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viewing 1 To 25 of 45 items
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2LP
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OEP 1005LP
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2015 release. "Previously unreleased Strata Records album by Ron English featuring original artwork from famed artist Overton Lloyd."
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2LP
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OEP 1007LP
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2019 release. "Perhaps Larry Nozero's single most-recognizable contribution to popular music is the soprano sax solo on Marvin Gaye's seminal, What's Going On, the title track and tone-setter for one of soul music's most successful, not to mention conceptual, recordings. Like so many talented reedmen before him, Nozero received instruction from Detroit's Teal School of Music, creating common ground with Yusef Lateef, Joe Henderson, and Benny Maupin. Although Nozero flirted with the Strata groundlings briefly in 1964 as a member of Charles Moore's Detroit Contemporary 5, he was soon drafted into the military. A mixed blessing, Nozero took full advantage of the opportunities within the Army Band, which led to several high-profile jobs upon his return to Detroit. Despite lengthy engagements with Henry Mancini, Sergio Mendes, and studio work with everyone from Holland-Dozier-Holland to Berry Gordy, Nozero still relished musical freedom of expression, which made him right at home on the Strata roster. While little is known about Sphere as a stand-alone group aside from it's contributors Larry Nozero, Eddie Nuccilli, Keith Vreeland, Jimmy Peluso, John Dana and producer Bug Spangler, Inside Ourselves presents the level of quality jazz expected from both One Eighty Proof and Strata Records."
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2LP
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OEP 1008LP
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"This previously unreleased limited edition legendary live concert, CJQ The Black Hole, 180 Gram 2xLP Gatefold vinyl of 1000 copies was remastered from the original reel to reel master tapes. The original artwork has been restored and includes the original design sketches for the album. Due to the unpredictability nature of live recordings, there is some noise distortion that we tried earnestly to fix!"
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2LP
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AUK 027LP
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2020 repress. Tepid Peppermint Wonderland Volume 2 includes the second half of the double CD Tepid Peppermint Wonderland: A Retrospective (AUK 013CD, 2004), remastered for vinyl. Following Tepid Peppermint Wonderland Volume 1 (AUK 026LP, 2004), Volume 2 continues to mine the period of 1995 through 2004 and includes key tracks from all of The Brian Jonestown Massacre's albums as well as live recordings and many otherwise unreleased tracks. The Brian Jonestown Massacre is a psychedelic rock band originally from San Francisco, California, led by guitarist and singer Anton Newcombe. Beginning in 1995, The Brian Jonestown Massacre released numerous albums, first on BOMP!, the label that gave them their start, and later on TVT Records and Tee Pee Records. The band was essential in the development of the modern U.S. garage scene, and many LA and SF musicians got their start playing with Newcombe, including Peter Hayes of Black Rebel Motorcycle Club. Originally Newcombe was heavily influenced by The Rolling Stones' psychedelic phase (the band name is a reference to Stones guitarist Brian Jones and Peoples Temple founder Jim Jones), but his work in the 2000s expanded into aesthetic dimensions approximating the UK shoegazing genre of the 1990s and incorporating influences from world music, especially Middle Eastern and Brazilian music. Gatefold double LP version.
