Jazz / Soul / Funk
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![SOFT feat. ALCI - Akebono [Dub] (12")](http://meditations.jp/cdn/shop/files/a0448646595_10_{width}x.jpg?v=1778591433)
TRACKLIST
A1. SOFT feat. ALCI Akebono - DUB 06:32
A2. SOFT Floating Life - KND DUB 05:58
B1. SOFT feat. ALCI Akebono - J.A.K.A.M. RMX 04:00
B2. SOFT feat. ALCI Akebono - DAICHI RMX 08:29
Big Crown Records is proud to present Derya Yıldırım & Grup Şimşek’s latest album Yarın Yoksa. The show stopping intensity of Derya backed by the psychedelic soul of Grup Şimşek with production by Leon Michels has yielded a stand out record that challenges genre with a broad appeal and a powerful message.
They refer to themselves as “outernational” over international as they say it suggests a sound that’s more inclusive or “beyond borders.” Derya, who sings and plays the bağlama, is German born to Turkish parents. Drummer Helen Wells is Berlin-based by way of South Africa while keyboard player Graham Mushnik and guitar/bass player Antonin Voyant are both French. The collective influences they bring to Anatolian music make for a completely unique and fresh sound that both pushes the genre forward and champions its rich heritage.
Yarın Yoksa which translates to If There Is No Tomorrow delves into deeply personal pain and collective resistance with a central thread of loss, longing, and hope for change running throughout. The lyrics are poetic and rely heavily on symbolic language, metaphors, and storytelling while the music shifts track to track making each tune stand out on its own but work together perfectly as an album.
“Cool Hand”, the first single released on Big Crown in September of 2024, is a beautiful juxtaposition of intensity and lightheartedness over a thoroughly infectious groove. The message is poetic and complicated, repeatedly declaring “I love you, I’m crazy about you” but ultimately finding a sense of peace through accepting a broken heart. “Direne Direne” is a protest song that embodies the struggle and tireless pursuit of justice encouraging people to resist oppression. Derya’s lyrics soar over the psych-soul musical backdrop as her story of personal struggle transforms to a universal call for resilience and strength. The slow and weighty vibe of “Yakamoz” lets onto the meaning of the lyrics even to those who don’t understand Turkish. It is a deeply moving song that captures the profound emotions connected to displacement and loss without knowing if you will ever return. The steady groove of the band, along with the anguished vocals paint a vivid picture of the devastation experienced by the protagonist who ultimately realizes that her roots are within her and anywhere she goes is her home.
Nine of the tunes on the album are original compositions but they also take on three Anatollian folk songs with their own inimitable approach. The acapella introduction of “Misket”, a folk song from Ankara/Türkiye, will stop you in your tracks. The tune deals with death and how the living cope and continue a relationship with those who have passed away. Another traditional tune from Sivas that they put their signature sound to is “Hop Bico”, a tune about a playful character named Bico who is a symbol of vitality and spirit. The synth intro grabs your ear from the first note and the earworm chorus encouraging Bico to lead the group in celebration and embrace life through dance has the same effect on everyone who hears it.
The band has taken a big step forward that you can hear on this record. Derya’s passion and authenticity is front and center and the music is too moving to deny. Yarın Yoksa is sure to captivate the hearts and minds of all those who hear it, and just wait til you hear them play it live… <iframe style="border: 0; width: 350px; height: 472px;" src="https://bandcamp.com/EmbeddedPlayer/album=1477941979/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://deryayildirimandgrupsimsek.bandcamp.com/album/yar-n-yoksa">Yarın Yoksa by Derya Yıldırım & Grup Şimşek</a></iframe>
El Michels Affair's limited edition 7-inch single Anticipate b/w Indifference features two tracks from their latest album 24 Hr Sports. With guest appearances by Clairo and Shintaro Sakamoto, the release blends vintage soul with a modern sensibility.
Emeralds, the sophomore long player from Parlor Greens, finds the trio serving up a beautifully curated sampler of what funky organ music can be. On Parlor Greens’ debut LP In Green We Dream, they announced their existence boldly to the welcoming arms of funky instrumental fans around the world. Now, two years later, they’re back to up the ante. Three true masters of their respective crafts: Tim Carman (Canyon Lights, formerly of GA-20) on drums, Jimmy James (True Loves) on guitar, and Adam Scone (Scone Cash Players, The Sugarman 3) on organ. Seasoned and soulful pros coming together to make infectiously funky instrumental jams.
