MUSIC

Since his Beat Diary debut (a 12xLP box set comprising 365 beats recorded daily over the course of a year), Julian Sartorius has immersed himself in unique and ambitious projects - trekking the path not travelled to arrive at rhythmic life forms through found objects and prepared instruments. Equally as mighty are his two other escapades, the most recent being Locked Grooves - 112 beats cut as endless loops on vinyl spanning 56 dense 1.8 second compositions per side. Preceding that is his auditory hike into the mountains (Hidden Tracks: Basel - Genève), wading through and playing the landscapes around him like a lithophone. While Julian’s previous releases focus on innovative and conceptual approaches to realizing an album, his new venture on Marionette (titled Mux) is a culmination of all his efforts thus far to mimic a synthesizer and drum machine. This impossible feat challenges Julian to experiment and develop a musical language that bridges the gap between organic timbres and electronic music. When listening to Mux, one might simply forget that the seemingly electronic sounds are only constructed organically via hand movements. The common thread in all his works is that the drums are treated as resonant bodies - free to flow and form rhythm and harmony in spacetime. This is Julian’s second outing for the label, the first being (the long out of print) Sulla Pelle with Valentina Magaletti in 2019. Other collaborations include prolific artists such as Matthew Herbert, Sylvie Courvoisier, Gyda Valtysdottir, Dimlite, Shahzad Ismaily and Dan Carey (Speedy Wunderground).

The roots of Angolan popular music explored in the meticulous guitar studies of Mário Rui Silva 1980s albums. 

Whether on mesmerising acoustic ballads or hypnotic groove-led tracks, the music of Angolan guitarist, researcher and intellectual Mário Rui Silva has a beguiling, melancholy quality, woven into the dynamics of his deft guitar playing. 

Rhythmically complex yet supremely effortless, the music collected here stems from three albums Mário released in Luanda in the 1980s that reflect his diverse range of influences, from traditional Angolan and West African rhythms to European jazz and classical instrumentation. 

It is united by a sense of low-key beauty, whether on the chugging opener ‘Kazum-zum-zum’, the jazz-funk keys of ‘Lembrança Dum Velho’, or the twinkling, late-night poly-rhythms of ‘Kizomba Kya Kisanji’. 

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Born in Luanda, Angola in 1953, Mário dedicated his life to Angolan popular music. His fifty-year career has seen him live between Angola and Europe, rub shoulders with Cameroonian musicians Francis Bebey and Ewanjé, record the seminal album Angola ’72 with fellow Angolan musician Bonga, and draw influence from Brazilian guitarist Baden Powell. 

It was the teaching of Angolan legend and Ngola Ritmos co-founder Liceu Vieira Dias that Mário gained a technical, political and spiritual understanding of Angolan musical culture. In the hands of Liceu, the traditional Angolan semba and kazukuta rhythms of the 1940s and ‘50s helped create an emancipatory sense of national pride and collective agency that awakened its listeners to the racism and tyranny of colonial rule, underpinning the country’s push for independence in the process. 

What might sound like the intonations of Brazilian influence are what Mário attributes to the “African rhythms taken by the slaves [which] gave rise to other musical cultures” around the globe. Instead, this music emerged from a collective instinct to assert a cosmopolitan Angolan identity free from the patronising falsehoods of Lusotropicalism. 

“There was a need within me to contribute in doing new things,” Mário describes. “In the sense of solidifying the music of Angola that was the result of the meeting of two cultures, and wanting to value the Angolan part whenever possible.” 

A selection from Mário’s three 1980s albums, Sung’Ali (1982), Tunapenda Afrika (1985) and Koizas dum Outru Tempu (1988) have been compiled here as a 2xLP release by Time Capsule’s Sam Jacob and Kay Suzuki. Together, they provide a snapshot of one man’s journey to the core of his nation’s music, charged with the search for a culture uprooted by colonialism. 

