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Debut full length for the James Brandon Lewis Trio and the follow up to Lewis's critically acclaimed "Days of Freeman" consists of Luke Stewart on Bass, Warren Trae Crudup III on Drums, Lewis on Tenor Sax and features special guests Nicholas Ryan Gant, Anthony Pirog, and P.SO the Earth Tone King. The compositions from Lewis combined with the masterful, passionate output from all the members are brilliantly executed arrangements which translates into a raw, gritty, mind bending journey of relentless attack and frenzy intertwined with delicate laces of sensual R&B bliss. From beginning to end it is filled with emphatic roars and a non-stop soulful resonance rooted in an auditory output, which combines elements of early 90's hip hop with a mixture of fresh, innovative ingredients that may be described as free form experimental jazz core. "No Filter unveils a raw, rugged, uncut and uncompromising aesthetic, and that is exactly what the players deliver. The sheer hardness of their attack has the front row initially leaning back, eyebrows raised and then heads nodding in hypnosis when the full force of the music really starts to kick in. Record Label: Bns Sessions Style: Jazz

Amazing modern jazz from the estate of composer, arranger and baritone saxophonist Helmut Brandt, recorded March 1963 at Haus des Rundfunks in West Berlin - featuring Benny Bailey, Herb Geller, Nat Peck and Ack van Rooyen. One-off concert of mostly unknown Brandt compositions played by eleven soloists from the Berlin radio orchestras of RIAS and SFB, including "Boogie Waltz", "Opus C-Moll 794", "Ferien-Suite" in six movements plus Jerry van Rooyen's lost tunes "Trifi" and "Stellar". Forgotten work by one of the key figures of cool and modern jazz in Germany, carefully restored and remastered for limited vinyl LP and 6-page-digipack CD/ digital album with two additional tracks. This is the first presentation of a lost jazz concert from the Helmut Brandt estate, recorded March 1963 at SFB Sendesaal/ Haus des Rundfunks in West Berlin. That evening the "Helmut Brandt Orchestra" consisted of eleven soloists from the Berlin radio orchestras of RIAS and SFB, including Benny Bailey, Herb Geller, Nat Peck and Ack van Rooyen. They played a one-off concert of mostly unknown compositions, taped by producer Hans Gertberg for inclusion in the huge archive of NDR Jazz Workshop recordings at "Norddeutscher Rundfunk" in Hamburg. Tunes like "Boogie Waltz" or "Opus C-Moll 794" are presented here for the first time ever, as well as Brandt's outstanding "Ferien-Suite" in six movements. This orchestral piece evokes five musical pictures from an imagined holiday trip, culminating in the sixth movement "Photoalbum" - a reprise of the previous five arrangements. "Berlin Calling" uses the motif of a well known WWII era BBC radio programme of the same name. "Trifi" and "Stellar" had never been recorded before and were composed by Ack van Rooyen's brother Jerry, who moved to Berlin two years later to become leader of the SFB Orchestra. Composer and saxophonist Helmut Brandt was born in 1931 in Berlin. As a boy listening to enemy radio stations, Brandt discovered the sounds of Count Basie, Woody Hermann and "the Duke". In the beginning the young man played traditional jazz on tenor saxophone before switching to baritone in 1954, heavily influenced by the American West Coast sounds of Gerry Mulligan. Brandt made his first steps as a professional musician in the orchestras of Kurt Widmann and Lubo d'Orio before founding his own quintet in 1955, the now legendary "Helmut Brandt Combo". The Combo made their debut at the German Jazz Festival in Frankfurt, thrilling the audience with their distinctive arrangements and personal style. Brandt had studied the complicated arrangements of the Miles Davis Capitol Band and the Stan Kenton Orchestra, so the combo's two horns sounded as if they were six. The band soon "became the quintessence of Cool Jazz in Germany", as former tour manager Siegfried Schmidt-Joos remembers. A little later Brandt performed with Miles Davis, Zoot Sims and Kenny Clarke and even the great Lester Young played with the Helmut Brandt Combo during a four week engagement in Frankfurt. Fans soon started talking about a new style called "Spree Coast Jazz" - in reference to the banks of river Spree, as an ironic nod at the American West Coast. "Brandt's battle cry is 'More head, less legs'. This means that he is less concerned with emotional than with witty music. About what is happening in the field of contemporary music, he keeps constantly up to date and believes that jazz can get a further boost mainly by influences from art music, a predominantly formal enrichment however. His role models are Miles Davis and Bob Graettinger. Now he writes a jazz suite, which is strongly accentuated rhythm wise, but has no continuous beat. 