Parlor Greens are truly in top form: tour tight and more confident than ever in who they are and where they’re going. The album’s opener, “Eat Your Greens,” kicks the doors off with a Charles Earland-inspired four on the floor beat, with Jimmy and Scone driving the tune down the tracks like an overloaded freight train, it simply cannot be stopped. On “Red Dog,” the group channels the absolute heaviest shade of early R&B with Jimmy’s crunchy guitar paving the way for both he and Scone to take scorching solos. “Lion’s Mane” shows a slightly more sophisticated side of the trio, with nods to one of Scone’s organ mentors, the incomparable Dr. Lonnie Smith. Not to be outdone by his bandmates, Tim Carman shows off why he plays the best shuffle this side of the Mississippi on “Letter To Brother Ben,” a gospel-tinged shuffler.
And while the results are stronger than ever, the mood of this second cooking session was much different. The first time these three met in Loveland at Colemine’s Portage Lounge studio was marked by a certain freshness. It was new, it was the first time they had all played together. It was exciting, it was unknown territory. The session for Emeralds weighed much heavier on all three members. All three dealing with personal tragedies in their individual lives, the session truly served as a genuine moment of joy for the group. Just three talented musicians, writing and playing music now as friends in a familiar environment. No moment is the weight of the session more obvious than with the album’s closer, “Queen Of My Heart,” a tune Jimmy wrote for his mother shortly after she passed away.
So with a heavy and soulful heart, Colemine Records is beyond proud to present the sophomore effort from three maestros. Parlor Greens presents…Emer
Market East finally shares their most important statement to the world in the form of their debut LP, French Street. The group, composed of Kurt Cain on vocals, Vincent John on vocals, bass, guitar and keys, and Maxwell Perla on vocals, drums and percussion, deliver their signature celestial three part harmonies over arrangements that have never sounded so rich and compelling.
French Street is extremely soulful and the vocals are lush, like if the Zombies recorded at Muscle Shoals. The lyrics are poetic and nostalgic, as the group wrote songs about their bygone “golden” years. Back then, the boys didn’t have much besides each other and their shared love of music. Vocalist Kurt Cain lived in a small rowhome in North Philadelphia on a nearly deserted alley named French Street. It was here that Cain, John, and Perla came together every week to escape reality and get high off sharing music. They developed a deep appreciation for all things 60s and 70s, from Simon & Garfunkel to the Moments, and everything in between.
All these years later, and Market East has created a classic record of their own. From the baroque pop of the title track and the roaring soul of “Roses,” to the Latin flavors of “Echoes of My Heart” and the orchestral flares of “Everyday, Springtime,” Market East shows their impressive range. Recorded to analog tape in Philadelphia, the record was produced by the band and Eraserhood Sound. Grab your copy of this timeless classic today.
Wanda Felicia’s stunning debut album on Timmion Records, Now Is The Time…, delivers a dynamic selection of soul that feels both timeless and refreshingly present. Backed by the analog grooves of Cold Diamond & Mink, Felicia brings forth a suite of stories sunk in vintage grooves but made just right for any time.
With roots in New York’s house and acid jazz scenes – and after spending decades away from the spotlight – Wanda resurfaces with a seasoned voice and spirit, ready to impress anybody with a beating heart. Each track on Now Is The Time… feels lived-in: from the shuffling bounce of “Stuck On You” to the blooming optimism of “Flowers in the Garden” and the introspective funky poetics of “Reflections of Love.”
Throughout the album, Felicia’s delivery is effortless, elevated by Cold Diamond & Mink’s rich but tightly knit palette of rhythm section and horn riffs. Together they create a rootsy soundscape that channels late 1960s to early 1970s soul with a modern touch. Whether you’re drawn in by the beat balladry of “All in the Game” or the southern soul of “Until You’re Mine,” this album creates its own space beyond trends – celebrating craft, emotion, and timeless groove.
Following the massive success of their sophomore album Fading Forward, Les Imprimés, by popular demand, press two standout tracks from the album on the coveted 7” format. The A side, “You & I,” is a feel-good, upbeat homage to the kind of love that endures “through the chaos and the blunders.” Punchy drums and keys create an undeniable two-stepper for frontman Morten Martens’ vocals to float above. Dreamers dream and dancers dance as Martens paints a picture of a devoted, understanding love that few are lucky enough to find. On the B side, Les Imprimés offer their take on the classic slow jam. “Miss The Days” unfolds gradually, with slow pulsing drums and building instrumentation that evoke longing and nostalgia. Martens sings of simpler times impossible to forget—moments free of adult responsibilities, when “it was you and me, hand in hand, sometimes wasted…” Ama Li joins him on vocals, transforming the track into a killer modern take on the classic soul duet, a tune sure to resonate far and wide.
