MUSIC

Paris, 1978. Don Cherry walks into a French studio with a suitcase full of instruments nobody expected and meets Ustad Ahmed Latif Khan for the first time. No rehearsal, no plan, just two musicians who recognize each other immediately as kindred spirits. What happens next is one of Cherry's best efforts - an album only hardcore fans know about, recorded in Paris, released only in France in 1981, disappeared, and now back again in a special edition that demands attention. This is what "world music" should have been before the term got watered down into airport lounge background noise.

Don Cherry - the man who stood next to Ornette Coleman in Los Angeles and New York, playing trumpet and cornet through the birth of Free Jazz, that final structural revolution of American improvisation based on melody rather than harmony. But Cherry never stopped there. He had a voracious musical appetite and boundless imagination that pulled him toward India, Brazil, Africa, Indonesia, China - not as a tourist collecting sounds, but with deep personal engagement. His commitment ran deeper than novelty. This wasn't about exotic decoration. This was about a global vision of art and the human condition.

Ustad Ahmed Latif Khan - Delhi gharana lineage, new generation tabla master who extended what his predecessors had built, gained recognition as a soloist, ventured onto the international scene. Irregular rhythmic patterns, highly syncopated, rich in variety and originality. The kind of percussionist who could grasp Cherry's intentions immediately, warm up his fingers at astonishing speed, tune Cherry's entire diverse instrument collection - concert piano, Hammond B3 organ, chromatic orchestral timpani - with perfect pitch and no hesitation.

They had never met before the recording session. But they recognized each other immediately. Calm, focused, full of laughter. Cherry knew what he wanted to create. Latif posed no challenge - he was the answer. The result is an incredible mixture of jazz and Indian music that doesn't feel like mixture at all - it feels like the music that was always supposed to exist when these two worlds met at the right moment with the right people. Not fusion for fusion's sake. Not "exotic instruments" as decoration. This is two masters speaking the same language for the first time and realizing they'd been having the same conversation in different rooms for years.

Recorded 1978 in Paris. Released only in France in 1981. Disappeared. Forgotten except by those who knew. First reissued by Honest Jon's years ago. Now back in special edition format because some records refuse to stay buried.

Essential for anyone who thinks Don Cherry's best work ended with Ornette, or that "world music" has to choose between authenticity and imagination. This is both. This is neither. This is what happens when boundaries dissolve because they were never really there.

Space funk from keyboardist Dexter Wansel, originally released in 1976. Sampled by DJ Shadow.

Originally released in 1982, Kakashi is another high water mark in the 80s Japanese underground. This album, which has gathered cult status in recent years, is the project of musical visionary Yasuaki Shimizu, and considered to be a highlight of his solo career. Shimizu was the bandleader of Mariah, who also saw their album Utakata No Hibi reissued by Palto Flats in 2015. Kakashi offers a similar blend of saxophone experimentations, jazz fusion and ambient dub excursions.

NooPop Records proudly presents 'Naissoo Freeform Quintet,' led by keyboard maestro Tõnu Naissoo.

Recorded in Tallinn during two electrifying, improvisational sessions in July 2024, this LP captures the infectious energy of funk, the adventurous spirit of free jazz, and infused with a nostalgic nod to the psychedelic era.

This album is a celebration of dynamic percussive rhythms and exploratory sound of Bass Clarinet, Rhodes, Moog Source and ARP Odyssey, offering a unique blend of past and future musical influences.

Whether you're a jazz aficionado, a groove enthusiast, or simply a lover of innovative music, "Naissoo Freeform Quintet" is an essential addition to your collection. Join us on this cosmic expedition and discover the infinite possibilities of sound that await in the astral realms of plate reverb and tape delay.

"Naissoo Freeform Quintet" is a rare gem for collectors and music lovers alike. Grab yours before it’s gone and embark on this stellar journey!

A long-lost masterpiece of European dancefloor jazz returns. Originally released in 1981 on Germany’s Stockfisch label and long overlooked, Mr. Circle’s Thi Nam is finally reissued. Led by keyboardist Mikesch van Grümmer and featuring vocalist Monica Linges, the album brims with Latin and Brazilian inflections, delivering a radiant slice of dancefloor-oriented jazz fusion. Its rhythms carry the heat of samba and pan-Latin grooves while evoking the buoyant fusion spirit of Roy Ayers or the Mighty Ryeders. From the sun-soaked brilliance of “Schoch-Schach” and the tension-filled, expansive “Suka”, to the driving “Juntos” and the irresistibly funky title track, every cut shines with vivid, dazzling energy. Fully remastered from the original tapes at Abbey Road, this is the definitive reissue of a hidden European jazz gem.