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LP
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BEWITH 083LP
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Ocean Moon is a solo project from Jon Tye of Seahawks. A long-time explorer of the sounds of spaciousness, having released the ambient classic LP iO in 1994 as MLO, Crystal Harmonics is a document of Jon's latest discoveries. Island Visions (BEWITH 077LP), the recent collection of music from Seahawks for KPM, touched on the deeper, more spatial side of music and led to Jon exploring this territory in greater depth, again for KPM, under his Ocean Moon alter ego. This time he brought along some of today's most visionary musicians: Jon Brooks (The Advisory Circle, Ghostbox) for his intuitive melodic mastery, Seaming To (Graham Massey's Toolshed) for her extraordinary vocal talents, Steve Moore (Zombi) for his sophisticated and inventive rhythmic sensibility, and Richard Norris (The Grid) for his sensitive and deeply resonant ambience. The initial recordings were made at The Centre Of Sound in Cornwall, with the collaborators various contributions coming from London, Derbyshire and the US. The supremely serene electronic flute and bells of "Crystal Drift" ease you into the journey and you take the next steps with "Rainbow Ripples" as it gently folds space with arpeggiated synth swells and delicate machine beats. Light vocal tones, bells, and breath FX on "And Breathe" keep you going, accompanied by synth drones and billows of electric piano. You travel through the synth-space-surf haze of "Lost Oceans", with soft bass and warm ambience, to reach the "New Infinity" of revolving melody, spacious pads, and light electronic beats. The celestial tone floats of "White Mirror" close out the first side. Temple bells ring out to running water flowing together with deep resonant vocal tones as the second side opens with "Peace Bells". "Revolving and Evolving" follows, a tranquil electronic meadow of lush pastoral synth tones where you rest for a while for "Mountain Dreaming", a light rhythmic dance of zither and birdsong. The undulating "Forest Motion" ripples with synth arpeggios, dreamy Solina strings and percussive modular electronics before allowing the crackling ambience and Cantonese whispers of "Sleep Golden" to wash over you. Finally, you find yourself on "The Long Path", its warm temple ambience of drones and chants guiding you home. Crystal Harmonics is inspired by four particular albums from KPM's catalog: There's The Electronic Light Orchestra by Adrian Wagner (1975) and then Temple Of The Stars, Breath Of Life, and finally Keith Mansfield's Circles, these last three coming from KPM's mid-1980s run of modern classical/new age gems. Mastered by Simon Francis, cut by the legendary Pete Norman.
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BNSD 055LP
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Lebanese musician, producer, and sound engineer Fadi Tabbal's work consists of guitar pieces ranging from stripped acoustics to ambient and electronic-inspired treatments. He has released four solo albums since 2013, including The Museum Of Disappearing Buildings (BNSD 023LP) and Music For The Lonely Vol. 1 (2017-2018) and recently spearheaded the Beirut Musicians Fund, set up to aid musicians in Beirut who lost equipment in the explosion at the Port of Beirut. Tabbal is a full-time member of several Lebanese bands including electronic duo Stress/Distress and The Bunny Tylers (with Charbel Haber) and has collaborated with Mike Cooper, Postcards, Sharif Sehnaoui, Kinematik, and Oiseaux-Tempete, to name but a few.
Lebanon's capital city of Beirut sits on one of the world's most turbulent fault lines, with a hostile and expansionist neighbor to the south (the settler-colonial apartheid state of Israel), a civil-war-riven country to the east and north (Syria), and a domestic situation that features a deeply-corrupt sectarian ruling elite, millions of refugees from Palestine and Syria, months of revolutionary protests, and a collapsed economy. Beirut, however, has long been a vibrant and diverse beacon of Arab and Mediterranean culture. Recent decades have seen the emergence of an internationally-recognized contemporary music, art, and dance scene; a vocal LGBTQ+ movement; and an interconnected web of efforts around refugee rights, democratic government, public health, and environmental concerns. Equal parts heartbreaking and inspiring, the city carries on, even thrives, against all odds. The massive explosion at the Port of Beirut on August 4th, which decimated some of the city's most beautiful and progressive neighborhoods, stands indeed as a tragic example of some of the worst ills afflicting humanity in 2020. But it also revealed a few long-simmering reasons for hope: citizens coming together in widespread acts of mutual aid, emphasizing what brings people together over what divides them, and rising up en masse against a corrupt economic system and the geopolitical power structures it engenders. As American cities revolt against totalitarianism and for racial justice, with Portland at the forefront, Lebanon beckons as both a cautionary tale and an example of the persistence necessary in order to take down a dying order in an era of existential threats.
Recorded and mixed between January and April 2020 at Tunefork Studios and at home, Beirut. Mastered by Rafael Anton Irisarri at Black Knoll. Release by Beacon Sound and Ruptured. Includes download; edition of 300.
