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Khiov Music LP 43025 The John Scofield Band: Überjam Format: 2LPs 33rpm / gatefold sleeve Status: New release, 66 pcs. current stock Preorders: 2 Pricecode: KM02 Barcode: 8808678160253 Article-No.: KM43025 Manufacturer: Khiov Music Original label: Verve Release date: 26.06.2015 In the jazz world, there are artists who are consistent but predictable and artists who are unpredictable but inconsistent. John Scofield, meanwhile, is an impressive example of a jazzman who is both unpredictable and consistent. You never know what the risk-taking guitarist will do from one album to the next, but he rarely provides an album that is flat-out disappointing. Überjam is a major departure from 2000's "Works For Me", the Verve date that preceded it. While "Works For Me" is essentially a straight-ahead post-bop outing and employs acoustic-oriented players, like pianist Brad Mehldau and bassist Christian McBride, "Überjam" is pure, unadulterated fusion. This album always has a jazz mentality -- "Überjam" is as spontaneous, free-spirited, and uninhibited as any bop session that was recorded in Rudy Van Gelder's studio in the '50s -- but on "Überjam", having a jazz mentality doesn't mean excluding elements of funk, rock, and, at times, hip-hop and club music. To those who fancy themselves jazz purists, the phrase 'pure, unadulterated fusion' will sound like an oxymoron; if jazz is fused, how can it be real, authentic jazz? But then, George Duke hit the nail on the head when he asserted that jazz was always fusion; even back in the days of Jelly Roll Morton and King Oliver, jazz had a variety of influences. It simply became more fused when Miles Davis recorded "Bitches Brew" and "In A Silent Way" in the late '60s. And speaking of Davis, much of "Überjam" reflects Scofield's years with that restless trumpeter. Like many of Davis' fusion efforts, "Überjam" has no problem being cerebral and funky at the same time. The material tends to be abstract and intellectual, but not at the expense of grit. "Überjam" is yet another excellent album from an improviser who refuses to be predictable. Recording: July, August and September 2001 at Avatar Studios, New York, by Joe Ferla Production: Susan Scofield Record Label: Khiov Music LP 43025 Style: Jazz

Record Label: Ubiquity Style: Jazz

Vinyl, LP, Album, Reissue, Remastered

Welcome SPIRAL RECORDS! A great new label releasing classic Jazz LPs newly remastered on limited 180 gram vinyl and packed with Deluxe inner sleeves! These Collectors Editions are 'One Pressing Only' Limited Editions, so grab your copies while you can! When Adderley formed this group, including Cannonball’s brother Nat Adderley (1931-2000) on cornet, and the superlative pianist Bobby Timmons (1935-1974). Timmons, then 23-years old, was already working with Art Blakey’s Jazz Messengers, who enjoyed tremendous success with the pianist’s composition “Moanin’” and the album built around that tune. The Cannonball Adderley Quintet in San Francisco marked Adderley and Timmons’ first of only two collaborative recordings. Their second and final album together, Them Dirty Blues, was recorded on February 1, 1960 (that album introduced the tune “Work Song”, a composition by Nat Adderley which would become one of Cannonball’s greatest hits).

The Dixieland Institution Firehouse Five finally available again on vinyl! This vinyl contains 12 tracks incl. Five Foot Two Record Label: Zyx Style: Jazz

Vinyl, LP, Album, Reissue, 180g

Vinyl, LP, Album, Reissue, Remastered, Stereo, 180 Gram

Record Label: Acoustic Sounds AAPJ 083 Style: Jazz

Artist: John Coltrane Label: Jazz Wax Records

"180 GRAM AUDIOPHILE VINYL - INSERT Scenes In The City (1983) introduces the work of Branford Marsalis as a leader. Branford, the saxophonist among the New Orleans Marsalises, has received less than his due because he shares his surname with a certain yo Record Label: Music On Vinyl Style: Jazz

Funky Stuff (Clear Pink Vinyl)