Victory present a reissue of Pacific, originally released in 1978. Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of the South Pacific islands, the kind of places Japanese people spend their vacations. Pacific is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of so called "vaporware" music. LP includes insert.

What does hell look like? The introduction of Toy Machine skateboard's seminal 1996 video Welcome to Hell with its pulsing overlay of the Stars and Stripes on top footage of police officers, businessmen, and fast food service workers, would appear to paint hell as the mirage of American exceptionalism. A thick, centuries-spanning unreality that may not outwardly trade in fire and brimstone, but if you turn your nose to the wind, you'll smell sulphur.What comes after that scene, born of — or despite — those apparent depictions of damnation, would become a cultural touchstone: skateboarding performed at the highest level, composed and displayed in a fashion that would influence and endear audiences for decades to come. Welcome to Hell features a unique and progressive patchwork of skateboarders, most of which would become icons in their world, and helped redefine what the modern skateboarding video could be.A young Joseph Shabason felt that impact. The acclaimed musician hit rewind on his VHS copy of Welcome to Hell hundreds of times in his youth, each watch as thrilling as the last. That invigorating, improvisational, full-body experience of skateboarding is one that Shabason likens to jazz, where a shared language exists between the wheels and woodwinds. The way the skateboarder and musician command that language is what distinguishes them, adding definition to the mercurial concept of "style." This connection becomes most apparent in collaboration; ensembles of skaters and musicians are a noisy, creative bunch. Reflecting on this relationship and the Toy Machine classic would ultimately lead Shabason to wonder: what does hell sound like?The answer was a concept album that, like his previous records, lives in the personal. One that, much like skateboarding itself, would push him to try something new: rescoring Welcome to Hell. The video's original soundtrack served as a musical awakening for many — an active, aggressive mix of songs from bands like The Misfits, Black Sabbath, and Sonic Youth. Here, you'll find that recontextualized, softened, yet no less energizing. Over the album's ten songs, Shabason plays with the angular and ambient, exploring large group melodies that move forward with the on-screen action, shifting the mood in subtle and substantial ways that reframe our understanding of this culture-defining skate video and the skateboarders in it.In Shabason's "Hell," quintessential "East Coast powerhouse," Mike Maldonado is backed by a sharp, driving modal composition that calls back to 1970s Miles Davis, the melodic sensibilities of Azimuth, and stands as a fascinating complement to Maldonado's hard-charging on-board approach. The debut of Elissa Steamer, a pioneer decades ahead of her time, is given fresh spirit with an off-kilter funk. Brian Anderson, whose virtuosic section was originally guided by a dour Pink Floyd track, now flies across the screen in jazzy fits and starts, punctuated by the joyous wail of Shabason's saxophone. Nowhere does the fluid and improvisational intersection of skateboarding and jazz meet and swell than with Donny Barley. His easy, instinctual cool flecked with tinkling synths and bass lines that echo the natural power of Barley’s abilities.Shabason then creates what could be rightly considered an audio portrait of Ed Templeton. The celebrated visual artist, photographer, and founder of Toy Machine cuts a distinct profile, which Shabason distills with a throbbing, slanted rhythm and an eerie layering of feedback and pressuring keys. The "curtains" section in Welcome to Hell belongs to Jamie Thomas, whose career-defining performance here would set the stage for a decades-spanning career and a level of influence in skateboarding that is still felt today. Shabason meets Thomas' epic with a commanding, angular rhythm that builds and flows with the momentum of his skateboarding. Airy group melodies mingle with a wonked-out vibraphone and tight percussion that lets loose in florid bursts before devolving into a finishing sequence of muscular improvisation — a fittingly bold interpretation of the work of one of skateboarding's most daring practitioners.Finally, as if ending with his thesis statement, the last song of Shabason's Welcome to Hell is a calming vocal harmony that lies atop the video's infamous "bail section." A horrific collection of skateboarders falling and twisting themselves into agonizing, unnatural shapes — a Hieronymous Bosch captured on VHS. It's the culmination of the unexpected made whole. Shabason's album a provocative reimagining that instills a new sense of awe in the 27-year-old classic, prompting the question first posed by the original: what if hell was a place you wanted to return to again and again?