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LP
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BNSD 056LP
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Fusing spacious electronic minimalism, shimmering guitars, and the empyrean voice of Misty Mary, Portland's WL (pronounced "well") arrive at the end of 2020 with an album of lustrous, crystalline Left Coast pop that is destined to be a trusted companion during the long nights ahead. ADHD is a defining statement of purpose for the group, made during a time of personal upheaval and featuring an evocative song cycle that begs to be listened to on repeat. From the slow gallop of "Show Me" to the all-consuming gale that is "Voices", listening to the album from start to finish is like taking an autumnal walk across one of the city's iconic bridges, a cinematic embrace that feels both protective and expansive. The album's alchemical magic is revealed through the depth of its deceptively simple song structures, with each song blooming into its own mini-cosmos. Ruminative, self-assured, and spun through with warmth, ADHD reveals WL to be in a class of their own. And if "Water's On My Side" isn't the most Portland of songs, we don't know what is. RIYL: Still Corners, Chromatics, Broadcast, The XX. Recorded in North Portland, 2019. Mixed By Spencer Doran. Mastered by Timothy Stollenwerk. Cover art by Jonathan McCabe. Includes download; edition of 500. "WL makes the kind of music that's so visual it doesn't even need the customary accompanying video. Like the Oregon Coast, the band's atmospheric sound is vaporous and brooding." --Willamette Week
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LP
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BB 048LP
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2020 restock. Vinyl release. Dieter Moebius and Conny Plank got to know each other through their work on Cluster's 1971 album and remained close friends until Plank's death in 1987. They made a congenial pair as musicians, as amply demonstrated by their first album as a duo, Rastakraut Pasta, originally released on Sky Records in 1980. On this album, drums, electric guitars and bass are the cornerstones of every track; they provide the framework to which Moebius adds fresh color and life with his synthesizers. Thanks to the technical merits of Plank's studio, the keyboards sound barely distinguishable from one another. No samples -- strictly analog from start to finish. Holger Czukay (Can) plays bass on three pieces and his consummate professionalism sees his virtuosity finely-tuned to the concept of Moebius and Plank. Moebius has a predilection for surrealist cascades of noise, heard throughout the album, grotesque yet playful. An enigmatic form of pop music came into being on this LP, a breakneck, elegant mix of diverse elements: a touch of Krautrock, some avant-garde pop, new German electronica, even sporadic echoes of reggae. 180 gram vinyl LP housed in a printed inner sleeve with full-color photos and notes by Asmus Tietchens.
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2CD
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CSR 288CD
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Out-of-print on CD for almost two decades, Cold Spring announce the official reissue of a much sought after Best Of set by the acclaimed esoteric experimental pioneers Coil, with A Guide For Beginners - The Voice Of Silver and A Guide For Finishers - A Hair Of Gold being made available together in one deluxe set. Officially licensed from FEELEE, this edition spans Coil's entire career, featuring tracks from all their major albums. They were hand-picked by Coil to represent their best work and originally released to mark their first performance in Moscow in 2001. The artwork (text in English and Russian Cyrillic) sympathetically features the rarest of the images previously used in the original Russian and English editions and is packaged in a deluxe, glossy eight-panel digipak with spot matt-laminate varnish.
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LP
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DLS 003LP
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Repressed. LP version. Cream and army green vinyl. Originally released in 2007. This was Thurston Moore's first solo outing since 1995's Psychic Hearts. Remastered.
From original 2007 press release: "Thurston recorded primarily on acoustic guitar and bass, laying down the core of the tunes with drummer compatriot Sonic Youth's Steve Shelley and violinist Samara Lubelski, a noted player from MV/EE and The Golden Road, Hall of Fame, and other awesome gatherings as well as solo artiste. Thurston grabbed John Agnello to record and mix the sucker after having a helluva good time with the bro from working on Sonic Youth's 2006 killer Rather Ripped. They decided to work in Dinosaur Jr.'s J Mascis's Bisquiteen studio (the top floor in J's Amherst house actually) where Dino did their Beyond album (2007). This worked out very nicely as it allowed Thurston to yell down the stairs every time he needed a shredding guitar solo and J would trundle up, plug in and BURN. Other guests on Trees Outside... are Christina Carter, she of Charalambides, and she of the most beatific, beautific voice on land, sea, and air. One track called 'Honest James' has Thurston and Christina singing duet against a single acoustic guitar and it is a naked groove. The otherworldly Canadian musician Andrew Macgregor aka "Gown" plays some spectacularly understated and incredible guitar and Sunburned Hand of The Man's John Moloney takes over the drum stool to absolutely flail on the pit snarling 'Wonderful Witches'. And then there's the 20 seconds or so of primal noise wave courtesy of American noise underground genius Leslie Keffer on Off Work. Most of the tunes are lyric driven but there are a couple of majestic instrumentals like Trees Outside The Academy, which brings the album to a musical and breathless close. There's also some weird cassette tape that Thurston found at his mom's of him at 13 years old in the early '70s making some kind of sound-theatre."