Horace Andy has always commanded a place high on the list of reggae singers from Jamaica. His distinctive, haunting vocal style stands strong on any rhythm, song, or style he chooses to cover. He has managed to crossover to a new generation of listeners due to his individual style, helped also by his collaborations with the likes of Massive Attack. Born Horace Hinds in 1951, Kingston Jamaica, he began his musical career at Coxsonne Dodd's Studio One. So impressed with the young Horace, Coxsonne decided on a name change and named him after his top songwriter at the time, Bob Andy. His first tune for Coxsonne ("Something on My Mind") was a slow burner in Jamaica, but his belief in his young protégé paid off later with "Skylarking," a tune that put the singer all over the radios and sound systems of Jamaica. After numerous singles and two albums worth of material, Horace moved on to work with many of the topflight Jamaican producers, among them Keith Hudson, Augustus Pablo, and Niney the Observer, but it was his work with producer Bunny Lee in the '70s that produced most of his hits, which we have compiled for this set. Some of his late '60s classics are recut in the popular 1970s style, working with the rhythm kings themselves, Sly Dunbar and Robbie Shakespeare. They have added some shine to "Something on My Mind" and "Skylarking" and made them hits all over again. Horace also adds his signature to covers of Delroy Wilson's version of the Tams's "Riding for a Fall," the Heptones' "My Guiding Star," John Holt's "Man Next Door," and Bill Withers' "Ain't No Sunshine." A bass-heavy cut of Bob Marley's "Natural Mystic" is also present. This fine set of 1970s classics represents some of the best music ever made in Jamaica.

double LP version. 180 gram vinyl; includes CD. Tak:Til/Glitterbeat present the first ever reissue and remastering of Jon Hassell and Farafina's prescient, "Fourth World" masterwork, Flash of the Spirit, originally released in 1988. Propulsive Burkinese rhythms meet revelatory, ambient soundscapes. Co-produced with the legendary studio team of Brian Eno and Dainel Lanois. Composer and trumpeter Jon Hassell has been an elusive, iconic musical figure for more than half a century. He's best known as the pioneer and propagandist of "Fourth World" music, mixing technology with the tradition and spirituality of non-western cultures. In 1987 he joined with Farafina, the acclaimed percussion, voice, and dance troupe from Burkina Faso, to record Flash of the Spirit. While the album is a natural extension of those "Fourth World" ideas, and a new strand of Possible Musics, it also a distinctive outlier in the careers of both artists; an unrepeated merging of sounds whose influence still reverberates today. The eight members of the band -- who had also collaborated with the Rolling Stones and Ryuichi Sakamoto -- brought their long apprenticed, virtuosic drumming, and melodic textures (balafon, flute, voices) to the sessions. They built up layers and patterns of rhythm, while producers Brian Eno and Daniel Lanois (fresh off the success of U2's Joshua Tree) created a sonic atmosphere in which they could creatively intertwine with Hassell's digitally processed trumpet and keyboards. Despite their initial skepticism, the musicians from Farafina ended up relishing their interaction with the studio team and the trumpeter/conceptualist Hassell. The music that emerged was rich and groundbreaking, a move to transcend the boundaries between jazz, avant-garde classical, ambient and the deep rhythmic tradition embodied by Farafina. On "Out Pours", the groove simmers softly, led by shifting patterns on the balafon, while Hassell's heavily treated trumpet creates breathy swirls of sound that play and dance around them. Percussion leads on "A Vampire Dances," pushing and probing and seeming to force electronic shrieks as a response from Hassell's trumpet, while the keyboard creates a bed of sound that refuses to hold still. "(Like) Warriors Everywhere" takes that idea even further. Over Farafina's surging rhythms, Hassell's electric piano and trumpet dig deep into abstract, melodic ideas hinted at by the Bitches Brew-era Miles Davis band. Farafina create the rhythms and counter-rhythms that spring and move. A new, natural trans-cultural harmony is apparent on the final track, "Masque", where percussion and treated trumpet draw the listener along on a journey through shifting landscapes.

