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Record Label: Dot Time Records Style: Jazz

Record Label: Dot Time Records Style: Jazz

Record Label: Dot Time Records Style: Jazz

Record Label: Dot Time Records Style: Jazz

Artist: Bill Evans Trio Label: Fantasy

Live performance from the American musician and composer Miles Davis, recorded in Tokyo/Japan, 1988. The concert features songs such as 'One Phone Call', 'Human Nature' and 'Me And You'. Record Label: Laser Media Style: Jazz

Record Label: Richard Weize Arch Style: Jazz

ORIGINALLY RELEASED in the summer of 1967, it seemed to have disappeared—that is, until now in this sparkling remastered stereo release (first time on CD). Considered by fans of Hayes and Gonsalves to be one of the hardest-to-find and most sought-after of their recordings. They first joined forces on “Just friends” in a rarity in more ways than one; British jazzmen rarely joined their US counterparts gathering around a microphone, let alone as equals. This follow-up was financed by London saxophonist Jack Sharpe, this album is a real revelation of just how advanced and unafraid these fine musicians were to push the borders out and demonstrate here, what truly accomplished talents they were! With his usual flair for explaining what you are about to hear, Tubby biographer and fellow saxophonist Simon Spillett has written an excellent essay to accompany the release. So, here we are, fifty years later...give your ears a treat Record Label: India/Harkit Style: Jazz

The most famous listing of musical instruments in pop history goes like this: “...grand piano...reed and pipe organ...glockenspiel...bass guitar...double-speed guitar” - a soft but clearly audible narration which then goes on, not without pride: “two slightly distorted guitars.”* What has that whispered list got to do with this CD? And why exactly did Mike Oldfield´s words “slightly distorted” („Tubular Bells“, 1973) occur to me as I listened? Firstly, a picture is often rendered beautiful by adding only a slight distortion. The same can be said of sound. Sometimes a bit of dirt under the fingernails of the music-makers’ hands appeals to us. Now and then, Matthias Loibner’s hurdy-gurdy sounds “slightly distorted”, and this effect doesn’t necessarily have to be made with the help of electronics. When Loibner activates his buzzing drones (please don’t ask me how this works, you can read about it on his web site), a bolt of lightning flashes through the music. Franz Hauzinger’s sound palette covers “slightly distorted colours”, too, as if a piece of tissue paper were laid over his clear tone. And finally, it is self-evident that Peter Rosmanith’s boundless variety likewise includes “slight distortion”. Secondly, I wish, time and again, that someone would whisper in my ear, tell m which instruments are playing, what is “happening” with them at any given moment. Like good synchronization at the lower edge of the screen, hearing something like this would make listening easier. Naturally, the musicians would tell me that such a guide is impossible, “des spüt’s ned”, (“that’s out of the question”). And that is fine, because you should slip into the music with your ears, to make sense of it, track by track, piece by piece. The whole-, half-, and quartertone trumpeter of all classes, the liberator of the hurdy-gurdy, and the honourable professor of rhythms: They have played extensively, for decades they have been present in a music scene that has defies any labelling. Each of them has his delicatessen, ”Brot und Sterne - (Bread and Stars)” making only a small portion of their broad array of wares. And it couldn’t be any other way, if you want to keep your head above waters that flow far from the mainstream. I do not know if the title of their CD „Tales of Herbst (Autumn)“ has anything to do with their biographies. Maybe there´s a hint that Autumn is the best season for creating stories. Stressful multitasking among the most diverse projects has made Hautzinger, Loibner, and Rosmanith into incomparable language artists. Their vocabulary is so rich, that they can afford to take the risk of free improvisation. There certainly is no dearth of ideas - it is rather a question of leaving the superfluous. Thus the most magical moments of this album come out of deliberate sound-castigation, taking the silent way. It is nothing more than logical, that, among a plethora of their own compositions, the only cover version on the CD is on a work with very few notes … Finally, when I listen to this wonderful album, two other song titles come to my mind: They precede the original “In a Silent Way (1969): “shhh/peaceful”… Record Label: Traumton Style: Jazz