Tennessee's Oliver James, a time-capsule of classic R&B sound, returns to the Colemine label with two new tunes pressed onto one must-have 45. The A-side features his first new track since 2022. '1-2-3' is an upbeat soul stomper à la Memphis and Stax. Nick DeVan and Vincent John (Eraserhood Sound) co-wrote the track; they finalized the instrumentals but were stumped on the lyrics. That's when James was called in, and he used his time working at a church to shape the lyrics that eventually became this number. The B-side was a collaborative effort with Nashville's gritty-funk ensemble The Gripsweats. It's an earnest song with lyrics inspired by James & DeVan's commiseration. "I'm no stranger to love that I used to know'," laments James; his favorite line of the song. Cushioned by lush string and horn arrangements, 'Nothing Is Forever' is a melancholy and heartfelt foil to the A.
Tennessee's Oliver James, a time-capsule of classic R&B sound, returns to the Colemine label with two new tunes pressed onto one must-have 45. The A-side features his first new track since 2022. '1-2-3' is an upbeat soul stomper à la Memphis and Stax. Nick DeVan and Vincent John (Eraserhood Sound) co-wrote the track; they finalized the instrumentals but were stumped on the lyrics. That's when James was called in, and he used his time working at a church to shape the lyrics that eventually became this number. The B-side was a collaborative effort with Nashville's gritty-funk ensemble The Gripsweats. It's an earnest song with lyrics inspired by James & DeVan's commiseration. "I'm no stranger to love that I used to know'," laments James; his favorite line of the song. Cushioned by lush string and horn arrangements, 'Nothing Is Forever' is a melancholy and heartfelt foil to the A.
Riding the ripples of their debut single “Escalator” (which BBC’s Gilles Peterson called “a winner,” and Supreme Standards’ Tina Edwards likened to “Radiohead on a Jazz trip”), Chicago collective Resavoir return with their first full length effort. The self-titled album presents a juicy suite of elegantly-orchestrated lo-fi jazz instrumentals germinated from home recording experiments by the group’s producer/arranger Will Miller.
Applying a compositional approach attributable to his experience producing hip-hop beats as much as his studies at Oberlin Conservatory, Miller built melodic sketches on foundations of samples & loops before bringing pieces to the group for collective development. After integrating recordings of the full band into his home-produced impressions (not unlike IARC predecessors Jeff Parker and Makaya McCraven), he over-dubbed another dozen friends into the mix (including Brandee Younger, Sen Morimoto, Carter Lang, Knox Fortune and Macie Stewart) before finalizing the arrangements.
In Miller’s modest editing room, Resavoir grew from experiment into epic opus recalling the lush, psychedelic soul jazz orchestrations of David Axelrod & Charles Stepney… but in the sampled-laden style of Yesterday’s New Quintet, Broadcast, or Thundercat, with a lyrical affinity for minimalism & texturalism, like trumpeter/composers Jon Hassell & Justin Walter.
Places and Spaces is an album by American trumpeter Donald Byrd, that was released on Blue Note in 1975. Allmusic awarded the album with 4 stars and its review by Stephen Thomas Erlewine states: "Boasting sweeping string arrangements, sultry rhythm guitars, rubbery bass, murmuring flügelhorns, and punchy horn charts, the music falls halfway between the cinematic neo-funk of Street Lady and the proto-disco soul of Earth, Wind & Fire."
The MerKaBa Brotherhood are Roman Norfleet (The Cosmic Tones Research Trio, Be Present Art Group) and Andre Raiah (Brown Calvin of Brown Calculus) The duo draw from esoteric texts, sacred imagery, and mystic thought, shaping sound into space, tone, and pulse. It's a spare and almost geometric record featuring Sax, keyboard and percussion. The album turns sound into a working language - textures as diagrams and melodies as signals. There is much to be learned and even more to be unlearned.
A modern MPB jewel. Jazz harmonies and cosmic pop . 2025 Remastered.