Like the ever changing shapeshifting nature of Kami in Japanese Shinto faith, the music on this new collaborative lp is a mirror reflecting, obscuring or modifying the ever changing rivers of sounds. Louise Landes Levi has a long history in music from studying sarangi with Annapurna Devi and La Monte Young to performing with like minded poets as Ira Cohen and Simon Vinkenoog. As on the previous Ikiru lp she collaborates with Timo van Luijk (Af Ursin, Elodie, Asra, In camera etc) and Bart De Paepe (Ilta Hämärä, Bombay Lunatic Ensemble etc). The trio weaves several delicate threads together into a surrealist, organic but overall poetic language. Includes a postcard. Limited to 500 copies.

„Gnawa, bottom heavy trance music of North Africa. Repetitive bass lines, generated by the gimbri or sintir with metal clappers, hand drums and voice. Seven trances, seven colors, seven scents, Gnawa not only moves, it can remove.“ Bill Laswell, Hell's Kitchen, NYC, May 2022 Remastered vinyl reissue of this 1990 BILL LASWELL / RICHARD HOROWITZ production of local Gnawa musicians, recorded in the Medina of Marrakesh. According to Allmusic.com „a must for fans of both African and Middle Eastern music” and voted one of the „10 essential Gnawa albums” by Songlines. The Gnawa are an ethnic minorityin today’s Morocco, descendents of slaves from West Africa who were brought to Morocco in the 16th century and who (although they quickly converted to Islam) nevertheless brought with them remnants of their animistic practices. The Gnawa perform a complex ceremony (called lila or derdeba) that over the duration of several hours recreates the genesis of the universe by the evocation of the seven main manifestations of the divine, represented by seven colours. Those ceremonies, led by a master or „maleem“, are still taking place today privately while Gnawa music in general has clearly been modernizing and thus become more profane, but witnessing a performance is still an astonishing experience. With the exception of a handful of recordings by PAUL BOWLES and PHILIP SCHUYLER (more ethnographic documents in a field recordings style), Gnawa music was barely heard outside of Morocco before 1990 – one of the first westerners to come and record the music was BILL LASWELL, back then running his AXIOM label that portrayed a wide range of ethnic music and musicians like THE MASTER MUSICIANS OF JAJOUKA or MALEEM MAHMOUD GHANIA, to name just two. „Night Spirit Masters“, recorded in the Medina of Marrakech, delivers soulful tracks of lead and group singers in call/ response mode, fired by sentirs, drums, hand clapping, and qrakechs, while others are drum features or sentir/ vocal pieces. Over 30 years after its initial release, this essential Gnawa album is finally available again – remastered and on 180gr audiophile vinyl!

More than 30 years after the first release, the first ever LP reissue with 180g heavyweight / audiophile / remastering specifications.

At Jazzman have already given legitimate release to albums that fell foul of the notorious '70s 'tax scam' practice, namely those by Sounds of the City Experience and Ricardo Marrero. It now gives us great satisfaction to present Reality's 'Disco Party' album, for the very first time in agreement with the surviving members of the band. Possibly the most obscure of all the obscurities in the TSG catalogue, 'Disco Party' isn't actually 'disco' at all, moreover it's a fully rounded excursion into mid-70s dancefloor funk and proto-disco-jazz, performed by a group of expert musicians at the height of their powers. Recorded in one long session in NYC, until now, bandleader Dr. Otto Gomez and the rest of his crew had never even heard the recordings they'd made almost 50 years ago. Indeed, none of the band even knew that their album had been released! At Jazzman, we consider it our mission to shine new light on music that went under-appreciated at the time of its original release. There are many varied circumstances which can cause an otherwise great record to not do so well - for instance, poor budget, marketing, promo and sometimes just plain old bad luck. Perhaps the most unjust circumstance involves the tax loss releases of the mid-70s - records made purely to cheat a few dollars out of the tax man. Here, along with restoring the music, we have dug deep into the backstory of the group, interviewing Gomez and others to find out exactly who this unheralded NYC funk orchestra were and what happened to them before and after the monumental session laid out on this record. Our liner notes tell the story of the TSG label and the 'tax loss' phenomenon, and we delve into the history of the band from their humble beginnings as the Smokin' Shades of Black(!) to the present day. We also find out exactly what it means to record some brilliant music - only to have it taken away - and discarded.