For some, the arrival of American tenor saxophonists Al Cohn and Zoot Sims at Ronnie Scott's club in early June 1965 couldn't have come soon enough. By the middle-1960s, the envelope of "modern" jazz was being pushed to breaking point, both in the US and the UK, and to Scott his two visitors that summer represented the perfect antidote to all the Coltrane and Ornette-inspired "freedom". Writing in Melody Maker, he described Al and Zoot as "their own men, concerned with a brand of jazz music that is to do with swing, melodic invention, and good sounds." Scott had long been an admirer. Indeed, he had chosen Sims as the first soloist to inaugurate his clubs policy of importing US guest artists four years earlier. When he returned again in late 1962, Sims brought his long-term confederate Cohn with him, upping the musical ante and delighting all those who'd admired the two-tenor team on record. "Zoot and Al were pure jazz incarnate," remembers saxophonist Peter King, one of many London musicians drawn to the Americans feel-good orbit.” They loved to play, respected Stan [Tracey]'s trio and positively relished working with it. They swung their asses off night after night and had a ball, falling in love with England, the admiring audiences and the excellent musicians they met here." Putting the visitors on record together with their UK counterparts was a logical next step, an exercise in mutual admiration masterminded by British saxophonist Jack Sharpe, a player who did a great deal to make life comfortable for touring American jazzmen. Indeed, he'd already produced three London-made recording sessions featuring a visiting US soloist, Duke Ellington star Paul Gonsalves (one of which Change of Setting, co-led by Tubby Hayes can be heard on Harkit HRKCD 8561). His fourth such effort, again taped at Lansdowne Studios in Notting Hill Gate, this time on the afternoon of Sunday June 27th 1965, was designed to showcase Cohn and Sims alongside their regular Scott club accompanists, Stan Tracey, bassist Rick Laird and drummer Jackie Dougan and two further guests, Peter King and Sharpe himself. Despite receiving some enthusiastic press reviews, including a glowing appraisal in Melody Maker, which noted the albums "highly professional jazz...concerned with form and coherence...and a belief that jazz should communicate with the paying customer", the LP quickly went out of print. Having also never received a US release, it soon became one of Cohn and Sims most sought-after recordings. Although the session and its back story are very much part and parcel of the Golden Era of British jazz, and of the whole zeitgeist of the early years of Ronnie Scott's club, the music on Al and Zoot In London itself stands very much on its own timeless merits. But then Cohn and Sims had never chased fashion. Interviewed by Max Jones in Melody Maker in summer 1967, a few months before this album was released, Zoot Sims observed how his and his partners preferred style had begun to sound "kind of mainstream" when compared to the pioneers of the avant-garde. At the time, fierce debate was raging in the pages of the jazz press about whether the idiom itself was dying, a victim of the scorched earth explorations of the new wave. Jones asked Sims if he thought the music was on its way out. His answer was as characteristically unpretentious as his playing; "I always say one thing: jazz has been dying for 70 years and it's going to last a lot longer than the record we're making now." Fifty-years on, that record is back, alive and kicking and sounding as good as ever! Excerpted from the accompanying notes by Simon Spillett © 2016 Harkit Record Record Label: India/Harkit Style: Jazz

Artist: Andrea Motis Label: Decca (UMO)

