Mainstream Jazz

Artist: Teddy Edwards Label: Enlightenment

Artist: SCOTT DUBOIS Label: Act (Edel)

Artist: LEA W. FREY Label: Yellowbird (Soulfood)

Artist: J. S. BACH Label: BERLI

Artist: Mother's Finest Label: Made In Germany Musi

Artist: CANNONBALL ADDERLEY Label: Vinyl Passion (H'Art)

Artist: VOLKER BOEHM Label: CLANG

Artist: PAT APPLETON Label: CO.NT

Artist: KAI & FUNKY Label: FUEGO

Artist: VIVIANE DE FARIAS Label: In & Out (in-Akustik)

Artist: KOESTER & HOCKER Label: GMO

Artist: BILLIE HOLIDAY Label: Notnow (H'Art)

Record Label: Denovali Style: Avantgarde

180g Vinyl + Download-Code Gatefold-Cover made of Heavy Paper Genre: Modern Classic / Chamber Music / Avantgarde Performed by the brilliant TAK Ensemble, "Sanctuary" is a ritualistic masterwork of modern classical music, combining acoustic and electronic elements with visionary intensity. For the third full length document of his classical works, Mario Diaz de Leon presents his most unified offering to date, distilling the modernistic hellfire of his previous releases to a crystalline essence. "Sanctuary" is an album length piece created in collaboration with TAK Ensemble, a brilliant NYC based quintet devoted to energetic and virtuosic performances of contemporary music. Featuring soprano voice, flute, violin, bass clarinet, marimba, and the composer's own synthesizer work, the album is a hypnotic and ritualistic journey through realms of angelic and demonic experience, combining acoustic and electronic elements with visionary intensity. "21st century chamber music that combines crystalline clarity with the disorienting turbulence of a sonic vortex." - WIRE Magazine "Plenty of people can write a one-off 'amplified' piece for chamber musicians, but few artists have built a language as stable and rewarding as Diaz de Leon's." - Pitchfork Record Label: Denovali Style: Avantgarde

S.N.A.C.K. - Students Need Athletics, Culture, And Kicks - was a way for Bill Graham to give back to the San Francisco community. When city budget cuts meant an end to all extracurricular activities in schools, he staged a concert with an amazing list of performers and over 50 guest celebrities. 50,000 attendees at Kezar Stadium raised enough money to keep extracurricular activities in San Francisco schools going for one year. Presented here is the entire day's worth of music in the Vault from that benefit concert. It began with some early morning funk from Tower of Power and Graham Central Station and ended with an all-star jam where Bob Dylan and Neil Young played with members of The Band and the Stray Gators. In between were sets by Bay Area regulars like the Doobie Brothers, Santana, the Grateful Dead (in one of their very few 1975 appearances) and Jefferson Starship; as well as some beautiful folk from Joan Baez and some Latin jazz from Eddie Palmieri. This was Bill Graham's first large, outdoor, multi-artist stadium concert and certainly one for the ages Record Label: Roxvox Style: Rock

Performed by the brilliant TAK Ensemble, "Sanctuary" is a ritualistic masterwork of modern classical music, combining acoustic and electronic elements with visionary intensity. For the third full length document of his classical works, Mario Diaz de Leon presents his most unified offering to date, distilling the modernistic hellfire of his previous releases to a crystalline essence. "Sanctuary" is an album length piece created in collaboration with TAK Ensemble, a brilliant NYC based quintet devoted to energetic and virtuosic performances of contemporary music. Featuring soprano voice, flute, violin, bass clarinet, marimba, and the composer's own synthesizer work, the album is a hypnotic and ritualistic journey through realms of angelic and demonic experience, combining acoustic and electronic elements with visionary intensity. "21st century chamber music that combines crystalline clarity with the disorienting turbulence of a sonic vortex." - WIRE Magazine "Plenty of people can write a one-off 'amplified' piece for chamber musicians, but few artists have built a language as stable and rewarding as Diaz de Leon's." - Pitchfork Record Label: Denovali Style: Avantgarde