From the famous South African Afro-Jazz such as Hugh Masekela and Johnny Dyani, who have dug up many masterpieces, , the products of the rich jazz scene of Cape Town in the 1960s are reproduced! The masterpiece debut album of South African legendary pianist Ibrahim Khalil Shihab (only 22 years old at the time !!), formerly known as Chris Schilder, is an analog reissue after more than 50 years! Completed in just two hours of studio recording ... His first leader work, which was already in a key position in the Cape Town jazz scene at a young age. With the full support of the saxophonist Winston ‘Mankunku’ Ngozi, who was highly acclaimed for his masterpiece “Yakhal'Inkomo”, this is a superb album full of creativity with unparalleled interplay! 180G heavy vinyl & remastered. Includes liner notes by Valmont Layne.

Italian dj, record collector and beat-maker Phonorem sprouts his roots into golden-era hip hop. Since 2017 he leads the phat! Radio show, at Rocket Radio Verona, occasionally with international hosts.

Algorythm shines light on his background in electronic music: synth-wave sounds on wonky homemade downtempo beats, fused towards ambient and cinematic atmospheres, with live drum recordings, drum machines and few samples.

Including a remix of "Arborea" by the mighty Glenn Astro (termina records / tax free records). Characterised by syncopated grooves and fat wobbly synths, glenn's sound is immediately recognisable, making him one of the cardinal points of the german 2013-15 scene, leaving a distinctive signature on everything he touched.

180g vinyl pressing. - “A love letter to the masters of Japanese ambient and environmental music.” During the late 2010s, music lovers around the world began obsessively listening to increasingly esoteric albums on Youtube. More often than not, they’d leave the browser on autoplay. This was how Facundo Arena, the composer and producer behind The Kyoto Connection, discovered the technonaturalistic pleasures of Kankyō Ongaku (environmental music), a distinctly Japanese interpretation of European, British and American minimalist composition and ambient music. “It was a kind of algorithmic magic,” he says. Upload by upload, the utopian music of Hiroshi Yoshimura and his 80s Japanese contemporaries transported Facundo back to his childhood. When he was five, his father placed him in karate lessons and began watching martial arts movies with him. From those early experiences, Facundo became fascinated Japanese history, tradition, and culture, particularly that of Kyoto - the cultural capital of Japan. Kankyō Ongaku reminded him of hearing the sounds of Japanese folkloric instruments as a young boy, and suddenly, the way the influence of Japan had manifested in his music made sense. “I had the sensation that for many years, I’d been doing something similar to the style,” he explains. Inspired, Facundo used an iPad and an old Akai cassette deck to record Postcards, his homage to Japanese minimalism and Kankyō Ongaku. By this stage, he was twelve years deep with The Kyoto Connection, the musical project he launched in 2005 in his hometown of Buenos Aires, Argentina. Over that late 2000s and 2010s, Facundo, later on joined by collaborators Rodrigo Trado (drums), Jesica Rubino (violin) and Marian Benitez (vocals, now his wife), released numerous D.I.Y albums. Project by project, they followed the threads between 80s synth-pop, ambient, new age, house, techno and acoustic composition. Postcards introduced The Kyoto Connection to listeners around the world and brought Facundo into our orbit. During Argentina’s covid lockdown, Facundo received a set of soundscapes recorded in Kyoto by the Japanese musician and sound designer Masafumi Komatsu. Over several insular months, he decorated them with synthesisers, samples and subtle rhythms, creating The Kyoto Connection’s next album, The Flower, The Bird and the Mountain to be released via Isle Of Jura offshoot Temples Of Jura. Ostensibly made up of twelve distinct tracks, listening to The Flower, The Bird and the Mountain feels more akin to spending calm, meditative time in twelve specific environments. Although the foundations they rest on are recordings made in geographic locations around Kyoto, Facundo has yet to visit Japan. As a result, the landscapes he paints sit somewhere between fiction and fact, richly pictorial sonic imagination juxtaposed with echoes of reality. Regardless, as his bubbling melodies and glistening synthesisers glide against Masafumi Komatsu's recordings, Facundo guides us into a blissful zone of tranquillity well worth spending time within.