180g/green Vinyl/limited. More explorations of outer space by the spokesman for the space age. When Walt Whitman wrote, "I am vast; I contain multitudes," he could have been channeling Sun Ra. The man born Herman Blount in Alabama, who claimed he was from Saturn, was equally at home reviving Fletcher Henderson compositions based on their original arrangements or unleashing totally free-form, athematic group improvisation - and many styles in between. It was practically a given that a New York-based (as he was in the '60s) avant-jazz performer as colorful and eccentric as Sun Ra would end up on ESP-Disk'. The 1965 sessions that produced the two volumes of Heliocentric Worlds came during the most extremely free-form period of Ra's career, contemporaneous with The Magic City (Saturn Records). Volume 1, recorded in April with an 11-member band, consisted of seven relatively short tracks (none over eight minutes); recorded in November with an octet, Volume 2, in contrast, was much freer and featured the side-long "The Sun Myth" (over 17 minutes in length) and "Cosmic Chaos" (14+). The horn players and bassist Ronnie Boykins have plenty of room to stretch out and take full advantage. "A House of Beauty" offers five minutes of relatively lyrical respite between the other tracks. It's worth getting the vinyl LP of Volume 2 just for the iconic cover designed by Paul Frick, consisting of a German astronomical chart of the solar system and portraits of Sun Ra and famous astronomers. Record Label: ESP Disk Style: Jazz

180 Gramm Vinyl / Gatefold Sleeve TWO ORIGINAL ALBUMS: THE BRIDGE / WHAT'S NEW Trackinfos / Line-Up: LP1: A1, A2, A3, B1, B3: Sonny Rollins Quartet: Sonny Rollins - tenor sax; Jim Hall - guitar; Bob Cranshaw - bass; Ben Riley - drums. February 13 & 14, New York City B2: Sonny Rollins Quartet: Sonny Rollins - tenor sax; Jim Hall - guitar; Bob Cranshaw - bass; Harry Saunders - drums. January 31, 1962, New York City LP2: A1, B2, B3: Sonny Rollins Septet: Sonny Rollins - tenor sax; Jim Hall - guitar; Bob Cranshaw - bass; Ben Riley - drums, Dennis Charles, Frank Charles, Willie Rodriguez - percussion. April 5 (B2), April 25 (A1)& 26 (B3), New York City A2, B1; Sonny Rollins Trio: Sonny Rollins - tenor sax; Bob Cranshaw - bass; Candido - percussion, May 14, 1962. New York City *Note: The original US album release included "If I Ever Would Leave You" as the first track; European releases used "Don't Stop The Carnival". Record Label: Vinyl Passion Style: Jazz

Ambient Jazz Ensemble wrote music for worldwide hit feature film Filth (written by Irvine Welsh, starring James McAvoy). Composer and producer Colin Baldry (Ambient Jazz Ensemble) has worked with Motown, Capitol Records, Warner Chappell and more. He's joined by Neil Cowley (Adele, Brand New Heavies) on keys, Finn Peters (Chick Corea) on sax, Dominic Glover (Paloma Faith) trumpet, Nichol Thomson (Jamie Cullum) trombone, Tom Kane horns, Ben Reynolds drums and string quartet. The reworks album was mastered by Guy Davie on an early 70s EMI Lagos desk the same one used for many Fela Kuti. Guy's Electric Mastering work with Jon Hopkins, FKA Twigs, Jamie T and many more. Suite Shop Reworks are upbeat, dancefloor and electronic versions of the chilled orchestral originals with the addition of some vocals Record Label: Here And Now Style: Jazz

Broken

Live At Cafe Au Go-Go

Eastside Romp

She has stood on many stages – here, there and in the outside world – taking audiences and critics by storm with her luscious voice, the cool Nordic sound of her compositions, and her ravishing appearance. The release of the album, Closer, on March 23nd, will be the fourth recording in her own name by this budding singing star and songwriter. Closer came into being in close teamwork with Peter Storm Otto, who is not only Sidsel Storm’s regular musical collaborator, but also the man in her life – a relationship of dynamic energy that provides space for affection as well as collegial support. It’s no surprise, therefore, that the songs on the new album wrestle with human relationships, sending us down sundry paths in search of love, where the heart can either bubble over or burst. Sidsel has already drawn attention to herself both at home and abroad. A mere 32 years of age, she has released four albums in her own name, received the Danish Songwriters Guild Prize (2008) and a Danish Music Award for ‘Danish Jazz Vocal Release of the Year’ (2009), as well as a good deal of international recognition. She has sold tens of thousands of albums in Asia and Germany, where she is particularly popular. In the meantime this compelling woman has also become a mother, though it has only kept her off the stage for a month, once again revealing her as an ambitious musical talent. Nor does Sidsel leave anything to chance when it comes to this other apple of her eye: the music. She plays a central role in all the processes involved in an album’s creation, from composing the numbers and writing the lyrics, releasing the album, booking and press photos, to forming the music both in the studio and on stage. Sidsel Storm is a singer who knows what she wants. A person paging through the logbook for Closer with its elaborate details about each number would be tempted to believe the release was a pop-music production, considering the minimum of space left for improvisation, a characteristic feature of jazz. She spent long hours working on the compositions until she was satisfied, before spending months in the studio recording this new album. Record Label: Calibrated Style: Jazz

