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ElectroSoul is the most collaborative and personal record yet from GRAMMY Award-nominated producer, songwriter, and multi-instrumentalist DJ Harrison.
Sparked by a sudden health scare in 2024, the album brought the Richmond, VA, native’s close-knit creative community into the studio. The result is a genre-melding testament to healing, recovery, rejuvenation and making the most of the present. Grounded in his Richmond roots and inspired by family, ElectroSoul moves with warmth, purpose, and groove.
Featured artists include Yazmin Lacey, Yaya Bey, Fly Anakin, Pink Siifu, Stones Throw labelmate Kiefer, Angélica Garcia, Miguel Atwood-Ferguson, and many more.
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.
Released in 1967, “Jazz Raga” is a hypnotic fusion of jazz, rock, psychedelic folk, and Eastern influences. Gábor Szabó, the Hungarian jazz guitarist known for his boundary-pushing style, delivers one of the most captivating records of his career with sitar-laced melodies. From the dreamy groove of ‘Walking On Nails’ to the swirling mysticism of ‘Mizrab,’ and his hauntingly original take on the Rolling Stones’ ‘Paint It Black,’ “Jazz Raga” is a hypnotic fusion where European tradition meets the counterculture spirit of the '60s. ***AUDIO***: youtu.be/aX6CIIJXIeQ?si=1vlVWlVH4QSNpzmQ Publicado originalmente en 1967 en el emblemático sello Impulse, “Jazz Raga” es una mezcla hipnótica de jazz, rock, folk psicodélico y sonidos orientales. Gábor Szabó, el guitarrista de jazz húngaro conocido por su estilo rompedor, entrega en esta obra una de las grabaciones más fascinantes de su carrera con melodías adornadas con sitar. Desde la atmósfera ensoñadora de ‘Walking On Nails’ hasta la mística envolvente de ‘Mizrab’, pasando por su versión profundamente original de ‘Paint It Black’ de los Rolling Stones, “Jazz Raga” es una mezcla hipnótica en la que la tradición europea se cruza con el espíritu contracultural de los años 60.
“duo,” a collaboration between norwegian jazz heavyweight bugge wesseltoft and german house visionary henrik schwarz, is finally being reissued. it stands as one of the finest albums in the history of club music to so beautifully fuse jazz and electronic music. deep and experimental yet irresistibly melodic, this gem of a record possesses a captivating sensibility that draws in listeners of every kind. newly remastered by kuniyuki, this long-awaited reissue comes pressed on 180g vinyl. the refreshed artwork has been created by emerging japanese artist joji nakamura happy 15th anniversary!
577 Records Announces Eva Novoa Solo (I) — A Bold and Intimate Solo Piano Statement Brooklyn-based pianist and composer Eva Novoa presents Eva Novoa Solo (I), her first solo piano recording and seventh album with 577 Records. Recorded at the legendary Sear Sound Studios in Manhattan, the album captures Novoa alone in the studio, embracing the artistic challenge of vulnerability, introspection, and creative freedom that defines the solo piano format. After several years working primarily within piano trio settings and other ensemble configurations, Novoa turned inward, embarking on a deeply personal sonic journey. Solo (I) marks a pivotal moment in her artistic evolution and establishes the foundation for a new series of solo recordings. An active and respected member of New York’s experimental and creative music community, Novoa prepared extensively for this session through months of solo performances—mostly in Brooklyn—leading up to the recording. These included a standout solo concert at the Brooklyn edition of the New York Forward Festival, where her approach to the solo format fully crystallized. On Solo (I), Novoa expands the traditional piano vocabulary. While the grand piano remains her primary instrument, she also performs on Fender Rhodes and electric harpsichord (the latter to be explored further in upcoming volumes), incorporating Chinese gongs, additional percussion, vocals, and even whistling on select tracks. The result is an intensely intimate and sonorous experience—raw, cinematic, and emotionally charged. Eva Novoa Solo (I) is the first installment in a planned trilogy of solo recordings. Across six original pieces, Novoa approaches the solo piano format with boldness, rhythmic