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LP
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EMEGO 290LP
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After two years since her debut full-length release, Grand River presents her second album Blink A Few Times To Clear Your Eyes on Editions Mego. The eight track LP shows an evolution towards a more experimental side of the Dutch-Italian composer which is here superbly combined with her ability of creating melodies previously heard on her double-LP Pineapple, released on Spazio Disponibile in 2018. Blink A Few Times To Clear Your Eyes expresses how acoustic instruments can be perfectly merged with electronic and analog synthesizers to become one new organic whole. The composer, whose birth-name is Aimée Portioli, brings the listener along on her personal explorational journey of expressions within a certain genre. The title of the album indicates the desire to explore what is new and see what is around us from different perspectives. The album opens with the track "Side Lengths", a complex and dreamy sequence made with one of her favorite synthesizers, the Yamaha DX-7. From there we are brought from extended panoramic sound design and cinematic ambiences, back and forth to synthetic melodies, field recordings, strings and for the first time ever, Aimée's own modified voice in the closing track, "All There Now". Recorded primarily at her home base in Berlin, Grand River's music is pure, magnificent and elegant which documents a solemn atemporal story where her experiences are translated into another language. Mastered by Giuseppe Tillieci at Enisslab Studio, Rome. Cut by Andreas Kauffelt at Schnittstelle, Berlin. Original artwork by Nathan Melaragno. Typography by Marco Ciceri.
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CD
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ESPDISK 4068CD
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Limited restock, last copies. ESP-Disk is now releasing Frank Wright's tribute concert to tenor saxophonist Albert Ayler titled Blues For Albert Ayler in a 6 part suite. This high energy performance was recorded live at Rashied Ali's club 'Ali's Alley' on July 17th, 1974. This is the Right Reverend Frank Wright, live and raw, in his element, with a most impressive band. Frank Wright plays tenor sax and bass clarinet, with an electrifying performance from guitarist James 'Blood' Ulmer, bassist Benny Wilson and drummer Rashied Ali.
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CD
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ESPDISK 5056CD
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No Love Is Sorrow is the third solo album by American singer-songwriter-guitarist Buck Curran. The album's primary influence draws upon personal experience, along with an idiosyncratic musical style developed over many years as a solo artist and member of the psych-folk duo Arborea. The album presents a body of soundscapes... acoustic and electric instrumentals, psychedelic poetic folk songs... compositions inspired by visions of the surreal landscapes of life: love, hope, loss, fear, transformation, the light of expecting a newborn child, dreams, the realization of impermanence with the recent losses of family members and friends. Further inspiration was drawn from music as wide-ranging as experimental music, '60s, and '70s folk and psychedelic blues-rock, jazz, Western classical music, and Indian classical music. "Ghost on the Hill", "Deep in the Lovin' Arms of My Babe", "Odissea", and "One Evening" are very personal songs that include lyrical themes of love, memories, and fear: "Ghost on the Hill" is a haunting and poetic memoir of life past, "One Evening" (in the poetic style of Bob Dylan's "It's Alright, Ma, I'm Only Bleeding") is a harrowing statement charged with scenes of contemporary life: love and hope, uncertainty and fear created by society, technology, and politics. "Blue Raga", "No Love Is Sorrow", "Marie", "For Adele", and "Chromaticle", and "Lucia" are experimental tone poems created through improvisation on acoustic guitar. "Django (New Years Day)" is Curran's debut on piano inspired by the music of Claude Debussy and Erik Satie. CD version includes six additional tracks; includes "Lucia", an experimental tone poem created through acoustic guitar improvisation, "War Behind the Sun", a searing psychedelic electric guitar instrumental, and four alternate versions.
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LP
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EATING 004LP
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Originally released in 2013, now reissued on Sleaford Mods' own Extreme Eating imprint. Neon yellow vinyl. From the 2013 press release: "Sleaford Mods started out sometime during 2006 whilst Jason Williamson was living in Nottingham. Born out of part frustration and part accident, it quickly found its feet as an aggressive verbal onslaught on all that is contrived and connected to the day-to-day hammer of low paid employment and domestic situations arising from that trap. After a year of working ideas out in both the studio and in live performance around Nottingham, Williamson moved south and took the cause to London for a couple of years, before returning to Nottingham in 2009. Soon after that he that he met Andrew Fearn and the Sleaford Mods became a duo. The rest, as they say..."
