Jazz / Soul / Funk

Henri Guédon is an artistic legend from Martinique. Musician, painter, sculptor and one of the main architects of modern Caribbean/Antilles music. Taking the music to truly new and progressive territory from the late 1960’s onward. Karma, his 2nd album is one of the holy grails of the Caribbean cosmic Latin/Jazz scene, near impossible to find in this day and age. Released in 1975 on a small Parisian label, La Voix Du Globe, a label releasing Algerian, Moroccan and Egyptian records, the album was an anomalous release in their catalog. Karma was a convincing and unswerving statement following his stunning landmark debut LP (Cosmozouk Percussion). Incorporating African, Latin and West Indies styles (Gwoka, Mazouk, Biguine, Bel-Air, Bomba...) with cosmic synths swirling all over intense roots percussion. The songs are propelled with a spiritual Jazz vibe mixing with deep ethno-folk music from Martinique and Guadeloupe. The LP belongs to the same vein as as Marius Cultier, Louis Xavier or William Onyeabor for its totally original take on a hybrid music.

By the early '70s, Milford Graves had more or less stopped gigging. Having learned his lesson the hard way in multiple-night runs like a legendary Slugs' residency with Albert Ayler, he knew that the level of energy that he put out during a performance would be difficult to sustain over the long haul. A concert was a kind of absolute ritual for him, after which he would be totally spent, emotionally and physically. Graves rarely left anything on the table. Any musical performance was an opportunity to present an amalgamated version of all the things he had learned. He was an innovator and a teacher at his core, and the concert venue was one of his first classroom settings. In March 1976, Verna Gillis invited Graves to perform on WBAI's Free Music Store radio show. For the date, he chose to present a trio lineup which he had been occasionally playing – featuring two saxophonists who were dedicated to the drummer's vision. Hugh Glover is almost exclusively known for his work with Graves, while Arthur Doyle would gain exposure later for an obscure record that he made two years later, Alabama Feeling, which would become a highly collectable item among free jazz enthusiasts. Originally released in 1977, Bäbi remains one of Graves' most seminal recordings. The music played by the trio was ecstatic. Extreme energy music, buoyant and joyful. It relied on Graves' new way of approaching the drum kit, in which he had opened up the bottoms of his skin-slackened toms and eliminated the snare. Graves' art was always unblemished by commercial interests, and this album is its finest mission statement. First-time vinyl reissue. Sourced from the original master tapes.

Few copies available. Exclusive translucent red vinyl. Limited to 500 numbered copies. Includes In Concert At Yale University and Nommo with reproduction of hand-painted sleeve and historical inserts. The late percussionist Milford Graves was one of the most unique artists the world has ever seen. Born in Jamaica, Queens in 1941, he began his career in the early '60s as a part of New York's vibrant Latin jazz scene. His focus quickly turned inward, shifting towards a practice that explored the very nature of self. From his work in the New York Art Quartet and collaborations with Albert Ayler, Sonny Sharrock and more to his important contributions during NYC's loft era – he is, simply put, free jazz royalty. In April 1966, the duo of Graves and pianist Don Pullen played at Yale University. As John Corbett writes in the liner notes, "This performance was something of a turning point for Graves. Until then he had been working in other people's bands or collective ensembles. He was phenomenally busy. In 1965 alone, he recorded with NYAQ (two LPs), Giuseppi Logan Quartet, Paul Bley Quintet and Lowell Davidson Trio, and he made his first recording released under his own name, Percussion Ensemble. Every one of these is important in its own way, but none of them quite anticipate how radical was the music that he and Pullen would unleash that evening in New Haven." Originally released on the artists' own Self-Reliance Program label, this legendary one-night performance would be split into two volumes: In Concert At Yale University and Nommo. While rooted in African rhythms, Graves' music has its own sense of time. As the drummer stated in a 1966 DownBeat interview, "Time was always there, and the time I see is not the same as what man says time is. It works by impulsion."

The only studio album by Madvillain (MF DOOM & Madlib) – widely regarded as one of the best hip-hop albums of all time.
“Inexhaustibly brilliant, with layer-upon-layer of carefully considered yet immediate hip- hop, forward-thinking but always close to its roots.” - Pitchfork
This new version includes upgraded packaging combined with audiophile sound quality for the ultimate listening experience.