'I know that I am opposed to many', says Brandt, 'but I think that the Jazz should be absolute music'. The titles are merely subsequent labels." (Kurt Wolf in "Jazz Podium", October 1956) The Helmut Brandt Combo was short-lived. "Jazz Podium" wrote about the band's farewell concert in January 1959: "Once again, this outstanding German jazz band could persuade the audience with their lovely timbre, the high level of play, the mature solo performances and the captivating arrangements. One also had the opportunity to notice the versatility of the combo members and to discover the secret of Brandt's historical background of jazz, within sophisticated arrangements on a basis of typical swing contributions that are rarely heard." In 1960 Brandt was recorded in another NDR jazz workshop with icons Lucky Thompson, Barney Wilen and Bent Jaedig, entitled "Four Brothers" and released on Sonorama Records in 2015. After the demise of his combo, Helmut Brandt decided to join the "RIAS Tanzorchester Berlin" (later called RIAS Big Band) as leading saxophonist and wrote over 1300 arrangements during the following 38 years for performances with countless jazz and pop musicians. In memory of concerts with Brandt in Japan, RIAS trumpet player Ron Simmonds mentioned: "One of the pieces Helmut arranged for these trips was the lovely ballad 'Lullaby of Itsuki'. On it he played the most amazing cadenza as an introduction, such an incredible performance on the baritone saxophone indeed. Needless to say, it delighted everyone, without exception. The mere thought of that cadenza today can still bring a tear to my eyes". Unfortunately, Brandt did not record much under his own name. Only a small number of EPs and a sole 10inch LP by the combo were released during the second half of the 1950s. For that reason, Sonorama Records recently published a collection of unknown AFN and SFB recordings, reviewed in German "Jazz thing" magazine in 2013: "Helmut Brandt led one of the boldest and most visionary jazz bands in post-war Germany. 'Berlin Calling', an album which includes recordings of Brandt originals and standard arrangements from the years 1956-58, is an impressive testimony. The arrangements, inspired by the contemporary avant-garde, as well as Brandt's outstanding technique on the baritone saxophone, have not lost their splendor". In 1967 Helmut Brandt and Stefan von Dobrzynski became members of Don Ellis' "Dream Band" that played the Berlin Jazz Festival to great acclaim. Seven years later Brandt founded his "Mainstream Orchestra" with which he toured extensively. The German jazz master finally left the RIAS band in 1997 and received the federal cross of merit "Bundesverdienstkreuz" in 2000. Only one year later he died unexpectedly from heart failure. His brilliant saxophone playing and his compositions and arrangements have made Brandt a key figure of Modern Jazz in Germany, and a great inspiration for many musicians today. Record Label: Sonorama Style: Jazz

Wolfgang Haffner (drums), Till Bronner (trumpet), Nils Landgren (trombone), Johannes Enders (tenor saxophone), Rebekka Bakken (vocals), Vladyslav Sendetzki (keyboards) Record Label: Skip Records Style: Jazz

Record Label: Vinyl Passion Style: Jazz

Record Label: Enja Style: Jazz

Debut full length for the James Brandon Lewis Trio and the follow up to Lewis's critically acclaimed "Days of Freeman" consists of Luke Stewart on Bass, Warren Trae Crudup III on Drums, Lewis on Tenor Sax and features special guests Nichola Record Label: Bns Sessions Style: Jazz

Amazing modern jazz from the estate of composer, arranger and baritone saxophonist Helmut Brandt, recorded March 1963 at Haus des Rundfunks in West Berlin - featuring Benny Bailey, Herb Geller, Nat Peck and Ack van Rooyen. One-off concert o Record Label: Sonorama Style: Jazz