This fall, trumpeter and composer Josef Leimberg will launch his debut full-length Astral Progressions. Hitting vinyl prints and digital formats with the Alpha Pup Records jazz imprint World Galaxy, Astral Progressions is a powerful record in the canon of 21st century music. It also continues the momentum Leimberg achieved on the Kendrick Lamar Grammy Award winning album To Pimp A Butterfly. A hybrid state of jazz fusion, world music, R&B and golden era hip hop instrumentalism. Josef Leimberg has created a rich tapestry of sound that fits right in with the resurgence of progressive music in the 2010’s, launching out on his own terms after an impressive career of guest work. Leimberg gained a unique level of traction with his work on the multiple Grammy Award winning Kendrick Lamar LP To Pimp A Butterfly. Credited under the LoveDragon moniker with Terrace Martin, his time with To Pimp A Butterfly only represents a small fragment of his accomplishments. His collaborative resume over the decades is astounding, consisting of production, writing and feature credits with Snoop Dogg, Erykah Badu, Robin Thicke, Shafiq Husayn, Funkadelic, Freestyle Fellowship, Dr. Dre, Murs, King Tee, Suga Free, Saafir and Busdriver. These connections have undoubtedly spread life all over Astral Progressions. Leimberg’s debut album features an array of innovators and game changers in modern progressive music. Kamasi Washington, Bilal, Georgia Anne Muldrow, Kurupt, Terrace Martin and Miguel Atwood Ferguson are just a small list of the brilliant minds that make the Astral Progressions outing special. Many of the featured artists became with the LP through world renowned creator Shafiq Husayn. Leimberg would connect with various musicians associated to his camp through studio recordings, gigging and rehearsals, building on his compositions in a very organic and social way. Kurupt connects with Astral Progression’s cosmic message unlike anything else he’s done before, lending his verbal talents over a cosmic west coast flavor. Goergia Anne Muldrow and Bilal add considerable weight as well, taking direction into spiritually tinged fusions of R&B and soul. The ending track pays special homage to Leimberg’s mother, including a recording of her speaking about the complexities of life and where we all fit into the bigger picture of this universe. To describe this record in full would take volumes of thought, bridged under the vision of Leimberg in every note and measure. Leimberg takes the sonic power of Astral Progressions back to the origins of the ‘70s jazz fusion movement. Included is a superb Miles Davis cover of ‘Lonely Fire.’ Originally recorded and featured on the 1970s Miles Davis studio album Big Fun, Leimberg revamps the spiritually tinged piece with uptempo pocket driven drum work, flaring solo’s and a sense of heightened energy that transforms the chord arrangements of the original into something entirely new. Paul Livingston adds lush sitar, tambura and sarod, bringing the Indian influences shed on the original composition into the 21st century state of Leimberg’s vision. It’s a perfect summation of how organic, fluid and exotic the record is as a whole. The artwork and design packaging pulls back to the narrative of prolific album cover work that enhanced many of the world’s most celebrated jazz fusion albums. Artwork created by Tokio Aoyama, the vibrant color schemes intertwine into deeply interwoven symbols, coalescing to form a powerful story before a single note is even heard. Taking the influence his father, mother and communities of musicians around him, Astral Progressions is a record that summarizes the long lasting power of love through sound. Josef Leimberg is a part of the movement that’s creating new standards in the exploration of jazz and fusion. He is defining himself as a worthy composer and purveyor of the deep musical arts and Astral Progressions is just the beginning Record Label: World Galaxy Style: Jazz

Record Label: Cougouyou Style: Avantgarde/Free Jazz

Inspired by the sound world of the Indonesian gamelan orchestra, Andreas Tschopp has assembled an ensemble of high-caliber improvisers and sound aesthetics, which he frees from the fetters of the well-tempered mood and sends him on an exploration journey through the sublime beauty of metalic hovering and hypnotic Ostinati. In his mind, Bubaran is a jazz quartet. But already the cast - three brass players, a guitarist, a drummer - makes clear that this is not the sound of the Great American songbook, but rather the play, the inventor and discoverer spirit of jazz. Bubaran is a jazz quintet. But Bubaran is also a pocket chamber orchestra, a telescope in the sound world of Indonesian temple installations, a singer of archaic arias, a folk festival in the village square. Record Label: Enja Records Hw Gmbh Style: Jazz