LA が生んだレジェンド:MADLIB、永遠にしてもはや幻のプロジェクト:Quasimoto 名義でリリースした2013年のアルバム”YESSIR WHATEVER”が、新たなシルバー・フォイル(銀箔)エディションで限定枚数のLPリリースが決定。メタリック・カラー盤＋ジャケットのQuasimotoのイラストもオリジナル盤同様にステッカー仕様となっております。

ヒップホップからジャズ、ソウル、ワールド、ビートシーンまであらゆるシーンがその動向をチェックしている LA が生んだ真の鬼才 / 最重要プロデューサー:Madlib の別名義プロジェクトが Quasimoto。ソウル、ジャズ、ファンク、ディスコからレゲエ、ワールド、ライブラリー、、膨大なレコードコレ クションから奇想天外なサンプリングソースを大胆に活かして直感的に作られたMadlibのトラックが次々に展開、そこにQuasimotoと Madlib自身が絶妙のコンビネーションでスピーディーにラップを繰り広げる様はまさに圧巻!Madlibのワンアンドオンリーの世界観が生み出すこの極めつけのフィーリングは聴けば聴くほどにハマる! サンプリングによるストレートなヒップホップが持つ無限の可能性を改めて感じさせてくれる。更にマッドな世界観をいっそう際立たせるLAを代表するアーティスト:Jeff JankによるQuasimotoキャラクターのイラストも最高です。

Jeff Jank, designer of the original album and “Gold Chains” edition:
The first time I heard The Further Adventures of Lord Quas, it struck me as a hip-hop equivalent of Frank Zappa & The Mothers of Invention’s We’re Only in It for the Money (1968). Zappa’s crazy, chaotic record also happened to feature the first-ever knock-off cover of The Beatles Sgt. Pepper’s Lonely Hearts Club Band, a tradition in graphic arts that continues to this day. The ‘Gold Chains’ collage is my own spin on the tradition, also taking its inspiration from Madlib’s track “Rappcats Pt. 3.”
This alternate cover for Further Adventures was designed Fall 2020. In just a year between then and now we lost three of the heroes in the collage: DOOM, Biz Markie, and Melvin Van Peebles.

Gabriel da Rosa signed to Stones Throw Records in 2022 after moving to LA from Brazil to start a new life. He met Stones Throw’s founder Peanut Butter Wolf and the two bonded over their shared love for Brazil, bossa nova, and records.  
Since then Gabriel has connected with all types of musicians in LA, including Pedro Dom, who's worked with some of Brazil's best internationally known artists (Seu Jorge, Rodrigo Amarante and Latin Grammy Award winner Ian Ramil). 

- Gabriel travelled around the world before landing in L.A. where he met Peanut Butter Wolf. The two bonded over their shared love for Brazilian music, and this led Gabriel to start writing more songs inspired by his heritage.
- É o que a casa oferece is Gabriel’s debut album on Stones Throw. It pays homage to his Brazilian roots, but also brings a contemporary edge to the music Gabriel grew up listening to.
 
For fans of Arthur Verocai, Azymuth, Rodrigo Maranhão, Domenique Dumont, Stan Getz & João Gilberto.

Rare Pleasure is Mndsgn's third album to be released on Stones Throw Records. Following 2016's Body Wash, this album truly shows the artist's evolution from his roots as a heralded beatmaker to vocalist, songwriter and arranger. Though he began writing for the album in 2018, the final recordings took just a week in studio with the help of trusted collaborators: Swarvy on bass, guitar and as Musical Director for the sessions, Stones Throw label mate Kiefer Shackelford on keys, drum work by Will Logan, the blessed percussion of Carlos Niño, Miguel Atwood-Ferguson on strings, and accompanying vocals from Fousheé and Anna Wise.