Isle of Jura presents ‘Archipelago – Cosmic Fusion Gems from France (1978–1988)’, a deep dive into overlooked corners of the French musical landscape, compiled by French digger and DJ Arnaud Simetiére aka Switch Groove.

Drawn from years of early-morning flea market hunts and second-hand record store hauls, Archipelago unearths a hidden layer of French music that maps an alternate France including music from Francis Bebey, Cécilia Angeles, Carla Music Orchestra and a Dub remix from Dennis Bovell.

From the French Caribbean to the outer suburbs of Paris during the ‘Sono Mondiale’ era, these tracks capture a time when musicians embraced new freedoms and electronic tools—synthesizers, drum machines, home studios—to create boundary-blurring, genre-defying music. The result is a cosmic, hybrid sound that’s both distinctly French and radically global.

“These records shaped a new map of French music for me,” explains Switch Groove. “They’re treasures that emerged not from the mainstream, but from the crates—lost in plain sight, waiting to be found.” Archipelago is an invitation to explore that map: a crate-digger’s dreamscape of fusion, funk, and far-out frequencies from 1978 to 1988. The album also includes two Ambient soundscape tools.

Production and Co-licensing by Kevin Griffiths. Pressed on 180g Heavyweight Vinyl with full sleeve jacket design by Bradley Pinkerton.

PLEASE NOTE THE DIGITAL DOWNLOAD OF THIS ALBUM DOES NOT CONTAIN CARLA MUSIC ORCHESTRA DUE TO LICENSING RESTRICTIONS.

When Straight Ahead hit the shelves in 1974, it marked another bold chapter for Brian Auger’s Oblivion Express. The band—Steve Ferrone on drums, Barry Dean on bass, Jack Mills on guitar, and Lennox Langton on congas—was firing on all cylinders, pushing jazz fusion into fresh, uncharted territory.

Critics took notice, with Billboard praising the album as “excellent in development and inventiveness,” and it found its way onto multiple charts at once.

The journey begins with “Beginning Again,” a lively opener built on Langton’s congas and Ferrone’s muscular groove. Auger’s electric piano sparkles here, immediately setting the album’s adventurous tone. Then comes their take on Wes Montgomery’s “Bumpin’ On Sunset.” Darker in mood and drenched in atmosphere, Auger stretches out into improvisation while still honoring Montgomery’s spirit. The interpretation struck such a chord that, years later, Wes’s widow wrote to Auger to tell him it was her husband’s favorite version of his much-loved tune.

The title track, “Straight Ahead,” shifts gears into funk, showcasing the group’s ability to slide effortlessly between genres. “Change” pushes further, blending rock’s raw energy with jazz’s improvisational freedom, driven by Auger’s command of the Hammond organ. To close “You’ll Stay in My Heart” brings the tempo down with a tender, soulful ballad—an intimate ending to an album full of bold explorations.

At the time, reviewers hailed the record as a gem. One called it “a minor masterpiece of incredibly engaging and melodic keyboard-centric jazz rock fusion. ” Another singled out “Bumpin’ On Sunset” as “the best reason to own this recording.”

Half a century later, Straight Ahead still resonates. It captures that fertile moment in the 1970s when jazz, rock, and funk were colliding, and artists like Auger were busy redrawing the map. To this day, it stands as proof of Auger’s fearless curiosity and his knack for breaking boundaries—music that looked forward then, and still feels ahead of its time now.