The revolutionary Bitches Brew was released on March 30th 1970. By that time Miles Davis had started performing in rock venues, bringing his music to a much broader audience. His remarkable band displays near telepathic interplay throughout Record Label: Hi Hat Style: Jazz

Oscar Brown, Jr., singer, songwriter, playwright, poet, civil rights activist, and actor, releases his first LP in 1960. This album “Sin & Soul” was recorded from June 20 to October 23, 1960. Printed on the cover of the album were personal reviews by well-known celebrities and jazz musicians of the time, including Steve Allen, Lorraine Hansberry, Nat Hentoff, Dorothy Killgallen, Max Roach and Nina Simone. The album is regarded as a ‘‘true classic’’ for openly tackling the experiences of African Americans with songs such as ’’Bid ‘Em In’’ and ‘‘Afro Blue Record Label: Culture Factory Style: Jazz/Soul

180 gram black vinyl LP - original recordings remastered! Record Label: Wagram Style: Jazz

Le très jazz club - a label exclusively dedicated to vinyl reissue and jazz. For his first two releases, Le très jazz club has chosen to celebrate Japan ! Record Label: Le Tres Jazz Club Style: Jazz

The legendary world music album on vinyl for the first time ever!!! Orginally released in 1994 / remastered edition. Featuring: Youssou N’Dour, King Sunny Adé, Salif Keita, Angélique Kidjo, Papa Wemba, Peter Gabriel, Ray Lema, Ladysmith Black Mambazo, Geoffrey Oryema, Ray Phiri, Bonga, Kaïssa Doumbé, Alex Brown, Touré Kunda, Sinéad O'Connor. Record Label: Wagram Style: Afro/Funk/Jazz

Audiophile Vinyl. This album of duos stands out as one of a kind; recorded during a phase in which he began to consistently incorporate a freer musical language into his playing, and set within a constellation of diverse duo formations, there emerges an exciting portrait of the central figure in German jazz: Albert Mangelsdorff. With tongue in cheek – or better said – in mouthpiece, Mangelsdorff accompanies Don Cherry on a journey that culminates in a zany duel staged almost without instruments. With his close friend Elvin Jones, Mangelsdorff unfurls so many melodic and metric parameters that one could believe they are listening to a full combo that dissolves conventional time patterns into kaleidoscopic polyrhythms, whereas the colorful tonal confrontation between Karl Berger’s agile, inspired vibes and the questioning, challenging trombone stands out as a lesson in Avant-garde brainstorming. A rollicking, mischievous nocturne intertwined with a bit of mystery is woven out of the conversation between Mangelsdorff’s trombone and Attila Zoller’s dreamy guitar play. Because a long, close artistic partnership conjoins Saxophonist Lee Konitz and Mangelsdorff, they seem to be able to breath with one breath as they generate the synergetic dynamics and dramaturgy of their short “Al – Lee”. On the album’s last piece, a lyrical, bluesy sensibility shines through pianist Wolfgang Dauner’s and Mangelsdorff’s interplay. Recorded over an 18 month period, the album paints an intimate, playful portrait of one of the most significant personalities in jazz – not just “made in Germany”, but mirrored in the contrasting styles and close friendships of his fellow musicians Record Label: MPS Music Style: Jazz

Le très jazz club - a label exclusively dedicated to vinyl reissue and jazz. For his first two releases, Le très jazz club has chosen to celebrate Japan ! Japanese jazz is sadly one of best-kept secret. But, it would be a a huge lost to miss “Mine”, sublime first album of Kosuke Mine Quintet, released in 1970 on the legendary Three blind mice label. The record, made of a 4 long pieces where Kosuke Mine’s sax (alto and soprano) and Hideo Ichikawa’s fender Rhodes never stop to respond each other is a monument of dense and spiritual jazz. Record Label: Le Tres Jazz Club Style: Jazz