The Sebastian Böhlen Band feat. Efrat Alony plays a program consisting of the setting of a cantonal libretto by the German author Tina Hartmann. The vocals are from the guitarist and composer Sebastian Böhlen. Stylistically, music can be attributed to modern jazz. In addition to Efrat Alony on vocals and Sebastian Böhlen on the guitar, the band consists of Andreas Böhlen on the saxophone, Bernhard Meyer on the bass and Peter Gall on the drums. All the members of the ensemble have performed as a bandleader as well as a sideman and have been awarded national and international prizes independently of each other. In 2015 live recordings of the band were released on the CD Live at the Bird's Eye, Volume 16. The first studio CD of the ensemble entitled Born under this soft wind will be released in January 2017 by the label Laika Records. Record Label: Laika Style: Jazz

Afonso Pais, a reference established in the national music scene, develops from the beginning of his artistic career a work of exploratory composition of the slopes and possibilities of written music and improvisation. He lived in New York for the first five years of his professional life, after which he settled in Lisbon. Having collaborated with songwriters such as Edu Lobo, Ivan Lins, Rui Veloso or JP Simões, shared the stage or studio with singers like Dee Dee Bridgewater, Camané and António Zambujo, and recorded with bigger names of instrumental music such as Peter Bernstein, Perico Sambeat Or João Paulo Esteves da Silva, Afonso Pais now presents his artistic partnership with the acclaimed singer Rita Maria, a singular interpreter and improviser, with the project titled "Beyond the Hours". Capa_paraalmdashoras_mini.jpg Rita Maria, for her part, has an eclectic musical journey, fruit of the contact she had with the most varied musical cultures, which she found in the seasons that took her to the United States, India and Ecuador, and is now returning to Portugal . Over the last few years he has worked with Mário Laginha, Carlos Bica, Ziv Ravitz, Elias Meister or Maria Tejada, to name a few, clarifying his musical personality and artistic expression through the instrument that has always been with him: Voice. More than a combination of musical styles, the repertoire reflects an assimilation, using the song format, the expression of the word sung in Portuguese, encompassing improvisation, unity and interaction of the group, without compromise of belonging to some musical typology Pre-determinant or predominant. "Além das Horas" is released on November 4, 2016 by the German publisher ENJA Records. In this collection of Portuguese songs, with and without lyrics, punctually instrumental, each composition introduces its musical universe without however delimiting it. The musical narrative takes us through the songs, by the voice of Rita Maria according to the imagery of Afonso Pais, resulting from the musical complicity and long-standing partnership that consubstantiates this artistic collaboration. Record Label: Enja Records Matthias Winckelmann Gmbh Style: Jazz

Artist: Toc & The Compulsive Brass Label: Circum-Disc

Columbia/Legacy Recordings представляют виниловое издание новейшего опуса в серии бутлегов Майлса Дэвиса, который включает хронику музыкальной эволюции музыканта в период с 1966 по 1968 годы, когда он работал со своим "вторым большим квинтетом". Релиз дает беспрецедентную возможность погрузиться в творческий процесс мастера путем изучения всей сессии, включая репетиции, незаконченные и альтернативные записи, студийные диалоги и многое другое. "Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol. 5" - вышедший на CD в прошлом году, включает более 2-х часов ранее не изданных студийных записей 1966-1968 годов, заново смикшированных и ремастированных в аудио высокого разрешения. Заключительная часть серии бутлегов легендарного джазмена, приурочена к празднованию 50-летия знакового альбома "Miles Smiles", выпущенного Дэвисом в 1966 году. Бокс-сет "Miles Davis Quintet: Freedom Jazz Dance: The Bootleg Series, Vol 5" был подготовилен к выпуску прославленной продюсерской командой, многократными обладателями Грэмми, Steve Berkowitz, Michael Cuscuna и Richard Seidel. Artist: Miles Davis Label: Sony Legacy

Record Label: Vinyl Passion Style: Jazz

Legendary, wonderful Brazilian deep-jazz album reissued by Far Out. Record Label: Far Out Recordings Style: Jazz