fire, and fearless energy. Her percussive use of the instrument, expansive dynamic range, and deep command of tone transform the piano into both an emotional soundscape and a cinematic narrative. The album opens with “Left Behind,” beginning with Chinese gongs and delicately spaced piano chords that evoke a wintry stillness before erupting into an explosive improvisation, as if multiple players were inhabiting the same room. “Dime Con Quién Tú Andas” features Novoa’s voice alongside piano in a wild, poetic exchange—almost folk-like—where she explores the instrument percussively, clapping, tapping, engaging the strings inside the piano, and savoring silence as an expressive force. “Stilte Cabine,” the album’s lead single, distills the essence of the Solo project: the timeless beauty, warmth, and expressive depth of the piano. Inspired by a train journey through the Netherlands—where Novoa spent many formative years—the piece reflects both motion and reflection. Dutch bassist and producer Ruben Samama, a longtime collaborator, offers these words on the recording: “The piano sound is impressive enough, but to show yourself so unafraid, so unapologetically full of curiosity and emotion as Eva Novoa does on her solo album—this is the dream and ultimate goal for any performing artist. A remarkable feat!” “Just Say It” explores the piano through a classical yet inventive and sensorial lens, while “Time Will Tell” shifts to Fender Rhodes, unfolding as a restless, gospel-inflected track that moves through an odd-meter groove and closes with a vamp-like section evocative of 1970s jazz-electric aesthetics. The album concludes with “Tumbleweed,” a cinematic journey reminiscent of Western film soundtracks—a solitary road through the desert. Featuring piano and whistling, the piece builds toward a virtuosic improvisation that brings this vivid first volume to a powerful close. Recorded in Fall 2024, Eva Novoa Solo (I) captures an intimate session and deeply emotive music shaped by mature technical mastery and a highly compositional approach. Novoa dazzles on piano, Fender Rhodes, electric harpsichord, Chinese gongs, vocals, and whistle, revealing an expansive and deeply personal sonic universe. Originally from Barcelona, Spain, Eva Novoa has cultivated her distinctive musical voice since childhood. Now firmly rooted in New York, she has performed internationally and collaborated with some of the most adventurous voices in jazz and beyond. Eva Novoa Solo (I) will be released on March 20, 2026, on limited-edition vinyl and CD, as well as digital platforms. The album features cover art and portrait photography by Takamasa Ota (front cover) and Art Jones (back cover). Volumes 2 and 3 are forthcoming—stay tuned.
Alto saxophonist and flutist Alan Braufman first emerged as a singular voice in New York’s 1970s loft-jazz scene with his 1975 debut Valley of Search, a record that would later be recognized as a landmark of spiritual and free jazz. After decades outside the spotlight, Braufman returned with a new wave of acclaim, releasing two highly regarded albums in 2020 and 2024 that reestablished him as both an essential elder and a vital contemporary presence—long described as “a legend in free music” (Gilles Peterson / BBC). Recorded in a single day in the fall of 2025, Anthem for Peace is a fully new studio album that captures Braufman in the present tense. Leading a quartet with vibraphonist Patricia Brennan, bassist Luke Stewart, and drummer Chad Taylor, he delivers concise, hook-forward compositions that move fluidly between spiritual anthems, buoyant post-bop, and hypnotic, eastern-influenced themes. Brennan’s vibraphone—shimmering acoustically and occasionally treated electronically—adds depth and color, while Stewart and Taylor form a deeply locked, responsive rhythm section. The result is music that is “playful and light, yet texturally dense” (NPR): optimistic, focused, and driven by a clear sense of forward motion.
Through the dense blend of Japanese New-Wave, between moldy kimonos and punctured paper screens, along the rails of a sonic bullet train, this mini-LP reaches us, overflowing with purebred Punk-Funk, splinters of Soul and shredded Jazz. A gold nugget in a sea of sadness. Scattered energy trapped in a handful of vinyl grooves.