First reissue! This is a sequel to the 1970 solo piano work "Piano Dazibao" after the release of France's first free jazz album "Free Jazz" and "Le Nouveau Jazz" created with Barney Wilen and others. A solo piano work released in 1971 from the Buddha Underground Music Hall of Futura Records. In contrast to the confusion of the previous work, this work contains a maze-like long song in which dissonance and repetition appear alternately. "Attica 71", which uses a prepared piano and has a percussive hammer stroke to develop a minimalistic development, and "La Zone Des Tempêtes", which has a meditative majesty, are magnificent as if praying for peace from a storm. Work. A work that is two sides of the same coin with the previous work "Piano Dazibao". 180G heavy board & remastering specifications.

In November 1976, Jef Gilson’s phone rang. What a surprise! It was Serge Rahoerson, one of the musicians he had met in Madagascar at the end of the 60s and who had played on his first album “Malagasy”. Rahoerson announced that he was in Paris for a few days. Immediately, Jef wanted to organise a recording session, starting the next day. He thought of a trio including Serge, Eddy Louiss on organ and cellist Jean-Charles Capon, who had also been on one of the trips to Tananarive and so had also known Rahoerson there. Unfortunately, Eddy Louiss –who had already played with Gilson and Capon on the album “Bill Coleman Sings And Plays 12 Negro Spirituals” in 1968- had to drop out at the last minute: he was delayed by a session with Claude Nougaro. Jean-Charles Capon had also become a sought-after studio musician since his trip to Madagascar in 1969. He appeared on several key albums on the Saravah label including the now famous “Comme À La Radio” by Brigitte Fontaine, “Un Beau Matin” by Areski and “Chorus” by Michel Roques, without mentioning the album by his own Baroque Jazz Trio. He was also to be found with Jef Gilson for his album on Vogue with the ex-drummer from Miles Davis’ first great quintet, Philly Joe Jones, or also in the orchestra led by Jean-Claude Vannier for the album “Nino Ferrer & Leggs”. He also played regularly on albums by Georges Moustaki. Jean-Charles Capon and Serge Rahoerson found themselves thus in the studio, with Jef at the controls. He had decided to record the rhythmic structure right away. He would find the soloists later, that didn’t worry him. Serge Rahoerson was on drums. Though a saxophonist by training, Jef remembered that Serge was also capable of great things behind a drum kit: he was the improvised drummer on their cover of “The Creator Has A Master Plan” on the album “Malagasy”... The great memories came flooding back (the nod on the title “Orly - Ivato”), and the old magic worked again. Brought in momentarily from Europamerica, Gilson’s new big band, in which JC Capon also played, the saxophonists Philippe Maté, from France (another Saravah stablemate) and the American Butch Morris (soon to be a key member of David Murray’s band) were invited to record their parts later and Gilson mixed it all as if it had been one single session (as he had already done on other albums, with the tracks by Christian Vander recorded before the creation and success of Magma). The album would not appear until 1977, on Palm, Jef’s own label, and was dedicated to the memory of Georges Rahoerson, Serge’s father, who had also played on the album “Malagasy” and who had died prematurely at the age of 51 in 1974. “I only received my own copy of the album in 1981 when I came to live in France definitively”, a still-moved Serge Rahoerson told us in 2013. “I was playing in a club one night and Jef turned up by surprise with a copy of the album for me, I was so pleased to see him again. When I arrived in France, I told everyone that I had played with Jef Gilson a few years previously, and I was surprised to learn that so few people knew of him. For us, he was of one of the great jazz visionaries.” Jérôme “Kalcha” Simonneau

To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened. Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling. “Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s. In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world.