A North American road trip of coming of age garage soul mapped by Ivan Liechti, Ghost Riders is Efficient Space’s latest narrative compilation, hovering in a liminal emotional ravine between moonlight melancholy, teenage heartache and unchecked, unrealised ambition. Across 17 open hearted ballads recorded 1965-1974, the 2LP collects and connects dots between British Invasion fanatics, child prodigies, the loners and the luckless, in a kind of trans-continental survey of those swept up in rock’n’roll mania and buoyed by local newspaper ads promising fame and gold records. From the tangerine dreams of 8th grade all-girl combo The Mod 4 to the tri-state jukebox aspiring echoes of The Tempters, The Yardleys' poetic Farfisa vamp and lilting folk pop, and The Landlords’ weepy break up b-side blues, these are mostly one shots by dreamers whose experience was brief before being checked back to the reality of suburban normality and realistic career options. Hailing from the regional backwaters of Illinois, Arkansas, Nevada, Massachusetts, Ohio, Idaho, Texas and beyond, the licensed artists were scouted by way of local fire departments, spiritualist fellowships and animal welfare centres, often barely a stones throw from where their contributions were originally laid. A barely teenage Dennis Harte's ‘Summer’s Over’ perhaps best taps the collection’s essence. A gut-wrenching lament of the passing of the season as if it was the last on earth. Flanked by players from The Left Banke, Harte, a now-piano tuner to the stars, is from the minor segment that found longevity in showbiz. Likewise with Michigan icon Lyn Nowicki who cast her ghostly voice over Beatles cover song chameleons The Common People and Jerry McGee, The Ventures member and conduit of Dr. John’s ‘Twilight Zone’. Ghost Riders simmers with the scent of youthful summers, the pang of schoolyard romance, and the excitement (and disenchantment) of teenage naïveté, delivered via a deceptively simple and frequently wonky garage band set up. The vision of record collector and graphic designer Ivan Liechti, these eternal psych-folk howlers are further crystallised by Colin Young’s fastidious audio restoration, the original artwork of Elise Gagnebin-de Bons and an aptly penned foreword from Sonic Boom.

More than once Jay Richford and Gary Stevan’s Feelings has been described as the greatest library record ever released. Of course Be With can’t be seen to be playing favourites, but we have to admit, it’s pretty good. Insanely rare and immensely sought-after, it’s a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and so, so much more make this one of the finest instrumental soul LPs of the 70s, if not of all time.

Properly transcendent deep-dream jazz fantasy from prolific trumpet virtuoso Arve Henriksen (Supersilent) and Norwegian pianist Kjetil Husebø, together shaping an album that’s much, much more than the not so inconsiderable sum of its parts. Like a fever-dream comedown, it takes us from insanely rich sounding 4th world topographies to fizzing, electric ambience and fluttering prepared piano, perfectly soundtracking the humid un-reality we’re living through. If you’re into Jon Hassell, Miles Davis, Don Cherry/Codona, David Sylvian - read on. We’ve been snagged on Henriksen’s work since his ‘Chiaroscuro' album appeared back in 2004 - it’s 'Opening Image’ often cited here as basically the last word in cinematic framing. But It's his work alongside Helge Sten (Deathprod) and Ståle Storløkken in Supersilent that’s perhaps thrown us furthest down the Henriksen rabit hole in the years since, his distinctive shakuhachi-style playing often accenting their finest recordings. 'Sequential Stream' is Henriksen’s first collaboration with pianist Kjetil Husebø, the pair assembling the album remotely from their respective studios in Gothenburg, Sweden and Oslo, Norway over the course of 2019 and 2020. Henriksen plays Trumpet alongside synths, various electronics and - on ‘Single Sentence’ - a striking vocal delivery that eschews his usual wordless/soprano in favour of a more dense Tenor. Husebø plays grand piano, synths and samplers, and veers from cascading to more abstracted styles as the album progresses. In one sense the album functions in a traditional mode of Jazz reflection, aided considerably by a beautifully pristine recording and subsequent mastering by Helge Sten. Every note skips and shimmers with abundant clarity and depth - like the most affecting Jazz, played on the most luxurious systems; it just sounds rich and impossibly clear on even the most modest setup. At the same time, the pair’s avant garde instincts gradually make an indelible mark - be it through the prepared piano backbone on the remarkable 'Slow Fragments’ or the percolating, Conjoint-esque electronics on 'Sonic Binoculars’, piping in atmospheric depth and disjointed detail like some seismic event rippling through the ocean. Not usually drawn to the Jazz orthodoxy, 'Sequential Stream' presents us with something of a paradox - it feels like Henriksen’s most approachable work in years, but also his most complex and multi-faceted. If you’re looking for a late night soundtrack to the most celluloid moments of your life - it works on that level. Dig a little deeper, and you’ll discover much more ambiguous, subterranean delights.