Artist: Ella Fitzgerald Label: Wax Time

Two years ago Mimi Terris released her debut album ”They say it’s spring” , which got wonderful reviews by the critics. In her new album ”Flytta hemifrån” she brings new life to Swedish retro jazz, and shares a poetic and tragicomical view of life when it suddenly doesn’t go exactly according to plan. You can hear a subtle influence from icons such as Ulla Billquist, Alice Babs, Monica Zetterlund and Olle Adolphson, and Terris’ timbre moves with ease through swing, bossa nova, traditional music and blues brings life to a genre which for so long have been “slumbering” in our Swedish vinyl collections – as well as in our hearts. You can not help it but be swept away by the swingjazzy sensibility of this wonderful singer from Malmö- Mimi Terris and her compositions. A mature, elegant tone is heard in these songs, written 2014. Record Label: Calibrated Style: Jazz

Once upon a time there was a Canadian supermarket chain called LOEB, which was eventually acquired by METRO group. However, it was not this real-life friendly take-over which inspired a guitarist called LOEB to name a band-project METRO . No, the starting point might have been a ride on the Paris metro (the protagonists themselves are not entirely sure about the formation of the band's name) - and the noise of rhythmical flow, which is particularly fascinating for musicians. Coincidence or not: The greater part of METROs music is characterised by rhythmical flow . A journey with (on the) metro: similar to a continental underground line it commutes between the stylistic poles of jazz, the rougher East- and the softer West-Coast. It is neither a high-speed train with mandatory seat belt wearing, powered by testosterone and machismo, nor a creeping slow train, with a fluent passage from relaxed cruising to semi-consciousness. This metro is not driven by one individual but by a collective: guitarist Chuck Loeb, keyboarder Mitchel Forman and percussionist Wolfgang Haffner. The fact that the three also invite each other to participate in their own productions underscores the impression that these musicians were made for each other: a similar or even identical concept of performance, similar or even identical tastes and ideas of sound.Loeb and Forman are friends for many years: for more than four decades their paths cross regularly. They have played together in the band of Stan Getz and again and again met in the recording studio. Jazz has shaped them - and the fusion-bands of the 70s and 80s: Mahavishnu Orchestra, Weather Report, Mwandishi, Return to Forever, Yellowjackets, Steps Ahead . It is not surprising that the hearts of jazz-loving instrumentalists - who were socialised by rock - beat for rock-jazz and fusion in particular. One of the METRO-CDs (Tree People) gets quite boldly to the heart of it - in a just about fifteen seconds lasting interlude, during which - not lacking irony - aesthetic positions are taken up: It commences with a vocal piece by Victor Bailey, in which he purrs gently, imitating the soul pop-crooner Luther Vandross - and ends with the unambiguous exclamation: ,Back to fusion!" Got it? Incidentally it was also a fusion-project by saxophonist Bill Evans (Petite Blonde, 1992) which brought Loeb and Forman together again and which made their long-cherished wish to form a band together at some point more and more desirable. Two years later the time had come: in 1994 the maiden voyage of METRO took place. It was Anthony Jackson, METRO's first bass player, who ultimately played a part in transforming the team Loeb/Forman into a leading trio: His advice to invite the drummer Wolfgang Haffner brought the third constant on board. For more than twenty years they now form the steady core of METRO. All the more frequent were the changes of bass players: from Jackson through to Victor Bailey, Mel Brown, Jerry Brooks, Will Lee, Gerald Veasley, Melvin Davis, Tim Lefebvre and Nicolas Fiszman. Haffner's musical profile makes him the ideal partner for Loeb and Forman: versatile, well-versed in jazz of European as well as American tradition, sought after as studio musician for jazz, pop and smooth jazz; a friend of floating sounds and a pulsating, groovy rhythmic; a light springy playing, leaving the music enough space to breath. METRO confidently balance their own standards and market expectations: their fusion-music is more tuneful, rhythmically more grabbing and harmonically savvier than much of the less ambitious smooth jazz. However, they do not shy away from ,what separates the boy from the men" (Pat Metheny): the courage to use pure major-triad. To place the band in the bigger picture may bring out and intensify one or the other musical characteristic. If one would join METRO with a string orchestra for example, then the popular, relaxed side might possibly gain too much prominence. This is certainly not the case, when - as in Big Band Boom - the renowned WDR BIG BAND ensures the XL-dimension. A big band, whose orchestration alone ,qua natura" has the right pedigree for jazz and conveys, despite all perfection, something which comes along almost like a virtue and is also familiar to fusion-musicians: the handmade. To combine all these elements while keeping the balance, which is typical for METRO, and to care for transparency is a formidable challenge for any arranger. Michael Abene, one of the most multifaceted representatives of his profession, has managed to achieve this in a formidable way. He succeeded in completely integrating a smaller unit into a bigger orchestra, without losing its own distinct identity - in the best tradition of the baroque idea of a concerto grosso. This recording features XL-versions of classics of the group: ,Metro", ,Nimbus", ,Grand Slam" and ,Bing Bang Boom!" are tracks from the debut-album Metro, ,Metrocafe", ,Fields of Diamond" and ,Month of Sundays" from the album Metrocafe, ,Rio Frio" and ,Tell Me a Thousand Times" from Metro Express, ,There and Back Again" from Tree People, ,Yikes" from Grapevine, ,The Journey" from Live at the A-Trane. Speaking of live: Although Big Band Boom was recorded at a studio of WDR - this album radiates the spirit of a live performance. METRO and the WDR BIG BAND. That is indeed a good match. And how could it be any different: the West German Broadcasting Corporation in Cologne is located in close vicinity to the main railway station . All aboard! Thanks for choosing METRO! Record Label: Jazzline Style: Jazz