“One of the most important singers and songwriters in Brazil”
João Donato, to the newspaper O Globo
Released in 2022, Tulipa Ruiz's Habilidades Extraordinárias (HabEx) showcases one of Brazil's most inventive voices. Blending MPB, jazz, pop, and psychedelic textures, the album reveals Tulipa's rich harmonic vision and fearless creativity.
From the hypnotic "Samaúma" to the infectious "Estardalhaço," HabEx flows between improvisation and groove. The duet “O Recado da Flor” with João Donato — one of his final recordings — bridges generations, mixing Donato’s bossa-jazz swing and Fender Rhodes warmth with Tulipa’s luminous voice. "Pluma Black" (feat. Negro Leo) explores avant-jazz abstraction, while "Novelos" and the title track evoke Hermeto Pascoal and Stevie Wonder-era soul-jazz.
Praised across Brazil, HabEx established Tulipa Ruiz as a key figure in modern MPB, combining melodic sophistication, humor, and emotional depth. A decade after her breakthrough and a Latin Grammy win, she continues expanding Brazilian pop and jazz.
Tulipa Ruiz is a Latin Grammy-winning singer, songwriter, and illustrator from São Paulo. Raised in a musical home—her father Luiz Chagas played with Itamar Assumpção, and her brother Gustavo Ruiz remains her longtime producer—she emerged from the Vanguarda Paulista lineage with a bold, genre-blending sound. Fusing MPB, soul, pop, and rock her music is joyful, layered, and unmistakably her own. Since her breakout Efêmera (2010), Tulipa has become one of Brazil’s most distinctive voices, with five acclaimed albums, collaborations with Elza Soares and Milton Nascimento, and performances at global festivals from Montreux to Lollapalooza.
Ayam El Disco is the latest archival release from Moataz Rageb, aka Disco Arabesquo, who returns with this new set following his highly acclaimed Sharayet El Disco a few years ago. Based in Amsterdam, the Egyptian DJ has spent years collecting rare tapes from the 1980s and early 1990s — a period that transformed Egypt’s musical landscape and shaped his own listening experience.
By the 1980s, the cassette format had become a revolutionary medium in Egypt. As Rageb notes, “In the 1980s and ’90s Egypt had a thriving cassette culture. With over 400 different companies producing music on tapes, Cairo was a hub of musical creativity.” Affordable and easily duplicated, tapes allowed artists to work independently while absorbing global influences such as disco, funk, and synth-pop through imported and bootleg recordings.
Rather than mirroring Western club culture, these sounds were adapted to local contexts. Disco entered everyday life - played at home, in cars, at weddings, beaches, and family gatherings - resulting in a distinctly Egyptian interpretation rooted in Arabic musical traditions.
Ayam El Disco reflects this era through a carefully curated selection ranging from smooth disco and boogie to funkier instrumentals and early proto-Jeel sounds. The compilation features Firkit Americana Show with the infectious modern soul of “Seeb Alby,” Hamid El Shaeri’s cult mellow groove “Ouda,” and Ammar El Sherei’s turbocharged funk number “Sooq,” alongside standout contributions from Medhat Saleh, Aida El Ayoubi, and Ahmed Adaweya. All of these tracks were originally released on cassette, showcasing a wide variety of disco-infused sounds unique to Egypt’s 1980s and early 1990s music scene.
Collected over eight years and newly remastered in Paris by Colorsound Studio, Ayam El Disco is both an archival document and a celebration of Egypt’s own “Disco Days” — music made for the dancefloor and now available on vinyl for the first time.
"I think I have never met anybody, with the exception of Brazilian guitarists Baden Powell and Toquinho, as connected to his instrument as Agustín Pereyra Lucena" – Vinicius de Moraes Agustín Pereyra Lucena was one of South America’s outstanding guitarists. Hailing from Buenos Aires but obsessed with the music of neighbouring Brazil, Agustin abandoned his architecture studies to pursue music full-time, earning friendship and collaborations with Brazilian music's greatest figures including Vinicius de Moraes, Baden Powell, Toquinho, Dorival Caymmi, Maria Bethania and Chico Buarque. Originally released in 1975, Ese Dia Va A Llegar (which has also been issued under the title Brasiliana) finds Agustin and band—which includes key collaborators Guillermo Reuter on contrabass, and Carlos Carli on drums and percussion— at their most blissfully laid back. The album features idiosyncratic renditions of classics by Antonio Carlos Jobim, Vinicius de Moraes, João Donato and Agustin’s personal hero and friend Baden Powell, alongside Agustín's own works which ooze with captivating mystical wonder. The analog warmth of the recording is such that it feels like you’re there in mid-seventies Buenos Aires, on a balmy late night session at Estudios Audión, with a group of phenomenally impressive musicians. The heat generated is offset only by the cool temperament of everyone involved. On the handful of vocal tracks on the album, Agustin’s gentle voice is responded to by the liquid smooth vocals of Laura Hatton, Luis Maria Cosenza and Patricia Scheuer. Agustin’s unique position in the annals of his continent’s musical history has been lovingly maintained by Agustin’s nephew Jose Luis Pereyra Lucena, who has entrusted Far Out Recordings to preserve and re-release Agustin’s works. The music has been professionally remastered, directly from the original master tape, at London’s Metropolis Studios.