Champion Sound is the only studio album by the duo Jaylib (hip hop musicians J Dilla and Madlib). Half of the songs are produced by Madlib and feature J Dilla on vocals, and the other half are produced by J Dilla and feature Madlib on vocals.

My Garden, a collection of songs written, recorded and produced entirely by Kirby, is a pure distillation of his sound — soulful, spiritual, and evocative. Demonstrating perfectly why Kirby is the go-to collaborator for artists ranging from experimental auteurs Bat for Lashes and Connan Mockasin to pop megastars Harry Styles and Kali Uchis, and R&B innovators Solange and Frank Ocean, My Garden is also a testament to the clarity and singularity of Kirby's vision.

Since his debut in 2018, keyboardist John Carroll Kirby has been consistently churning out masterpieces, and has collaborated with some of the biggest names in music, including Blood Orange, Solange, and The Avalanches. John Carroll Kirby, a keyboardist who has collaborated with superstars such as Blood Orange, Solange, and The Avalanches, is back with his latest live instrumental release on the hallowed Stones Throw label. This is the latest in a long line of live instrumentals from keyboardist John Carroll Kirby, who has broken new ground in his career, moving from fourth-world ambient, meditative new age, and modern classical styles to more exciting soul jazz and hip hop. It's a modern Afro-jazz album that embodies the freedom and dynamism of LA!

Madvillainy without the raps is still a classic, with Madlib taking his place on the cover.

Join the Kyle Shepherd Trio on “A Dance More Sweetly Played” as they explore, collaborate and improvise on the ‘songs we like to play’. The album’s title is a dedication to the celebrated South African artist William Kentridge, with whom Shepherd collaborated on a joint-work “Waiting for Sybil” that has toured world-wide. In addition to ten Shepherd originals, perhaps most unexpected is the inclusion of an exquisite reading of Massive Attack’s ‘Teardrop’ and a deconstructed take of Journey’s ‘Don’t Stop Believing’, a favourite rock anthem that Shepherd describes as a ‘guilty pleasure’. ‘The inclusion of the Massive Attack and Journey tunes – that’s something out of character to me,’ observes Shepherd. The selection rests well within the grand jazz tradition of repurposing popular songs as vehicles for improvisation, thought, and pleasure. ‘It just came down to playing some tunes that we like and we can flow with, so that we can be inspired and express ourselves in a very natural organic way,’ he says. ‘We walked away from the from the studio feeling like – you know, we actually really enjoyed playing this record!’ ‘With this record, I felt less attached to any sort of predetermined concepts except that we would play some music that I wrote that we like – a selection of things that we like to play. It felt like a bit of a tonic – every musician gets a chance to breathe through the music, and the music just flows and moves as organically as we could make it.’ To hear one of South Africa’s foremost pianists play with intention, freedom and enjoyment, in the tradition and beyond it, is above all a gift to the listener, and Matsuli Music is proud to be able to share the Trio’s first album in a decade, A Dance More Sweetly Played. "… it’s in his linking of international influences with his own local traditions that his strength lies." Peter Bacon, The Jazz Breakfast

Joe Henderson, who had made a name for himself with his Blue Note albums, was based at Milestone from the late 1960s onward, releasing a series of albums that pushed blackness to the forefront. In the summer of 1971, Joe Henderson visited Japan by himself and delighted Japanese audiences. One of the climaxes of his visit was a five-day concert series at Junk in Ginza, Tokyo. Henderson's Habiliment” is a record of that night. The powerful, emotionally rich, and lustrous playing is a masterpiece. The Japanese musicians who performed with him, Hideo Ichikawa, Kunimitsu Inaba, and Motohiko Hino, also showed their sharpness. Starting with “Junk Blues,” which even has a terrible taste, followed by the blaring “'Round About Midnight,” the deeper “Blue Bossa,” and the hip and beautiful “Black Narcissus,” which was not included on the American version of “In Japan,” the performance was so rich and full that it tore at the seams.