Shay Hazan radiates with musical diversity on 'Wusul وصول', His second solo album on Batov Records. Acclaimed Tel Aviv bassist, band leader, composer and producer, Shay Hazan emerges into the limelight with his highly anticipated second solo album, 'Wusul وصو’. This groundbreaking musical odyssey artfully melds the enchanting sounds of Gnawa music, spiritual jazz, hip hop grooves, and electronic production, with a rich tapestry of Middle Eastern and African influences. Hazan's debut solo album for Batov Records, 'Reclusive Ritual,' unveiled a fresh musical realm. It introduced the guimbri, a three-stringed camel-skin-covered bass plucked lute used by the Gnawa people of Morocco, to a landscape of jazzy horns, synths, and laid-back hip-hop beats. The album garnered support on BBC 6 Radio Music and earned Hazan a mix on the Huey Show. With over two four-star reviews, Songlines magazine dubbed it "groovy," while Mojo magazine described it as "hypnotic." 'Wusul وصول' builds on this legacy, offering a broader sonic palette, enhanced organic instrumentation, a lighter atmosphere, and elevated production values. The album's enigmatic title, 'Wusul' (Arabic for 'arrival'), celebrates the expected birth of Hazan’s first born child, expected to arrive around the same time as this album. Fitting, given that the latter is the result of a transformative phase in Hazan's career, with many of the album’s songs evolving and taking shape during live performances. Most notably, a majority of the musicians featured on 'Wusul وصول' are integral members of Hazan's live band, bringing a synergy and connection to the music that is palpable. Standout track, “Sunflowers”, featuring the exceptional Nitai Hershkovits on keys, showcases Hazan's prowess on guimbri, guitar, percussions, and synths. This mesmerising composition, recorded by Hazan himself, seamlessly weaves together a diverse array of musical elements, resulting in an uplifting and danceable masterpiece. On “A Walk In Dir El-Assad”, Hazan invites listeners with him to the small Arabic village of El-Assad, where at night the air is full of sounds of music emanating from multiple weddings. Over a cacophony of percussion, live drums from Shahar Haziza, and Hazan’s earthy guimbri-led basslines and gritty guitar, Eyal Netzer and tenor sax and Roy Zuzovsky trade solos and harmonise over the melody. Delivering one of the heaviest grooves on the album, “Vibe jadid” commences with the distinctive percussive sound of krakebs, large iron castanet-like musical instruments, primarily known for supplying the rhythmic aspect of Moroccan Gnawa music, before the earthy guimbri bassline hits, accompanied by a half time hip-hop-like kick drum and clap. Triumphant horns ring out the anthemic melody, offset by otherworldly synths. Shay Hazan's creative process reveals a cross-cultural narrative influenced by his extensive travels, from Central America to Japan, where he encountered the rich tradition of Gnawa musicians in Tel Aviv. The album includes a fascinating tune named “Shimo Kitazawa”, inspired by a Tokyo neighbourhood, as well as other tracks infused with the global vibes that have touched his musical soul. Dedicated compositions like “Dew” and 'Yooltz” pay homage to the friends and musicians who helped shape this album. Opener “Dew” is a nod to trumpeter Tal Avraham, who contributes a hypnotising solo. “Yooltz” is a loving tribute to tenor saxophonist Eyal Netzer, who contributes a soulful solo to the song, adding a distinctive layer of brilliance to the album. The Afrobeat leaning “Oladipo”, on the other hand, is dedicated to the late great drummer, musical director of Fela Kuti's band legendary Africa '70, and pioneer of the sound, Tony Allen. Hazan utilises synths to create an eerie atmosphere on “Street Souls”, inspired by the characters who frequently inhabit the streets around Hazan's studio, sharing insightful comments from time-to-time. The slim wall of separation, provided by his machines and studio walls, from the junkies and prostitutes outside is emblematic of the slim divide between his privileged existence and theirs. This urban tension continues on album closer “Riff Raff”, taps into the tumultuous undercurrents of social movements and demonstrations, injecting a sense of urgency into the album's diverse tapestry, with its jolting groove. Shay Hazan's journey continues as he embarks on a series of international performances, including the Jazz Jantar Festival in Dansk, Poland, and the Tel Aviv Jazz Festival. He has recently captivated audiences at the prestigious Jazz in the Park Festival in Romania and the Jerusalem Jazz Festival. His music transcends borders, uniting listeners worldwide in a vibrant celebration of sound and culture. 'Wusul وصول' is an introspective journey through the intricate tapestry of musical influences that have shaped Shay Hazan's unique sound. While Western and Mizrahi pop have left their marks on the record, they serve as threads

A rare best-of album featuring unreleased tracks from 1973 to 1984 by the genius guitarist Akio Niitsu is now available on LP. The album features a wide range of works, from the production process of the masterpiece “I/o” (1978), through the period of creating background music for Muji, to demo recordings from the ‘PETSTEP’ (1982) and “Winter Wonderland” (1985) eras. The innovative soundscapes created through double-speed guitar and multi-track recording continue to receive worldwide acclaim. Through the 12 tracks on Side A and Side B, listeners can experience Shinji Akiyama's experimental and ambient musical world. Influenced by J.S. Bach and Jimi Hendrix, his creative approach, which established his unique musical style, is beautifully expressed in this collection. 300 grams vinyl, this album is an important record in music history and is recommended not only for fans but also for listeners interested in experimental music.