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EATING 005LP
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LP version. Transparent blue vinyl. Reissue of the classic 2014 album. Once dismissed around their native Nottingham as "two skip rats with a laptop" the Sleaford Mods have simply knocked all their distractors clear out of the way. From the 2014 press release: "Divide And Exit contains 14 tracks and the result is as immediately in your face as its vicious predecessor. Whilst Fearn's beats and loops will pull you up into the urgency of Sleaford Mods they also allow you to run the gauntlet from deliberate clumsy dance-floor swaggers to full-on punk throwabouts with them. Williamson is let free to spit out his unempathetic litany of bile and anger towards the bloated and tedious. His verbal salvos and side-swipes are often savage and brutal, yet at turns, hilarious, but always spot on as Sleaford Mods rage and despair as the country sinks deeper into a cesspool of its own idiocy. It's an album that doesn't have the privilege of luxury, indulgence or extravaganza and it will strike a resonant chord with many because it simply refuses to compromise."
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Cassette
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FTR 371CS
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"Cassette reissue of a legendary LP, recorded live in Ottawa at the Dominion Tavern on March 23, 2012 during Damo's Canadian tour. Originally released in an edition of 100 on the band's own Birdman Sound label, this set finds the peripatetic Can singer (who, like Chuck Berry before him, tends to play with instrumental backing by local talent) in some of the best company he has yet found. TBWNIAS (in septet format this evening) lay down thick slabs of the distended heavy guitar psych with which they've made their rep. But they're always had underground Germanic influences that surface in their work, so when Damo switches into Tago Mago mode, they are on it, with exquisite Leibezeit drum patterns setting the stage for throbbing strings and a pulse Damo could follow in the dark. Totally improvised, the music and words move like a river flowing through your brain -- sometimes the slowly curling current floats you along like a dream, sometimes the foaming whitewater just about swamps you. But it's a thrilling ride, champ, and now you can have yourself a copy for just pennies a day. If this ain't your lucky say, what is?" --Byron Coley, 2020
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FTR 537LP
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In the 1930s, the Dust Bowl was the most devastating man-made ecological catastrophe in human history. In 2020, Dust World. After pioneering the now thriving form of underground-band-as-character-based-performance-art, and filling 2017-2019 with a staggering number of wigged-up Banny Grove shows in support of a self-released record and a 7" EP, Banny Grove leader Louise Chicoine decided to trade in the costume and the cartoonish-ness that were her signatures in order to break ground on a more profound and lasting body of work. Perhaps not coincidentally, this shift also saw the group relocating from the reputedly over-the-top and image-conscious metropolis of Los Angeles to a solar-powered shack and recording studio in the middle of the Mojave Desert. Here they set out to distill elements of pop and electronic music with a high level of compositional inventiveness and a touch of country-western flavor, and to sharpen Louise's lyrics to the unflinching edge demanded by our sick and confusing era. Dust World is the document of this transformation, the wet-eyed smile of a clown removing her makeup for possibly the last time. Album opener "Malibu" establishes the pattern: a splashy beachball tune with a chromatic hook, that suddenly breaks apart for a last full minute of drifting introspection. And then we get "Blue and Green," a naked and furious take on climate collapse that rises from a lament to a rallying anthem. "So Happy, So Good" offers a return to clowning, as Louise raps like Debbie Harry about the power of free and indestructible pleasures -- before the album's centerpiece "Piece of Mine" takes you on an immersive R&B-driven trip back to an old-west fireside. The same dialectic plays out on Side B, finding one of its strongest iterations in the slow burner "Goo-Goo's Melody," wherein Louise roasts the apathy of our oligarchs in what sounds like a series of nursery rhymes. And with "Covered in Love," the swinging chunk of electro-country that closes the album, the band manages to craft a heartfelt love song out of what's ostensibly a parody of an insurance commercial. Banny Grove is a singular voice in today's increasingly unsupervised art music world, forging a nexus of underground experimentalism and pop accessibility that was previously thought to be impossible. No wonder the band has become as beloved by the art school crowd as they are by more mainstream-leaning demographics.