CUGATE CLASSICS proudly presents: “Works For Choir” by ARVO PÄRT, one of the most important and influential composers of our time. Remastered by HELMUT ERLER at D&M Berlin and available as 180gr LP, CD and DL.ARVO PÄRT (born 1935 in Paide, Estonia) doesn’t need to be introduced to anyone who has the slightest interest in classical music, and his audience reaches far beyond the regular attendants of symphony halls. After first serialistic compositions, “Credo” (1968) was a turning point in PÄRT’s life and work, being the first piece carrying a religious title and expressing a creative crisis that PÄRT answered by lesser compositions and studying medieval and Renaissance music in search for a new musical language. In 1976 PÄRT returned with “Für Alina” and introduced his new (and self-developed) style that should become his trademark sound which made him the famous and honoured composer he is now: the so-called tintinnabuli. In 1984, after the Estonian composer and his family emigrated from the USSR and settled in Germany, the album “Tabula rasa” opened the next important chapter in PÄRT’s career: the ever continuing close relation to Manfred EICHER and his ECM label where many of the composer’s works have been released since. “Works For Choir” presents several compositions for choir from the period from 1989 to 1991, recorded in Vilnius with the aweard winning Vilnius Municipal Choir Jauna Muzika under the artistic direction of Vaclovas Augustinas. For this reissue, all tracks have been remastered at D&M Berlin for best possible sound.

"Although Pharoah Sanders was originally considered a firebrand, thanks to his wild early free jazz work in the '60s, his later records are actually more in the tradition of players like his one-time leader John Coltrane and, especially, Rahsaan Roland Kirk. The title track from this 1987 session could have been on any of Kirk's Atlantic albums, a mixture of gospel sway and free jazz honk that builds into a hypnotic swoon under Leon Thomas' rich baritone vocals. (Thomas also appears on his own composition, the blues 'If It Wasn't for a Woman,' and the closing 'Next Time You See Me.') On the extended, relaxed take of Coltrane's 'Equinox,' Sanders doesn't try to copy his former boss' phrasing, but there's certainly a Coltrane-like elegance to Sanders' lyrical solo. In fact, Sanders' playing on the standard 'Polka Dots and Moonbeams,' which also features a lovely Vince Guaraldi-like piano solo by William S. Henderson III, is downright pretty. Oh Lord, Let Me Do No Wrong is a mellow and peaceful set by a player who no longer needs to make noise; whether old-school fans will appreciate this is debatable." --Stewart Mason, All Music

Portals is an album of minimal electric piano improvisations by UK-based multi-instrumentalist & composer Robert Stillman. Inspired by American ‘new-age’ luminaries like Laraaji, Iasos, and Stephen Halpern, Stillman’s layers of playful, meditative electric piano figures, saturated by warm tape hiss & psychedelic delay effects, are occasionally accompanied by “found sound” field recordings, creating a compelling yet calming listening experience. Portals was recorded at home in Broadstairs, Kent during the winter of 2016-2017 & originally released on cassette in December 2017 by Orindal Records. Three subsequent represses followed, & Portals became the most repressed cassette release in Orindal’s 11 year history. This new vinyl edition, co-released by UK label KIT Records, is remastered by Matt Barnhart & includes bonus track “Portal 8 (The Stranger).” Here’s Robert Stillman’s original statement on the original cassette release of Portals: Portals is an album of multi-tracked improvisations on Fender Rhodes electric piano. The music’s repetitive structure is intended to encourage a state of ‘no-mind’ in the listener, acting as a gateway out of thoughts and into the present moment. Headphones are recommended for the ideal listening experience.

This unique work was released in 1982 as the final chapter in Brian Eno's Ambient series that began in 1978.

180g vinyl. Recorded live at the Village Vanguard, this set rounded out what became known as an early "full" portrait of Bill Evans by following Sunday at the Village Vanguard with most of the rest of the music he played on June 25, 1961. Very little in the annals of piano-trio jazz ever reached the clarity of execution that Evans made his own with the recordings from this single date. With bassist Scott LaFaro and drummer Paul Motian, Evans reached a rapport that sounded whisper-intimate, rolling into gentle cascades and then rhythmically pouncing juts. On the keys, Evans sounds at once completely walled-off and nakedly open as he takes on "My Foolish Heart" and the title melody. The chords are voiced ever so oddly, as are the bass and drums. Coming as it did several months in the wake of the successful first episode in Evans's Vanguard, Waltz for Debby just made it all the more obvious what a wonder the world had in this trio and its leader. --Andrew Bartlett

Limited white vinyl reissue with Japanese obi!