'We Fell In Turn' is the solo debut from Brooklyn-based trombonist, composer, and quartet leader Kalia Vandever. Vandever, who plays with Harry Styles and Japanese Breakfast, “sculpts her trombone’s golden tones into dazzling compositions” (Pitchfork), writing music that tends to “dip you into a feeling or a pattern or a breathing speed, and keep you there” (The New York Times). In 2022, Vandever released Regrowth, an album that “features the ecstatic, brilliant melodies that have become Vandever’s signature sound” (Bandcamp). This spring, Vandever brings contemplative reflection to We Fell in Turn, a brave and understated work from an ascending voice in American jazz. Recorded over three days in upstate New York, 'We Fell In Turn' is improvisational — a stark palate of solo trombone, voice, effects, and little more. “My solo process has always been heavily rooted in improvisation,” says Vandever. “I wanted the process to feel similar to the way I perform. Lee Meadvin, who engineered and produced the album, had a heavy hand in the creative process as well. He would dictate prompts before I started improvising and those pieces ended up shaping a lot of the imagery that comes up throughout the record.” Connecting the dots between Jeff Parker’s 'Forfolks', and early releases from Grouper, 'We Fell In Turn' is a study of space and patience, embracing vulnerability in its sparse adornment. At times, the album is reminiscent of Patrick Shiroishi’s 'Hidemi', both in its familial inspiration and solo instrument study, while sharing the ineffable feel of William Basinski’s 'The Disintegration Loops' — the traces of her trombone folding in on themselves in an organic loop. Emotionally generous throughout, Vandever acts as a torchbearer for jazz’s historical yearning for connection. On 'We Fell in Turn' Vandever draws inspiration from childhood memories — events that shaped her approach to love, community, and partnership, and her maternal homeland of Hawaii. “We were exploring childhood memories, earliest experiences with disappointment and pain, and my Hawaiian roots,” says Vandever. “We Fell In Turn came after I titled the track "We Wept In Turn". Both come from the intangible feeling of waking up from vivid dreams, particularly the experience of falling right before waking up or waking up in tears.” Through this exploration into her heritage, Vandever also found guidance. “In Hawaiian mythology, ‘aumākua are known as ancestral spiritual guides that manifest in different forms, whether physical or intangible,” says Vandever. “My ‘aumākua visits me in my dreams, usually with a reassuring hug or a reminder of my past. Memories and early experiences seem to escape me, but find their way back in dreams.” And now they’ve found their way into 'We Fell in Turn', Kalia Vandever’s stunning solo debut.
Atlantis (1969) is a bold and highly atmospheric jazz album by Sun Ra and His Astro Infinity Arkestra that moves away from traditional swing into a more experimental sound. The centerpiece is the 20-minute title track contained in side B, built around Sun Ra’s heavily amplified Hohner Clavinet. Around this, the Arkestra layers percussion, horns, and collective improvisation to create a dense, hypnotic texture. The music is intense but not chaotic; it unfolds gradually, focusing on mood, repetition, and sonic colours. The shorter pieces on the album are slightly more rooted in free jazz traditions, but still maintain the spacious, exploratory feel. Atlantis stands as a key example of Sun Ra’s Afrofuturist vision, presenting jazz as cosmic storytelling and pushing the genre toward electronic experimentation and abstract sound design long before these approaches became common. This vinyl reissue is the first since 1973 and it features the track “Yucatan II” as bonus track on side A.
Terrific session just released in 1974 on influential independent Muse. A modal masterpiece verging on spiritual jazz with a series of excellent players: from Richard Davis and Cecil McBee on bass to Ray Mantilla on congas and percussion, through Harold Vick distinctive flute and tenor sax. The major voice on this record belongs to the traps of Joe Chambers. The enormous potency combined with complete authority and tonal clarity that Chambers brings to the drums has made him one of the more distinctive percussive voices in jazz.
