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With his seventh album since he started his „Ensemble Du Verre“ in 2003, producer and multi instrumentalist Sönke Düwer is presenting his latest production „Rooms“. An album with a new musical direction, yet quite typical E.D.V. , coherent, floating and featuring beautiful methaphorical lyrics, enhancing E.D.V.’s stilistic and sonic spectrum. Next to three instrumental pieces, six vocal tracks can be heard on „Rooms“. Record Label: Batterie Style: Jazz

Record Label: Real Gone Jazz Style: Jazz

Record Label: Music On CD Style: Jazz

Record Label: Real Gone Jazz Style: Jazz

Two Original Albums Together On One 180-Gram LP! Billie Holiday (born Eleanora Fagan; April 7, 1915 – July 17, 1959) was an American jazz singer and songwriter. Holiday was a seminal influence on jazz and pop singing. Her vocal style, strongly inspired by jazz instrumentalists, pioneered a new way of manipulating phrasing and tempo. Above all, she was admired for her deeply personal and intimate approach to singing. “Billie Holiday Sings” was her first full-length album, released in the United States by Clef Records in 1952 in the 10-inch format. “An Evening with Billie Holiday” was the second 10 inch LP studio album released in 1953. Record Label: Vinyl Passion Style: Jazz

Two albums, both originally from 1962, reissued as one double-LP set. Record Label: Vinyl Passion Style: Jazz

A double cd collecting the best of Stanley Clarke's work recorded between 1975 and 1990. Covering Clarke's classic early solo work plus the Clarke / Duke project, Fuse One and Stanley Clarke Band eras, this superb release features sleeve Record Label: Robinsongs Style: Fusion/Jazz

Record Label: Real Gone Jazz Style: Jazz

Record Label: Real Gone Jazz Style: Jazz

Record Label: Vinyl Passion Style: Jazz

The Nighthawks return with their 7th studio album. On 28.10. This new masterpiece will be named 707. An album with a reference to an airplane, which is no longer visible in the sky. But the Boeing 707 was unquestionably the first musical cultural transporter, who rose in the sky in 1958 and subsequently promoted such legendary bands as Led Zeppelin or the Beatles. The Nighthawks, who are no jazz purists at this time, breathe the spirit of the past on this album and still remain true to their sound language. For 20 years, this band has been creating music for travelers. And also in this case: ready for boarding? Record Label: Herzog Records Gmbh 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 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