The limited white edition of Radiohead's ninth studio album "A Moon Shaped Pool", released in 2016, has been miraculously re-pressed!
The album, including the popular songs "Burn The Witch" and "Daydreaming," deconstructs Radiohead's sound structure, which continues to mature and deepen, and turns a new page with minimalism, contemporary music, and African rhythms.
The release of "True Love Waits," a song that has been long awaited by fans, has finally been completed and made available as a soundtrack, and has been a big hit.
This is your last chance to own a rare limited edition copy of this 2010s art-rock milestone that has been named one of the best of the year and nominated for a Grammy at the 59th Annual Grammy Awards!

Matsuli Music has been digging up lost South African Afro-jazz masterpieces by Hugh Masekela, Johnny Dyani and others. In recent years, contemporary jazz from South Africa has been gaining popularity, following in the footsteps of London and France. This is the latest release from Kyle Shepherd, an award-winning jazz pianist/composer from South Africa who has also worked on film and television projects. Recorded at a time when the world is facing death and disease from a pandemic. This album is dedicated to those who are facing darkness and despair. The album consists of re-edited versions of his previous fave songs and improvisations, and includes two full-length songs of over 20 minutes. This solo piano work is filled with lively pianism, sweet and light lyricism that can be found in lament songs and ukiyoe.

Bheki Mseleku, who played on Hugh Masekela's masterpiece "Waiting For The Rain," is also featured on this album. South Africa's answer to Chick Corea's Return to Forever and Miles Davis' On the Corner. This is the first analogue reissue of the first album released in 1977 by the legendary Spirits Rejoice collective. A legendary ensemble of South Africa's most talented players, this is a timeless masterpiece that has had a profound impact on the evolution of jazz in South Africa! Gorgeous photos and liner notes by Francis Gooding are posted on the inner sleeve.

Nowadays Arica exists only as the ¡ÆArica Institute¡Ç, a school of spiritual development formed and led by Chilean mystic Oscar Ichazo¡Ähowever, the collective also produced several musical albums in the US (presumably to increase awareness of the school), this resulted in the release of four totally eclectic masterpieces: Arica & Audition (1972), Heaven (1973) and Music In The Nine Rings (2002). ​ Both the Arica school and its musical output had a big influence on some of the most creative minds amongst us, for example: prior to making his film The Holy Mountain, Alejandro Jodorowsky met Ichazo and became intrigued enough by his techniques – essentially a potent blending of esoteric knowledge and methods from around the world – to not only go through the initial intensive course of Arica mind expansion and training but to require the same of the entire cast and crew for the film. This undoubtedly affected the whole movie, and it seems strange that Arica¡Çs music was not used for the soundtrack, an Arica soundtrack could have been pure magic all the way through. ​ The Arica album we are proudly presenting you today (Heaven from 1973) is a total must-have in any collection (originally released on the Just Sunshine Records label in 1973 that was responsible for putting out milestone albums from the likes of Betty Davis, Karen Dalton and Norman Feels). Here on these recordings, you¡Çll find ten tracks that will blow your mind and open your spiritual doors! ​ Heaven has it all¡Äomming drones interchanged with upbeat percussion, acoustic and funky basslines intertwining the melodious threads. The album is full of deep meditational grooves meeting all kinds of polyrhythmic free jazz vibes, atonal keyboards and avant-garde soul-jazz sounds. The unhurried improvisations and subtle manipulation of musical tension makes Heaven an immersive, psychedelic and spiritual masterpiece with a jazz sensibility in its overall structure. The superb use of the sitar and the hypnotic percussion gives it that great cosmic touch that reminds of Alice Coltrane¡Çs work. ​ The whole album was recorded on a midsummer night in NYC¡Äone hundred Arica members, musicians and dancers all gathered at the legendary Electric Lady Studio (home to Jimy Hendrix) and played until dawn. The names of the musicians involved were not given on the record sleeves, credited simply to ¡ÆThe Arica Musicians¡Ç. In a way, though, this mystery suits the remarkable music contained within these resultant grooves – timeless sounds that could have been conjured from and played by the very spirits of the Earth¡Äall this accompanied by notes in the gatefold jacket to guide the listener though his sonic voyage. ​ Tidal Waves Music now proudly presents the first ever vinyl reissue of this fantastic album (originally released in 1973 on Just Sunshine Records). This rare record (original copies tend to go for large amounts on the secondary market) is now finally back available as a limited 180g vinyl edition (500 copies) and comes packaged in a gatefold jacket complete with the original 1973 artwork, photographs and liner notes ​