Reissue, originally released in 1963. Ellis Regina one of the greatest Brazilian interpreters of all time. Originally released in 1963 when she was not even 20 years old, this was her fourth album and second for Columbia Records. Still a few steps before she became a star, here Ellis Regina's fresh and extremely ductile voice shines on top of sophisticated jazz arrangements by Astor Silva and a mixed repertoire based on charming romantic songs and vibrant sambas, all composed by Brazilian authors, among them a couple of highlights such as Baden Powell's "Se Você. Quiser" and "O Ben do Amor" the title track composed by guitarist Rildo Hora. This is an early and fine statement in Regina's fast way to the peak of Brazilian music history.
A1 Part I - Acknowledgement
A2 Part II - Resolution
B1 Part III - Pursuance
B2 Part IV – Psalm
The mere mention of jazz played on bagpipes is guaranteed to get a look of disbelief from most people, but not from listeners who have heard Rufus Harley, especially Re-Creation of the Gods, a 1972 disc that many consider his best. The Transparency label has reissued this record on CD with four extra tracks and pristine digital remastering of the sound. Rufus Harley, one of the only bagpipe-playing jazz musicians in the history of jazz, is a virtuoso on the instrument, coaxing improvised riff after riff from it. In his hands it sounds like two reed instruments played at once. This very enjoyable and often surprising music is in the soul-jazz vein, with a touch of Eastern sounds, and the combination of organ, bagpipe, percussion and sometimes electric bass works very well. The playing can easily be termed spiritual. Re-Creation of the Gods is reminiscent of Rahsaan Roland Kirk's later work—eg. Blacknuss, with its mixture of spirituality and soul—and Rufus Harley's bagpipe sounds somewhat similar to the manzella and stritch played by Kirk. Bill Mason's organ is an excellent complement to Rufus Harley's bagpipe and sax. The combination hints at the organ/tenor combos of the late '60s and early '70s. Although the leader and Bill Mason stand out with their solos, the tight drumming and solid electric bass anchor the music within the soul-jazz tradition and add an earthy quality to the recording. The only track which seems out of place is the 23-second intro (one of the extra tracks), which seems to be from a live show by Rufus Harley's quintet. The rest of tracks do not appear to have been recorded live, nor are they made by a quintet (rather a trio or a quartet). The liner notes provide short essays on spirituality and quotes from a variety of Eastern religious texts, which fit well with the mood of the music but do not give any further details about the recording. The remainder of the bonus tracks, however, have the same lineup of musicians and are in the same musical vein as the original tracks, so they are likely taken from the same recording session. The similarity in the musical quality and style does not mean that these tracks are repetitive or indistiguinshable from each other—or formulaic in any way. On the contrary, each one is unique and full of surprises. They are like poems in a poetry jam session; each is unique on its own, but also an inalienable part of the whole. The few other Rufus Harley tracks that I have heard (from his Atlantic years) seem like prototypes for this record. The ideas are there, but they are not as accomplished or fully realized as the ones on this recording—thus, while they're interesting, they're not as rewarding to listen to as this disc. Bagpipes and jazz make an unusual combination, but this is a very creative, enjoyable and refreshing soul-jazz record that, while not necessarily groundbreaking, is very rewarding to listen to many times over.
Released in 1961, Ornette Coleman’s Free Jazz is both a controversial milestone and a landmark recording. Featuring a double‑quartet setup with separate groups placed in the left and right channels, the album captures an unprecedented form of collective improvisation that redefined the boundaries of jazz.
Released in 1969, In a Silent Way marks the beginning of Miles Davis’s electric period and stands as one of his most groundbreaking works. Featuring John McLaughlin, Herbie Hancock, Chick Corea, Joe Zawinul, and Wayne Shorter—musicians who would later shape the future of jazz‑rock and fusion—the album was recorded at New York’s legendary 30th Street Studio.