I don't care if it doesn't sell well, but let's make a record that has a whiff of culture. I want you to do jazz by Japanese people for Japanese people. With these words from the director, Hiroshi Matsumoto decided to record “Megalopolis”. The concept was “Tokyo. Inspired by the rapidly transforming Tokyo he saw from the plane, he set to work. Matsumoto, Hideo Ichikawa, Kunimitsu Inaba, and Motohiko Hino set up in a circle so that they could see each other's faces and movements. The four musicians recorded “A Day in the City,” a large suite-like piece; “Nostalgia,” which depicts a longing for the lost; “Megalopolis,” an exhilarating and exhilarating bird's-eye view of the city; “Serenade,” which is steeped in bittersweet ennui; and “Urban Irritability,” which seems to cut deep into the heart of a city. This is a masterpiece that depicts a huge city and its inhabitants with keen sensitivity and creativity. The original was released as one of the Victor “Jazz in Japan” series.

Following the success of the 'Tokyo Glow' and 'Funk Tide' sets, Wewantsounds once again teams up with Tokyo-based DJ Notoya for a breezy selection of Funk and Boogie recorded in Japan for King Records in the 70s and 80s. Most tracks here are making their debut on vinyl outside of Japan and the album, like its predecessors, has been designed by Optigram's Manuel Sepulveda and is annotated by DJ Notoya. The audio has been newly mastered in Tokyo by King Records and remastered for vinyl by Colorsound in Paris.

- New Addition in the Wewantsounds Japanese Music Compilation series
- Compiled and annotated in Tokyo by DJ Notoya
- Unique access to King Records' vault
- Most tracks Making their Debut Outside of Japan
- Artwork by Optigram's Manuel Sepulveda

Tracklist
A1 BUZZ - Garasumado ガラス窓 2.35 (1974)
A2 Mami Ayukawa - Sabita Gambler 錆びたギャンブラー 3.53 (1987)
A3 Johnny Yoshinaga - The Rain 雨 5.47 (1978)
A4 Keiko Toda – Fade In 溶明 4.15 (1983)
A5 Koji Kobayashi - Bokura no Date 僕らのデート 3.08 (1978)

B6 Yuko Imai – Hotel Twilight 4.49 (1988)
B7 Kumiko Sawada – Your Love’s Away ユア・ラブズ・アウェイ 4.23 (1979)
B8 Masatoshi Kanno - Day By Day デイ・バイ・デイ 3.32 (1976)
B9 Yuji Mitsuya – After Five At Café-Bar 4.49 (1984)
B10 Fujimaru Band - Paper machine 2.29 (1977)

FIRST EVER VINYL REISSUE OF ROY HAYNES'S 1971 LP 'HIP ENSEMBLE' MIXING SPIRITUAL JAZZ AND FUNK AND RELEASED ON MAINSTREAM RECORDS. FEATURING THE BONUS TRACK, "ROY'S TUNE," REMASTERED AUDIO, THE ORIGINAL GATEFOLD ARTWORK AND NEW LINER NOTES BY KEVIN LE GENDRE

Wewantsounds is delighted to reissue Roy Haynes' 1971 LP 'Hip Ensemble,' recorded in New York for Bob Shad's Mainstream Records and featuring Hannibal Marvin Peterson, George Adams, Teruo Nakamura and Lawrence Killian. Together the musicians create a superb mix of jazz funk and spiritual Jazz showcasing Haynes powerful drumming and creativity. "Hip Ensemble" is reissued here for the first time on vinyl since 1971, in its original gatefold artwork with first generation photos and includes the bonus track "Roy's Tune." It comes with newly remastered audio and a 2-page insert featuring new liner notes by Kevin Le Gendre.

Roy Haynes who passed away last November at age 99 is one of the undisputed giants of Jazz. Born in Roxbury, Massachusetts in 1925, Haynes started drumming during his teenage years before moving to New York in 1945 where his career took off. He went on to play with the likes of Charlie Parker, Miles Davis and Lester Young, becoming an institution over the decades. 

In the late 60s, after a stint with the John Coltrane's quartet, he put together the Hip Ensemble, a small group featuring the young turks George Adams on sax, Hannibal Marvin Peterson on trumpet, Japanese bass player Teruo Nakamura, Lawrence Killian on percussion together with German pianist Carl Schroeder on Fender Rhodes.

Bob Shad, who had worked with Haynes in the 50s when he was running EmArcy, saw the group live in New York one night and decided to sign them on his label Mainstream Records as he was starting to produce jazz again after a few years releasing psychedelic rock. His idea was to plug into the new modal and jazz-funk scenes that was flourishing at the time and Haynes was also experimenting with.

