off Artist, Stephan Mathieu, Simon Marino, Un Caddie Renverse Dans L'Herbe), extreme minimalism (Taylor Deupree, Z.E.L.L.E., Fantasmagramma, Heimir Björlgulfsson, Ferran Fages) and brutal plunderphonics (Kein Babel). The second CD, 'Unusual Video', contains 19 unreleased or rare films and interactive pieces as MPG files (PC and Mac) made by artists like Hoogerbrugge, Nando Costa, Random Media, Adversative, Kleber, Systemsoular and Adversative, among many others. OFFF 2003: The Festival: In only two years the Online Flash Film Festival (OFFF) has become a globally recognised brand for enthusiasts and professionals of web creativity and new audiovisual languages. Since its birth OFFF has also paid special attention to be at the vanguard of digital music creation, marrying technological development and multimedia creativity."
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