"Crossover City – Misty Morning" is a curated compilation of Japanese jazz fusion and crossover gems from the 1970s and 1980s. Featuring artists like Terumasa Hino and Sadao Watanabe, it captures the smooth, urban soundscapes of a golden era. A must-listen for fans of city pop and sophisticated grooves.

Known world-round for his classic work with Sergio Mendes and Weather Report, percussionist Dom Um Romao is one of the greatest Brazilian musicians of all time, and this compilation of 1976 recordings for Pablo has him playing in a nice raw groove. The tracks have a beautifully jazzy sound, and feature lots of great Latin players, like Claudio Roditi, Ronnie Cuber, Dom Salvador, and Mauricio Smith. The group's joined by Sivuca, who adds his usual delightful tone to a number of tracks on the album. Titles include "Spring", "Cisco Two", "Piparapara", "Tumbalele", "Escravos De Jo", and "Mistura Fina".

One is the first solo album, and third album overall, by jazz keyboardist Bob James. It was an important album in the early smooth jazz genre and is famous for its end track, "Nautilus", which became important to hip hop as one of the most sampled tracks in American music.

Victory present a reissue of Haruomi Hosono, Takahiko Ishikawa, and Masataka Matsutoya's The Aegean Sea originally released in 1979. The album is somewhat of a companion piece to the previous year's Pacific (V 25AH426). A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it's one of Hosono's cleanest and most focused works to date. Long sought-after by collectors, this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono's seemingly infinite catalog. Essential Japanese jazz fusion.

WRWTFWW Records is extremely happy to present the official reissue of Safari's self-titled album from 1984. The Japanese jazz-fusion super gem is available now as a limited-edition transparent vinyl LP housed in a heavyweight sleeve with obi.

Originally released on fabled label VAP, Safari is a one-of-a-kind city pop-adjacent summer blend of AOR, smooth jazz, and sun-drenched boogie. The sole album from the all-star outfit was the brainchild of keyboardist Toshiyuki Daitoku and Japan-based Californian jazz-funk-latin-fusion bassist Gregg Lee. Together with a large team of experienced musicians, they created a lush, immaculately-arranged 8-track cruise filled with poolside grooves, breezy rhythms, and feel-good vocal harmonies.

Safari features the well-known title track which acted as the theme song for an 80s sports program on Fuji Television, the night-swim chill music tune "All Right in The Night", and the fan-favorite buoyant vacation hit "The Morning After". The official reissue is fully licensed and sourced from the original masters, with an audiophile cut by Sidney Meyer at Emil Berliner Studios, ensuring the warm, pristine sound this lost treasure deserves.

Safari is the second release from WRWTFWW's City Pop Series, following Momoko Kikuchi's beach classic Ocean Side, also available on transparent vinyl LP. The series, complete with a visual identity designed by Lopetz/Büro Destruct, also comes with a limited merch capsule, and more sun-soaked gems lined up for the future.

Soul Media, led by Jiro Inagaki, played a pivotal role in the development of jazz rock in Japan. This album, “Memory Lane,” recorded in 1980, is their final release under that name. Inagaki commented on this work, saying, “We created this album while anticipating the future of fusion music.” Indeed, the sound is completely distinct from the typical fusion genre. The mellow and emotional “Memory Lane,” the stormy yet refreshing “I Will Give You Samba,” and the groovy and edgy “Take My Hand.” The sound created alongside his close friend Ken'ichi Maeda, looking toward the future, boasts an extraordinary level of perfection in every aspect—the songs, arrangements, and performances. It remains a fresh and vibrant masterpiece even when listened to today.