The album "Hip Ensemble" reflects this new direction with a superb mix of spiritual jazz, as heard on the rendition of Stanley Cowell's theme "Equipoise" (which had originally appeared on Max Roach's 1968 album "Members Don't Git Weary") or the more uptempo "Nothing Ever Changes For You My Love" both drenched in Schroeder's Fender Rhodes and showcasing gorgeous solos by Schroeder, George Adams and Marvin Peterson. Complementing the group for this session were Mervin Bronson, adding a touch of Fender bass and a second percussionist, Elwood Johnson.

Side two is even groovier with the relentless "Satan's Mysterious Feeling" followed by "You Name It," two compositions by George Adams fuelled by the Funky Drumming of Haynes in full flight, the ideal backbone for the players to lay out their inspired solos (including Haynes' explosive one).

We've added "Roy's Tune" as a bonus track which was recorded at the same session but not included on the original album - it briefly came out on a low key Mainstream compilation two years after. The track is another fascinating breakbeat that has strangely never been sampled even if Roy Haynes' drums have appeared on many hip hop classics by De La Soul, Dilla, Pete Rock or Q Tip over the years. "Hip Ensemble" has been remastered for vinyl by Colorsound Studio in Paris and is a timely reminder that Haynes is one of the greatest jazz drummers of all times.
 

The reissue of 1972's Italian jazz funk classic, directed by Il Maestro Piero Umiliani. Trumpetist Francesco "Cicci" Santucci and saxophonist Enzo Scoppa cut their teeth in the late '50s, playing with the Italian group Modern Jazz Gang, along with other Italian jazz greats such as Sandro Brugnolini and Amadeo Tommasi. In June 1971, "il maestro" Piero Umiliani made his Sound Workshop recording studio in the heart of Rome available to them, so that they could create an album under his supervision. The result was Olimpiade, a jazz-funk album featuring Franco d'Andrea on electric piano (who would go on to play with the group Perigeo a year later), and Belgian musician Joel Vendrokenbrak on organ. It should be noted that this session was also released on Dire, under the name On the Underground Road, but is here reissued for the first time with its magnificent original cover. A poster of the artwork and a printed insert featuring the Sound Workshop studio are also included with this reissue.
 

Another masterpiece from the golden age of jazz-rock by Takeshi Inomata, a master drummer who has always been breaking new ground with an eye on the times. This is a so-called instructional record produced as part of the “Method” series, but its musicality is funky and groovy, as if to provoke the listener. The band leads Sound Limited, a famous group that played a role in the development of jazz rock in Japan, and pushes the boundaries of groove with their ever-changing stick work. The band's diverse selection of songs, from covers such as “Runaway Child” and “Smack Water Jack,” to “Sleeper” and “Seven Four,” composed by Norio Maeda, a close friend who also arranges for the band, and the drum solo “Drum Concert,” which is overwhelmingly powerful, is filled with seamless grooves. The album is filled with a high-density groove. Another masterpiece from the golden age of rock. This is a so-called instructional record produced as one of the “Method” series, but the musicality of the record is so funky and groovy that it seems to provoke the listener. Leading the Sound Limited, a famous group that played a role in the development of jazz-rock in Japan, the band pushes the limits of groove with its ever-changing stick work. The band's diverse selection of songs, from covers of “Runaway Child” and “Smack Water Jack,” to arrangements of “Sleeper” and “Seven Four” by Norio Maeda, a close friend, and the overwhelmingly powerful drum solo “Drum Concert,” were filled with a seamless, high-density groove. The album is filled with a high-density groove.

The trio is made up of three trios and one vocalist: Yosuke Yamashita Trio, Itaru Oki Trio, Yuji Ohno Trio, and Kimiko Kasai, Trio by Trio Plus One. The original was released as one of the Victor “Jazz in Japan” series. Just by looking at the lineup of musicians, one can feel an extraordinary atmosphere in this special work. Yamashita, who was leading the scene as the darling of the times, and Oki, who came to Tokyo from Osaka in the mid-1960s and attracted a great deal of attention. Oki, who moved to Tokyo from Osaka in the mid-1960s and attracted much attention, and Ohno, whose supple musicality covered a wide range of genres from modern jazz to new jazz. And Kasai, who is just now blossoming. It goes without saying that each of their performances is powerful and attractive, but it is important to note that this album contains a performance by a seven-piece band consisting of the Oki Trio, Ohno Trio, and Kasai, which has never been recorded before or since.