Recorded in 1962 when a 22‑year‑old Herbie Hancock entered the Blue Note roster, Takin’ Off stands as his remarkable debut album. Featuring an all‑star horn lineup with Freddie Hubbard on trumpet and Dexter Gordon on tenor sax, and captured at Rudy Van Gelder’s legendary studio, the record embodies the essence of the hard‑bop golden era.
“No second-guessing, no overthinking. The way I want to live my life is by doing the things that are important to me, and I think everyone should live that way,” says Mei Semones of her strengthened self-assurance. Through continuously honing in on her signature fusion of indie rock, bossa nova, jazz and chamber pop in a way that highlights her technical prowess on guitar, the 24-year-old Brooklyn-based songwriter and guitarist is quickly establishing herself as an innovative musical force. Since the release of her acclaimed 2024 Kabutomushi EP, a series of lushly orchestrated reflections on love in its many stages, Mei has gone on to tour extensively across the US, cultivate a dedicated following, and write and record her highly anticipated debut album, Animaru. Inspired by the Japanese pronunciation of the word “animal” in Japanese, Animaru is the embodiment of Mei’s deeper trust in her instincts – a collection of musically impressive tracks that see Mei sounding more adventurous, more vulnerable and more confident than ever before.
Mei’s newfound assertiveness comes in part from her experiences in the past year, as 2024 was a transformative year for the Mei Semones band. They shared bills with the likes of Liana Flores, Elephant Gym and Kara Jackson, among others, and Mei transitioned to doing music full-time. Amidst the frequent touring, Mei and her five-piece band recorded the album in the summer of 2024 at Ashlawn Recording Company, a farm studio in Connecticut operated by their friend Charles Dahlke. To these sessions, she brought a batch of tracks that, not unlike Kabutomushi, are sophisticated declarations of non-romantic love: love of life (“Dumb Feeling”), love of family (“Zarigani”), love of music and her guitar (“Tora Moyo”). Animaru exemplifies Mei’s enchantingly wide range as a songwriter and musician, including some of the most challenging and most straightforward songs Mei has ever written.
Though her music might inherently evoke feelings of romance and softness, the crux of the album lies in Mei and her band’s skillful balance of tension and release. Often within individual tracks, there will be moments of pared-back acoustic guitar adorned by Mei’s infectious vocalizations that, in a moment’s notice, transform into orchestral swells of sweeping strings and complex guitar rhythms. Album opener “Dumb Feeling” is a prime example, a bossa/samba blend complete with indie rock sensibilities in the choruses as Mei details her contentment with her life in New York City. Mei actively seeks out musical challenges throughout Animaru, like on “I can do what I want,” the album’s most technically ambitious track. But she still manages to make the quickly cascading guitar harmonics and odd meters sound like a breeze to play, her breathy, lilting voice cutting through the track’s energetic dynamics. It epitomizes the album as a whole – she sings of doing things her own way, on her own terms, in hopes of inspiring others to make the same active switch in their own lives.
The simpler moments on Animaru are equally as captivating as when Mei is shredding on guitar or her bandmates are carrying out an intricate arrangement. “Donguri,” a stripped-down jazz duo performance between acoustic guitar and upright bass, is the simplest song Mei has ever written, brought to life by Mei sweetly chronicling (mostly in Japanese) what she imagines life would be like as a woodland creature living in the forest. The album’s penultimate track also encompasses themes relating to the titular “animaru.” Translating to “crayfish,” the bright, effervescent “Zarigani” is a nostalgic expression of love for her twin sister, with Mei singing “We’ll always have each other / I love you like my guitar / I love you like no other.” Family is one of the primary loves of Mei’s life, with her mom, Seiko Semones, making all of her album and single artwork. Despite Animaru being a statement of Mei’s autonomy and confidence at this point in her life, it's the various loves that she surrounds herself with – her family, her friends, her band, her music – that empower her to do things her own way.