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CD
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FTR 579CD
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"Divine Horsemen were a band formed & led by Chris D between the years 1983 and 1988, while he was on hiatus from the Flesh Eaters. Divine Horsemen (taking their name from one of the Flesh Eaters' most powerful stompers) emerged as a byproduct of Chris' gorgeous solo album, Time Stands Still. He met singer Julie Christensen a few months before the recording, and the mix of their voices was such a perfect pairing of honey and gravel, they knew they had to keep working together. Taking a more measured rock tone (as compared to the raging word-zonk of the Flesh Eaters), Divine Horsemen recorded three great LPs and one EP for SST. They were also an amazingly solid live band, combining Chris' gonzo pulp imagery with those incredible twinned vocals, massive guitar riffs and a truly locked-in rhythm section. The two shows from which this album is harvested were recorded just before the Devil's River album came out in '85, and close on the heels of '87's Middle of the Night. It seems wild to me, listening to this disk for the umpteenth time, how together these songs are as rock-qua-rock monsters. I realize I'm biased and all, but I'd say half of the tunes are nothing less than goddamn classics. I somewhat prefer the later version of the band with Peter Andrus on guitar (he replaced Wayne James, Cam King and Marshall Rohner), but that's just picking nits. The core of the line-up was stable -- Julie and Chris singing, the late Robyn Jameson (the sole holdover from the Flesh Eaters) on bass, Rex Roberts on drums -- and they always sounded real damn good. Sadly, the band didn't last as long as hoped. Chris and Julie got married, but that was a collaboration that burned too hot to last. The band split when the couple did, which ended a truly ecstatic vocal pair-up. Julie went on to work for almost a decade as Leonard Cohen's angelic foil, but I was more excited to hear she was guesting on 2019's boss Flesh Eaters' album, I Used to be Pretty. And her vocal spots at a few of their live shows were spine-tingling. But there's nothing quite like the sound of Divine Horsemen. From the hot rod thuggery of 'Mother's Worry' to the sweet massage of 'Middle of the Night,' their music will take you where you want to go. So, lay back and dig this disk, while you wait for their new studio LP, Hot Rise of an Ice Cream Phoenix, on In the Red. There is also talk of a live tour, which would be fan-fucking-tastic. More than that I cannot say. Selah." --Byron Coley, 2020
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FTR 576LP
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All you need to know is Anthroprophh release records on Rocket Recordings and every so often they release one and with German Oak, you are getting a release that is both unique and very special. Side one is a 17-minute freak out/meltdown/brain buzz of a mother fucker -- Imagine a star collapsing in upon itself and you'd have the sound of "German Oak". Side two is four tracks all melded together -- two tracks of hypnotic minimal electronic bliss melded into a Tacoma-like finger picking hoedown before the final two track brings in the spirit of Skip/Syd/Roky for a hauntingly mesmeric end.
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GODUNK 069LP
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Pulling inspiration from the weirdest depths of post punk and krautrock, Klämp inject elements of noise rock and horrific low end into the mix, all while kneeling at the altar of the riff. Hate You is Klämp's second album, and first to feature Lee Vincent on drums. The recording took place in March 2020 in East London as the world went on lock down with Covid-19. Capturing the palpable tension in the air, Hate You would make a fitting soundtrack to the apocalypse. Klämp is: Lee Vincent (Pulled Apart By Horses, Concentration Champ), Jason Stöll (Sex Swing, Twin Sister, Mugstar, God Unknown Records, Bonnacons of Doom), and Greg Wynne (Manatees).
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2LP
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HJR 018LP
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2020 restock, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date.
Poet, composer, street musician and cosmologist Moondog (Louis Thomas Hardin, 1916-1999) learned rhythm from American Indians and counterpoint from J.S. Bach. Many of his recordings feature instruments he built himself: trimba, yukh, tuji, oo. Sometimes you can hear in the background the streets of New York, where Moondog often slept. In addition, he was blind, due to an accident when he was 15. Sometime in the 1950s, fed up with being mistaken on the street for Christ (his regular busking spot was uptown on Sixth) Moondog put on a Viking costume, with spear and horned helmet; and he dressed like this until the late 1970s (by which time he was working with orchestras in Germany). Moondog's renown was extensive: Igor Stravinsky lobbied a judge on Moondog's behalf. Charlie Parker wanted to play with him, Julie Andrews DID play with him, and he was feted by the likes of Bob Dylan, Marlon Brando, and Steve Reich. Andy Warhol's mother designed one of his covers, and Weegee took photographs of him (included in the booklet). Janis Joplin covered him, Mr. Scruff owes him badly, and Antony and the Johnsons covers his songs. This is the first retrospective of Moondog's music -- 36 tracks from 1949-1995, most of them exceptionally rare, all of them miraculous.