A must-have for fans of DIO, JUDAS PRIEST, ALTER BRIDGE, SEVENDUST, and STONE SOUR. Florida's CLOCKWORK REVOLUTION is drummer Patrick Johansson (W.A.S.P., Yngwie Malmsteen, Impelliteri, Gus G, George Lynch, G3), singer Wade Black (Leatherwolf, Crimson Glory, Seven Witches, Leash Law, War of Thrones), bassist Dirk Van Tilborg (Alias, Attakk, Crimson Glory, Kamelot, Perfect Defect), and guitarist Dewayne Hart (Kinlin) delivering a powerful sound that draws from both modern and classic metal. CLOCKWORK REVOLUTION's debut is packed full of straight forward metal that comes directly from the heart and showcases what a kick ass band can deliver when combing elements of modern and traditional metal in an explosive mixture. This band kicks a lot of ass. It is straight forward metal coming directly from the heart. It's great to see a band combining elements of modern and traditional metal in such an explosive mixture. -Jörn Asche, Heavy Metal Underdogs Record Label: Sonic Night Music Cl Style: Hard Rock

The Clientele return in September with Music for the Age of Miracles, their first release of new music since 2010’s Minotaur EP and their first album on Tapete Records. After The Clientele released Minotaur, Alasdair MacLean, singer and principal songwriter for the band, made two wonderful albums with Lupe Núñez-Fernández as Amor de Días, issued a Clientele best-of called Alone and Unreal, oversaw reissues of Suburban Light and Strange Geometry, and played shows solo or as part of Amor de Días or The Clientele. He and Lupe have also been raising a family, so the prospect of a new Clientele record seemed to be diminishing. It seems fitting, then, that a chance meeting with a ghost from the past/future is what led to Music for the Age of Miracles, the first album of new Clientele songs in seven years. MacLean and Anthony Harmer knew one another and played music together in the mid-1990s but had lost touch. “I had often wondered what had happened to Anthony since,” writes MacLean. “It turned out—he told me—he’d studied the Santoor, an Iranian version of the dulcimer, and over decades become a virtuoso, at least by my standards. He suggested we have a jam together. Ant and I now lived three streets away from each other, it turned out. He started to arrange my songs. He let me write and sing them, and he came up with ideas for how they should sound. This carried on until we had an album. I called up James and Mark and asked them if they wanted to make another Clientele record. They did, and this is it.” So, a new collaboration with an old acquaintance led to a new Clientele album. On Music for the Age of Miracles, Harmer joins the line-up of MacLean, James Hornsey (bass), and Mark Keen (drums, piano, percussion), contributing string and brass arrangements as well as guitars, vocals, keyboards, saz and, yes, Santoor. There’s something rapturous about the ways in which tracks on side one such as “Falling Asleep” (featuring the Santoor) and the exquisite “Everything You See Tonight Is Different From Itself” stretch out in choral harmony and rhythmic syncopation. Leon Beckenham’s trumpet solo on the latter is a highlight of the record, as is the way the words “ballerina, breathe” reappear at the three-minute mark. Similarly, Keen’s beautifully evocative interludes “Lyra in April,” “Lyra in October,” and “North Circular Days,” the last of these featuring a recording of the wind captured outside the late filmmaker Derek Jarman’s house in Dungeness on the Kent coast, mean this album sounds subtly but significantly different from previous ones. Birth, rebirth, the ghost in the trees, something on the edge of sight, the faces we love, childhood, parenthood, the dance of our days; music for the age of miracles, indeed. Record Label: Tapete Style: Indie Pop