Text by Yūsuke Ogawa (UNIVERSOUNDS/DEEP JAZZ REALITY)

〈Honest Jon's〉が60年代に南米エクアドル・キトで活動していた知られざるスイートスポット的レーベル〈Caife〉に残された魅力的なカタログを紐解いたシリーズから新たな発掘音源が登場！アフリカ先住民の伝統と豊かな音楽の伝統が融合した、エクアドル北端エスメラルダス州のユニークなアフリカ系エクアドル文化の素晴らしい記録を収めたアルバム『Juyungo』がアナログ・リリース。マリンバを中心に、コール&レスポンスのチャント、アンデスのギターのフィンガースタイル、パンパイプなどによる深い没入感に溢れる音楽作品を余すところなく収録。ゲートフォールド・スリーヴ仕様。洞察に満ちたメモと貴重写真が満載のブックレット(16ページ)が付属。

Soundtrack of the late seventies, early eighties with particular attention to vintage instrumentation and the hard and pure approach that distinguishes the elegance and refinement of this composer, musician, able to make us relive echoes of the past while remaining comfortably seated on the sofa of our home. Alberto Bazzoli amazes with this new test. There are elements of great importance in Missori, a set of tracks that become a dedication to the city of Milan. An album that is a sort of introspective concept capable of narrating, musically, the events of an ordinary employee in the gray city of northern Italy. An album from which you can perceive an underlying melancholy perpetuated through moments of great class, where the taste for the past comes out in all its splendor. Alberto Bazzoli, founder of the label L’amor mio non muore and keyboardist on Baustelle’s latest tour, delivers to listeners an Italian cross-section of rare beauty where all the elements in the field are essential parts of a whole that smells of emotional amarcord capable of finding, in the lost, the key to understanding the modern complexity of living.<iframe style="border: 0; width: 350px; height: 406px;" src="https://bandcamp.com/EmbeddedPlayer/album=1619206400/size=large/bgcol=ffffff/linkcol=333333/artwork=none/transparent=true/" seamless><a href="https://albertobazzolimusica.bandcamp.com/album/missori">MISSORI by Alberto Bazzoli</a></iframe>

Most of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. Sam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. Eight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. The resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. Atop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. Sam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.

Amsterdam-based bass player and producer kotokid's music is a middle ground between alternative R&B and hip-hop, and 80s jazz fusion. Bringing together live drums and drum computers, sequenced analog synths and lush guitar chords and solos, and heavy synth basses alternated with pulsating bass guitar grooves. The result: a wall of sound, with the dynamics and energy of a live fusion band.

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)

Most of this recording was made during a single early evening in Southern California, outdoors, with the San Bernardino Mountains in view. Sam Wilkes played bass guitar, Craig Weinrib played trap drums, and Dylan Day played electric guitar. Eight months after that dusk recording session, the trio reconvened to capture a few more pieces. Wilkes wanted to hear Dylan play a Jobim melody (How Insensitive), Dylan wanted to hear Craig play a funeral march (When I Can Read My Titles Clear), and Craig wanted to play nice and gentle. The resulting record, a document of an initial and seemingly fated musical encounter, conveys the ease and the intensity of the trio’s chemistry. Their shared sonic affinities, while essential to the record’s sound, feel secondary to the integrity, confidence, and mutual regard that suffuse each note and every beat. Atop standards, folk songs, and hymns, Wilkes, Weinrib, and Day unfurl a series of cascading improvisations. Joyful and precise music. Sam Wilkes is from Westport, Connecticut and lives in Los Angeles, California. Craig Weinrib is from New York and lives in New York. Dylan Day is from Fletcher, Vermont and lives in Los Angeles, California.

"In 1971, Dr Tree emerged as a highly innovative jazz-fusion ensemble from Auckland, formed by two of New Zealand's most seasoned session musicians, Frank Gibson Jr. and Murray McNabb - the pair had jammed together since grammar school. Drawing sizable crowds while working the Auckland circuit, the band caught the attention of EMI scout, Alan Galbraith, who wasted no time signing them up for an album. Galbraith, a trained musician and adventurous producer, brought in additional support from Julian Lee, an internationally acclaimed arranger and producer (who had recently returned to New Zealand after a decade Stateside on Frank Sinatra's insistence). The album's an all-instrumental excursion into territory mapped out by the likes of Return To Forever, Weather Report and Tony Williams Lifetime - all acolytes of Miles Davis's late- 60s explorations. The session combines experimental studio techniques with blazing artistry, juxtapositioning trippy electronic textures and improvised jazz, creating a hypnotic kaleidoscope of sound." Double LP featuring previously unreleased recordings and outtakes. Restored and remastered at�Abbey Road Studios by Grammy award-winning engineer Sean Mage. Heavyweight tip-on gatefold sleeve featuring archival band photography. Restored and newly remastered at Abbey Road Studios. Limited edition of 600 copies (300 in New Zealand, remaining 300 worldwide).