Multi talented UK Jazz Pianist Greg Foat has teamed up with Mercury Award nominated "The Bees" member and multi instrumentalist Warren Hampshire to collaborate on a new LP drawing on their diverse musical influences. Classic British library music, 60s Italian soundtracks & lost Americana combined with touches of modern classical, minimalism, Jazz and Folk. Featuring many members of Greg and Warren's previous bands and one of the U.Ks finest Jazz drummers, Clark Tracy, the LP also features an Edinburgh orchestra and soloists hand picked and scored by the boys. Recorded all analogue onto 2" multitrack in Edinburgh, mixed down by Mattias Glavå at his studio in Gothenburg, Sweden then mastered and cut in Helsinki, Finland, it's truly a European affair flying in the face of the brexit nightmare. - Warren Hampshire from The Bees teams up with pianist Greg Foat - Recorded with full orchestra all anolog to tape - Mixed down on fully analog desk from tape direct to the old Sun studios 1/4 Valve tape machine. - Hand made paste back sleeve with 60s style gloss finish. - Mastered from Tape direct to lathe at Timmion Cutting Studios Finland. - Sleeve notes by Bob Lind Record Label: Athens Of The North Style: Jazz

Audiophile Vinyl. The last album by Don Ellis' big band before the trumpeter suffered a heart attack that would ultimately cut short both his career and his life, this underrated set finds Ellis' orchestra consisting of seven brass (including tuba), four strong woodwind players, a string quartet, and an enlarged six-piece rhythm section that includes guitarist Jay Graydon and keyboardist Milcho Leviev. A special highlight is "Invincible" which is an outstanding feature for altoist Vince Denham; whatever happened to him? Ellis composed four of the eight originals including one titled "The Devil Made Me Write This Piece!" This out-of-print Lp is well worth searching for. Record Label: MPS Music Style: Jazz

180 GRAM AUDIOPHILE VINYL THE MOST CONTROVERSIAL AND MYSTERIOUS ALBUM BY MILES DAVIS In 1970, Miles Davis was at the height of his powers, recording the Jack Johnson sessions. It was also a turning point for Davis: In this year he embarked on some of his most radical music, abandoning jazz and the expansive textures of Bitches Brew for a concentrated take on rock and funk that defies categorisation. Jack Johnson, released to little fanfare in 1971, marked that turning point. Containing only two tracks, the album was assembled out of no less than four recording sessions between February and June in 1970, and was produced by Teo Macero. By any measure, Jack Johnson is a monster album. Experience it the way Davis would've wanted you to hear it Record Label: Music On Vinyl Style: Jazz

180 gram black vinyl LP - original recordings remastered! Record Label: Wagram Style: Jazz

Audiophile Vinyl. Without ever making concessions to the trend of the moment, the Kenny Clarke– Francy Boland Big Band was the embodiment of the timeless art of the jazz orchestra. Its play was proof positive that a jazz big band compiled of top-flite musicians from both sides of the Atlantic could take off and soar. Regarded as the most important big band outside of the US, this bi-continental orchestra recorded over two dozen albums, close to a third of these under the SABA and MPS labels. Recorded in May, 1968, “All Smiles” was one of the Band’s highpoints. The album exhibits a style that became synonymous with this US-European enterprise: it not only swung – it was the perfect vehicle for Boland’s sophisticated modern arrangements. Trumpeters Benny Bailey and Idrees Sulieman, saxophonists Johnny Griffin and Ronnie Scott, as well as special guest vibraphonist Dave Pike are some of the jazz giants among the soloists in this 17-man combo who turn out some masterly short portraits. From the fleet-footed waltz “I’m All Smiles” to the bluesy party piece, “By Strauss” and the sensuous theme from “Gloria”, the journey continues on through to the furious John Phillip Souza finale, “High School Cadets”. Preferring varicolored intricacy over massive walls of sound, The Kenny Clarke/Francy Boland Big Band stood up against the constant flow of momentary fads, remaining true to the inventive tradition of the great big bands Record Label: MPS Music Style: Jazz

180 gram black vinyl LP - original recordings remastered! Record Label: Wagram Style: Jazz