アルバムについて Tete Mbambisa + 3 featuring Basil Coetzee. The ultimate blend of African groove with American modal grace. One of the all-time great albums of modern South African jazz. New generation flat transfer of the original archival tapes with artwork reproduced from Hargreaves Ntukwana's original ink drawing. "The sound that Tete Mbambisa carved in this period was wholly acoustic and is a style that now is often loosely labelled spiritual jazz, a sound that alludes to deep African textures and rhythms balanced with clear nods to American hard bop and modal jazz, sometimes edging toward free improvisation with echoes of John Coltrane and Pharaoh Sanders. The music is often centred around a fulcrum of trance-like vamps with repeated motifs that allow for extended pieces that create a hypnotic effect. The tracks here are warm, expansive and display a wonderful fluency with Mbambisa's piano subtly weaving throughout, leaving plenty of space for the band: Zulu Bidi on bass, Monty Weber on drums and saxophonist/flautist Basil Coetzee." – Tony Higgins (for Eating Standing Records)
Bassist, composer and producer Shay Hazan returns with his third solo album, ‘When It Rains It Pours’, on Batov Records. Following the critical success of ‘Reclusive Ritual’ and ‘Wusul’ وصول, Hazan takes a bold step forward, shifting from the guimbri-led sound that established his reputation to a broader palette of bass, guitar, and synth-driven compositions.
Where his earlier work foregrounded the raw, earthy textures of Gnawa tradition, ‘When It Rains It Pours’ reflects Hazan’s evolution as a producer and multi-instrumentalist. Across eleven tracks, Hazan deepens his exploration of layered grooves, spiritual melodies, and experimental textures, resulting in his most expansive and personal statement to date.
The album’s title embodies Hazan’s experience of being tested by life when multiple challenges arrived at once - musically, personally, and physically. A painful period in which he was unable to play double bass or guimbri due to joint issues became the spark for rediscovering the electric bass, reconnecting him with an instrument he had set aside on personal projects for years. The record documents this transition, capturing the tension between struggle and renewal.
The opening track,“Kolot”, was born from a half-forgotten session with Ethiopian saxophonist and vocalist Abate Berihune, re-emerging years later as something entirely new. Originally intended as a quintet jazz piece, Hazan uncovered Berihune’s extraordinary vocal take, wordless but deeply resonant, and built the track around it. “Kolot” means voices, and here Berihune’s voice transcends language, channeling pure expression.
“4-8” is a classic Afrobeat framework twisted with Middle Eastern inflections. Hazan plays nearly every instrument, except for live drums and saxophone, crafting a propulsive, hypnotic piece that nods to Fela Kuti while expanding the tradition into new terrain.
“Embrace” is perhaps Hazan’s most vulnerable composition to date, featuring his own vocals alongside guimbri and keyboards. The piece speaks to embracing pain, fear, and anxiety rather than pushing them aside, a mantra woven into its circular, meditative groove.
“It Pours” is an uptempo, electronically-charged piece that blurs the line between organic and synthetic. Hazan recorded percussion, then sampled and re-layered it, creating a sound that is simultaneously tactile and machine-like. The result is a restless, dance-driven track that pushes Hazan’s sound into new territory.
Unlike his previous guimbri-focused albums, Hazan’s approach here highlights his growth as a studio craftsman. Sampling, layering, and textural exploration sit at the core, without losing the immediacy of live musicianship. Longtime collaborators including saxophonist Eyal Netzer, trumpeter Roy Zuzovsky, and drummer Shahar Haziza, help ground the record in ensemble interplay, even as it pushes further into electronic and producer-led territory.
The album’s gestation was shaped by encounters and inspirations stretching far beyond Tel Aviv. Hazan draws influence from Malawian one-man-band Gasper Nali, the spiritual openness of his recording sessions with legendary drummer Hamid Drake, and years of improvisational collaborations across jazz and global traditions.