Downloadcode / gatefold cover. As you are listen to “Confidence In The Future” today, it quickly becomes clear what kind of worlds must have collided here. A stunning amalgamation of aural treats, created by making subtle compromises between Pop, Jazz, Rock and Folk, that exists in every single track across-the-board. Due to its stylistic complexity “Confidence In The Future” is an album that is somehow never really able to settle on any one taste, inevitably opening up new dimensions to the listener. Imagine how this was in 1980. Especially in Berlin's commercial music scene. And especially when the involved musicians treated the project after its completion, more like a matter of personal importance than a career move. And for Hirsch, Spinning Motion's initiator, all of this seemed to be fulfilling enough. Prophetically the record is named after the most significant song of the eight-piece collection “Confidence In The Future”. 35 years on the title finds the verification it deserves. It unleashes its bottled power no sooner than the day, Jazzanova member and Notes On A Journey co-founder, Stefan Leisering finds the record in a crate at the flea market on the Strasse des 17. Juni. Like a bottle of Château Lafitte-Rothschild unearthed after 35 years, forgotten about in an abandoned cellar, do we get to experience the quiet composure and savage intensity of a treasure brought to light. It takes Leisering another ten years to comprehend what kind of music historical treasure has been hiding in his record collection. He acquired “Confidence In The Future” sometime in the early noughties and only by re-listening to this oddity one day in 2010 or 2011 did everything finally click into place. A lost gem of Berlin Pop history, one that could almost never have happened. Compositions so ahead of their time that you can only understand and classify them today properly. There's a sense of inadvertent (and therefore unaffected) ingeniousness in songs like “Devotion To You”, “Prisoner Of Life” and “Playground Of Burial-Funds” that you have to live in the 21st Century to appreciate fully. Each of the eight tracks (maybe apart from the instrumental closer “Elegy”) has some sort of melancholy, introverted reflectiveness, and yet still always something conciliatory. Manfred Tappert's voice lends his lyrics, written by him, but preconceived by Hirsch, something utterly personal, intimate even. Every single song, particularly within the framework of the oeuvre, tells a story, and due to this intimacy, and the adventurous arrangements touches you deeply. No matter the time or place. To add to all of this, this incomparable record has also an entirely different facet, which only becomes apparent with today's perspective. The title track, “Confidence In The Future”, and “Answer My Questions” remind one eerily of Kings Of Convenience, and the cosy “Naze” resembles Turin Brakes. So evidently that you'll find yourself, while listening, in a quaint retro-retro-loop, the musical equivalent of a time paradox. But this is exactly the beauty of music. Music doesn't abide by the rules of time and space as we do, and therefore each listen to each piece of music is unique and purely based on the context of the listening. And every once in a while times have to change just so music can find a new determination and new listeners. Confidence in the future ultimately means: Good music is patient, outlives everything and will sooner or much, much later find its destination. NOTES ON A JOURNEY is looking eagerly forward to finally celebrating the first proper release of Spinning Motion's “Confidence In The Future” Record Label: Notes On A Journey Style: Jazz/World