Wendell Harrison was born in Detroit in 1942 where he began formal jazz studies for piano, clarinet and tenor saxophone. At 14, while still in high school, Harrison started performing & recording professionally with artists such as Marvin Gaye, Grant Green, Sun Ra, Hank Crawford … and many others. In 1971, Harrison began teaching music at Metro Arts (a multi-arts complex for youth) where he also connected with Marcus Belgrave, Harold McKinney and Phil Ranelin…soon after they formed the (now legendary) Afro-centric TRIBE record label and artist collective. TRIBE used the Metro Arts complex as a vehicle to convey a growing black political consciousness. Wendell Harrison also published the very popular TRIBE magazine, a publication dedicated to local and national social and political issues, as well as featuring artistic contributions such as poetry and visual pieces. In 1978 Harrison and McKinney co-founded REBIRTH, a non-profit jazz performance and education organization, in which many notable jazz artists have participated. Around the same time Wendell Harrison also created the WENHA record label and publishing company, which released many of his (now classic) recordings as well as those of other artists, such as Phil Ranelin, Doug Hammond and Reggie Fields (The Real ShooBeeDoo). In the early 1990s, Wendell Harrison was awarded the title of “Jazz Master” by Arts Midwest. This distinction led Harrison to collaborate with fellow honorees and gave him the chance to tour throughout the United States, Middle East and Africa. Even to this day Wendell Harrison’s recordings for the TRIBE, WENHA and REBIRTH labels have a large worldwide fanbase. It is on WENHA that Harrison released the opus: DREAMS OF A LOVE SUPREME (1980), which we are presenting you today. DREAMS OF A LOVE SUPREME is a monster album that features an all-star line-up that includes Phil Ranelin (Freddie Hubbard, Solomon Burke, Mulatu Astakte) on trombone, Harold McKinney (Tribe) on Keyboards and Roy Brooks (Yusef Lateef, Chet Baker, Mingus) on percussion. Although you can hear the 80ies creeping in with a smoother sound, more synths, and disco/R&B vocals… this remains a very spiritual (and soulful) jazz record. The record’s an irresistible blend of soul jazz combined with funky electric instrumentation…a groovy sound which is very much of its time, yet overtly timeless and as relevant today as it was back when it was initially released. Tidal Waves Music now proudly presents the first ever vinyl reissue of ‘Dreams of A Love Supreme’ since its release in 1980. This official reissue is now available as a deluxe 180g BLACK vinyl edition (limited to 500 copies) and comes with an unreleased bonus track.

‘The Syd Barrett of the avant-jazz scene’ British jazz composer, pianist, songwriter, Mike Taylor died tragically young, leaving just two albums as well as co-writes with Ginger Baker for Cream’s Wheels Of Fire album to his name. In 1973, under the direction of Neil Ardley, several of the performers who had worked with him recorded an album of Taylor’s surviving orchestral music, jazz tunes and songs as a memorial to him and to preserve his work as a composer and song writer for posterity. Taken from Ardley’s master tapes, this is their critically-acclaimed tribute to a master of his art by friends and colleagues, themselves representing a cross-section of the cream of modern British jazz talent of the day.