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JID 001CD
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"Music exists in movement and change, but before any part of it can be pinned down for analysis, it's often moved and taken on a new face. The transformation is often driven by culture as forward-thinking people avoid the proverbial paths in search of revolution. Even though our pioneers prophesied that the revolution would not be televised, the message has permeated. It's spreading like wildfire and leaders are defined by those that speak first: Jazz Is Dead. Music is the universal language and we are the interpreter of sound, a message that has been lost in transcription. Under Jazz Is Dead, younger artists are elaborating upon conversations started decades ago; jazz icons are utilizing vintage equipment to create new masters with Adrian Younge and Ali Shaheed Muhammad; the same equipment that recorded their coveted catalogs. The vitality embedded in the new masters epitomizes our quest for new life in music: Jazz Is Dead. This compilation features legendary artists Roy Ayers, Gary Bartz, Marcos Valle, Azymuth, Doug Carn, Joao Donato, & Brian Jackson, who will each have their own individual release, working alongside Adrian Younge and Ali Shaheed Muhammad."
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JID 002CD
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"In February 2018, Roy Ayers performed four sold out shows in Los Angeles as part of the Jazz Is Dead Black History Month series. It wasn't until 2020 that fans of Ayers discovered that in addition to those shows, the legendary vibraphone player had also recorded an entire album of new material with Adrian Younge and Ali Shaheed Muhammad. Over the course of its eight original compositions, written collaboratively by Younge, Shaheed Muhammad & Ayers and recorded at Younge's Linear Labs in Los Angeles, the resulting album sounds both like an unearthed an unreleased album from Ayers' classic period in the 1970s (which produced the oft-sampled 'Red, Black & Green,' 'We Live In Brooklyn, Baby,' 'Everybody Loves The Sunshine,' and 'Running Away'), as well as something startling, new and unexpected. Joining Ayers, Younge & Shaheed Muhammad on this musical journey are drummer Greg Paul, vocalists Loren Oden, Joy Gilliam, Saudia Yasmein, Elgin Clark & Anitra Castleberry, as well as Phil Ranelin & Wendell Harrison of the legendary Spiritual Jazz label Tribe Records. The 8 tracks on this album testify to the love not only of a legendary musician's legacy, but to the vitality & necessity of this music and these sounds in the present era, a thread that will likely run throughout all of the upcoming releases from Jazz Is Dead Records."
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JID 003CD
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"Marcos Valle's career started with the end of bossa nova. A lifelong surfer of swells, he expertly rode out the final wave of the waning international fad, landing in the U.S. for a short stay before returning to Brazil to continue his career. A proud Carioca (Rio de Janeiro resident), Valle couldn't stay away from his beloved hometown. This seminal artist is no stranger to Los Angeles, though. Back in the mid-to-late sixties he recorded a solo album (Samba '68) and was a featured member of an early, short-lived line-up with Sergio Mendes right before he landed the Brasil '66 deal with A&M records. He would try his luck in the U.S. again a decade later, spending a half-dozen years here, mostly in L.A. where he befriended members of Chicago and developed a prolific songwriting partnership with R&B journeyman Leon Ware. Valle never recorded his own music during those years, though. This historic collaboration with Jazz Is Dead's Ali Shaheed Muhammad and Adrian Younge marks the first time he has recorded music in the U.S. in nearly 50 years."
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JID 003LP
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LP version. "Marcos Valle's career started with the end of bossa nova. A lifelong surfer of swells, he expertly rode out the final wave of the waning international fad, landing in the U.S. for a short stay before returning to Brazil to continue his career. A proud Carioca (Rio de Janeiro resident), Valle couldn't stay away from his beloved hometown. This seminal artist is no stranger to Los Angeles, though. Back in the mid-to-late sixties he recorded a solo album (Samba '68) and was a featured member of an early, short-lived line-up with Sergio Mendes right before he landed the Brasil '66 deal with A&M records. He would try his luck in the U.S. again a decade later, spending a half-dozen years here, mostly in L.A. where he befriended members of Chicago and developed a prolific songwriting partnership with R&B journeyman Leon Ware. Valle never recorded his own music during those years, though. This historic collaboration with Jazz Is Dead's Ali Shaheed Muhammad and Adrian Younge marks the first time he has recorded music in the U.S. in nearly 50 years."
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