Wayward Sons may be a brand new band, but they come loaded with experience. Besides band leader Toby Jepson’s work in the producer’s chair with the likes of Toseland, Saxon, Fastway, The Answer, and The Virginmarys, he also fronted the very popular and successful UK rock act Little Angels, as well as spending time in Scottish act Gun, among others. After a bit of a break from the spotlight, Toby gathered up some top notch musicians and wrote the songs that would comprise “Ghosts Of Yet To Come” in a live band rehearsal setting. He knew he wanted a band that was built to play live, so it seemed logical to create the music in this manner. What you have in the debut is something that nods to the ‘70s and ‘80s great hard rock music, but at the same times is very, very much of the times. Words won’t do it justice, so best to listen for yourself and feel the infectious nature of the music overtake you. The band will make their live debut this July and has scheduled appearances at Ramblin’ Man Fair, Steelhouse Festival, and Rock & Blues Custon Show with more touring to follow in support of “Ghosts Of Yet To Come” Record Label: Vinyl Eck Style: Metal

The complete recordings of Los Panky's, originally released in 1966. During their short-lived career, Mexico City's Los Panky's produced an outstanding collection of rock & roll and beat music which made them pioneers of the "Hanky Panky" sound and one of Mexico's favourite bands. After decades of obscurity, their amazing legacy is now finally available on vinyl again. Released in collaboration with Burger Records. In 1962, Bill Haley & His Comets played live on Mexican television show Orfeón A Go-Go, in turn crediting them as the first American rock and roll band to accomplish this, and bringing The Twist' to Mexico. Though by then Bill Haley's popularity in the US had declined dramatically, his television appearance made him a national hero and rock icon in Mexico, and even brought about an exclusive Mexican record deal with Discos Orfeón, one of the biggest labels at the time. Rock and roll was alive and well in Mexico City and though first wave groups like Los Teen Tops, Los Rebeldes del Rock and Los Apson enjoyed success and popularity, Bill Haley's performance helped usher in a second wave of new teen garage rock bands in the country. In the audience that night were many teens who were inspired to start their own bands, one of which would get their start as The Black Diamonds. The Black Diamonds were comprised by Raúl San Martín, César Hernández, Julio Saldívar, Silverio Pérez and Marcel Ruano, and they probably ranged from ages 15-18, but no one really knows for sure. Like most teen bands of any era, they rehearsed day in and out on the most basic shitty and borrowed equipment, in a tiny bedroom, with the ultimate goal of playing a gig or house party with friends. The band took influence from first wave Mexican rock heroes Los Teen Tops and Los Rebeldes del Rock, and of course Americans like Elvis and honorary Mexican Bill Haley. By 1965, The Black Diamonds got their break and were signed to Discos Orféon. The band changed their name to Las Animas, and sometime in 1966 they went into the studio and the result of that day was an EP with a cover of The Vogues' ive O'Clock World' and another track entitled ada te ofrezco'. The EP was released shortly after, and although it was received well, the band was unhappy with the level of promotion Orfeón was giving them and decided to part ways with the company. 1966 also saw the Hanky Panky craze taking over Mexico thanks to Tommy James & The Shondells. Every group ever was racing to record their version of the song, and new bands were forming left and right just to make a cover of it. Free from their contract with Discos Orfeón, Las Animas came back under a new name, Los Panky's, and record label Cisne was waiting for them with open arms. Los Panky's went on to record what is said to be the most "demented" and "punk" version of 'anky Panky' in the country, and it put them in the spotlight with national attention. Under Cisne, they recorded two EPs, one LP, "Es solo amor", had features on two compilation LPs with other Cisne artists, as well as countless spreads in Mexican rock magazine México Canta, much radio airplay, a national tour, and a live performance on "Orfeón A Go Go". At the forefront of the second wave of Mexican rock and roll, Los Panky's became a national favorite among young fans. For a group of kids from the slums, the feeling of accomplishment must have been overwhelming. They had a record deal, they got to sign autographs, they were in real national magazines and had real records, they had finally made it. Unfortunately, every good thing comes to an end. By the end of 1967 - beginning of 1968, Raúl had decided that he wanted to try his luck in the United States. At just 18, he left Mexico and went to Los Angeles, and the band called it a day. From then on out, Los Panky's faded into obscurity. Some members of the group passed away, some pursued non-musical careers, and some lost touch for 47-plus years, never knowing what became of one another or what could have been. All would hold onto those distant memories and look back on the band fondly. Record Label: Munster Style: Rock N Roll