‘When It Rains It Pours’ captures Shay Hazan at a turning point: confronting physical and personal limitations, yet finding new creative channels in response. By leaning into bass, guitar, and studio experimentation, Hazan has crafted an album that feels at once urgent, meditative, and transformative, a body of work that situates him firmly among today’s most adventurous voices in spiritual jazz and beyond.
Alice Coltrane Turiyasangitananda’s devotion to spirituality was the central purpose of the final four decades of her life, an often-overlooked awakening that largely took shape during her four-year marriage to John Coltrane and after his 1967 death. By 1983, Alice had established the 48-acre Sai Anantam Ashram outside of Los Angeles. She quietly began recording music from the ashram, releasing it within her spiritual community in the form of private press cassette tapes. On May 5, Luaka Bop will release the first-ever compilation of recordings from this period, making these songs available to the wider public for the first time. Entitled ‘World Spirituality Classics, Volume 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda,’ the release is the first installment in a planned series of spiritual music from around the globe; curated, compiled and distributed by Luaka Bop.
This powerful, largely unheard body of work finds Alice singing for the first time in her recorded catalog, which dates back to 1963 and includes appearances on six John Coltrane albums, alongside Charlie Haden and McCoy Tyner, and 14 albums as bandleader starting with her Impulse! debut in 1967 with ‘A Monastic Trio.’ The songs featured on the Luaka Bop release have been culled from the four cassettes that Alice recorded and released between 1982 and 1995: ‘Turiya Sings,’ ‘Divine Songs,’ ‘Infinite Chants,’ and ‘Glorious Chants.’ The digital, cassette and CD release will feature eight songs. The double-vinyl edition features two additional songs, “Krishna Japaye” from 1990’s ‘Infinite Chants, and the previously unreleased “Rama Katha” from a separate ‘Turiya Sings’ recording session.
Luaka Bop teamed with Alice’s children to find the original master tapes in the Coltrane archive. The recordings were prepared for re-mastering by the legendary engineer Baker Bigsby (Ornette Coleman, Sun Ra, John Coltrane), who had overseen the original sessions in the 80s and 90s. The compilation showcases a diverse array of recordings in addition to Alice’s first vocal work: solo performances on her harp, small ensembles, and a 24-piece vocal choir. The release is dotted with eastern percussion, synthesizers, organs and strings, making for a mesmerizing, even otherworldly, listen. Alice was inspired by Vedic devotional songs from India and Nepal, adding her own music sensibility to the mix with original melodies and sophisticated song structures. She never lost her ability to draw from the bebop, blues and old-time spirituals of her Detroit youth, fusing a Western upbringing with Eastern classicism. In all, these recordings amount to a largely untold chapter in the life story of Alice Coltrane Turiyasangitananda.
In addition to the recordings, GRAMMY-winning music historian Ashley Kahn has written extensive liner notes on the collection. The package also includes a series of interviews with those who knew Alice best, conducted by Dublab’s Mark “Frosty” McNeill, and an as-told-to interview between musician Surya Botofasina (who was raised on Alice’s ashram) and journalist Andy Beta. 2017 marks what would have been Alice’s 80th year of life, as well as the 10th anniversary of her passing. Alice will be celebrated at events throughout the United States, Europe and South America in the coming year. With this in mind, the time is right to bring this meaningful piece of Turiyasangitananda’s legacy into focus.
Strut present a new definitive collection of singles released by jazz maverick Sun Ra during his Earth years, spanning 1952 to 1991. Released prolifically during the 1950s and more sporadically thereafter, primarily on the Saturn label, the 45s offer one-off meteorites from Ra’s prolific cosmic journey, tracing the development of his forward-thinking “Space-Bop” and his unique take on jazz and blues traditions which sounded unlike anything else from the period. As with his LPs, most 45s were only pressed in small runs and were sold at gigs and have since become extremely rare and sought after. Some have only been discovered in physical form in recent years; some were planned and pencilled but allegedly never made it to vinyl and some appeared as one-off magazine singles and posthumous releases.
‘Singles’ will be released in various formats across two release dates. All formats feature fully remastered tracks, rare photos, poster artwork, extensive sleeve notes by Francis Gooding, an interview with Saturn Records founder Alton Abraham by John Corbett and detailed track by track and session notes by Paul Griffiths.
