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The greatness of the Art Ensemble has always been the shared commitment of its original members – Roscoe Mitchell, Lester Bowie, Joseph Jarman, Malachi Favors, and Famoudou Don Moye – to the total realm of African diasporic music: what they have long-termed “Great Black Music—Ancient to the Future.” Also important are the group’s disparate musical and artistic personalities, comprised of jazz, advanced compositional techniques, theatrical performance, poetry, Pan-African percussion, all tied together with improvisational flair and the exploration of pure sound.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eComprised of two discs: a meticulous studio session and the capture of a rousing live set at Edgefest in Ann Arbor, MI, We are on the Edge: A 50th Anniversary Celebration is exactly that, a commemoration of a half-century of magical music making. 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A remarkably talented trumpeter. \"Chet Baker Sings\" changed that, and Chet became a noted singer, too. Originally produced in 1956 as just a 10\" LP, this 2011 reissue features 14 tracks that showcase his strengths at the mic. His warm vocals embrace a song just as his trumpet does. How can you resist his renditions of \"That Old Feeling,\" \"It's Always You,\" \"But Not for Me,\" \"There Will Never Be Another You\" and later songs such as \"Time after Time\" and \"The Thrill Is Gone.\" Joining him on the album are pianist Russ Freeman, bassist Carson Smith and drummer Bob Neel.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227843539010,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/51uPCI_GToL._SY580.jpg?v=1666982973"},{"product_id":"baker-chet-deep-in-a-dream","title":"Chet Baker - Deep In a Dream","description":"\u003cp\u003e\u003cspan\u003e\"Deep in a Dream\" was one of Chet Baker’s most poignant ballad performances. The song’s title was also used to introduce the trumpeter’s life in his best published biography. This set compiles that song along with 19 more recordings that illustrate the immense talents of Chet, both on his instrument and as a vocalist. This material was cut during Baker’s golden period, and covers both his early stages as a member of the Gerry Mulligan Quartet and his diverse projects as a leader in the Fifties (with his own quartet or backed by bigger bands or strings).\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227843571778,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/3743264.jpg?v=1611775845"},{"product_id":"baker-chet-my-funny-valentine","title":"Chet Baker - My Funny Valentine (180 gram)","description":"\u003cp\u003e\u003cspan\u003e\"...Even today Baker's vocals are still compelling. With the sudden resurgence in vocal jazz it is time for people to rediscover his records. Through the years this album hasn't received the praise it deserves. More critics are inclined toward his brilliant non-vocal work such as Somewhere Over the Rainbow. But as times turn back to purer forms of jazz, vocal pioneers like My Funny Valentine are even more essential.\u003c\/span\u003e\u003cb\u003e..\"\u003c\/b\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227843637314,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/R-11828101-1550357921-9227_jpeg.jpg?v=1605643121"},{"product_id":"breathing-effect-the-the-fisherman-abides","title":"The Breathing Effect - The Fisherman Abides","description":"\u003cp\u003e\u003cspan\u003ethe pier sees water-static\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand a blinding phoenix\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eentropy displays its latest work\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ebeneath a languid gallery\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003etempest proof, spoiled by clean air\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ean impenetrable cast leaves me\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eclambering on cold planks\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003ewhile the gallery is rising inside\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePeople watching people watching\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eevery person that has\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eevery single moment ever lived\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eimpressed upon their wet gaze\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eand each one's more beautiful than the last\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eswimmers swim and lookers look, at no cost\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eno loss for a fisherman with new eyes\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eI'm acknowledged in a foreign tongue\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eas the wheelchair man makes another lap\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ewalkers walk and talkers talk at no cost\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eno loss, for the seagull with new eyes\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ethe sign reads: \"No Overhead\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eCasting,\"\u003cbr\u003eand the fisherman abides\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227855269954,"sku":"","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a1882651117_16.jpg?v=1596217966"},{"product_id":"brubeck-dave-time-out","title":"Dave Brubeck - Time Out (180 gram Vinyl)","description":"\u003cp\u003e\u003cspan\u003e\u003cem\u003eTime Out\u003c\/em\u003e is the 1959 album by The Dave Brubeck Quartet, based upon the use of time signatures that were unusual for jazz (mainly waltz or double-waltz time, but also 9\/8, and most famously 5\/4). Although the album was intended as an experiment and received negative reviews by critics upon its release, it became one of the best-known and biggest-selling jazz albums ever. Obviously, timing is everything!\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e180 gram audiophile vinyl.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227855859778,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81tHyH2mfuL._SL1500.jpg?v=1636395119"},{"product_id":"coleman-ornette-the-shape-of-jazz-to-come","title":"Ornette Coleman - The Shape of Jazz to Come (180 gram)","description":"\u003cp\u003eThe Shape of Jazz to Come, so named for its unique instrumentation, musicianship and  arrangement at the suggestion of Atlantic Records producer Nesuhi Ertegun, is widely considered the impetus for the free jazz movement (or the ‘new thing’ as it was called at the time). While Coltrane is unquestionably the master of the ‘free jazz’ sound, who knows what Giant Steps may have sounded like if Trane never heard this. For his first record with Atlantic, Ornette Coleman linked with trumpeter Don Cherry, bassist Charlie Haden and drummer Billy Higgins, whom he’d continue to work with throughout the sixties and seventies. There’s the absence of a chordal instrument (piano, guitar) in the quartet, which wasn’t commonplace at the time but not totally unheard of. This encouraged the musicians to play free from any chord structure, instead focusing on melodic improvisation and variations of the tune’s theme. There’s a ton of empty space on this record; Coleman and Cherry play their horns reservedly, carefully constructing short lines over Haden’s frollicking basslines and Higgins’ rolling drum licks, resulting in a minimal, atmospheric take on jazz. The album opens with “Lonely Woman,” now considered to be one of Coleman’s finest compositions. Charlie Haden would revisit this tune again and again throughout his career, with Pat Metheny, Denny Zeitlin, Don Cherry and more, and the tune became a standard in its own right. The crew cover a lot of ground in the album’s original six tracks, from the frenetic “Eventually” to the clinical “Focus On Sanity” and the tranquil “Peace,” and this heavyweight Euro import pressing includes an additional bonus track taken from the original recording sessions, “Just For You.”\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227861233730,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/the-shape-of-jazz-to-come.jpg?v=1620838441"},{"product_id":"coleman-ornette-this-is-our-music","title":"Ornette Coleman - This is Our Music","description":"\u003cdiv\u003eThe inventor of what has been called “free jazz,”\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOrnette Coleman\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ebelongs to that rare breed of artists\/thinkers whose influence extends far beyond the realm of their chosen medium. Always putting his remarkable virtuosity at the service of melody and emotion, he has had a powerful impact on how musicians play, improvise, and compose, on how music lovers listen, on the color and sound of music the world over.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIt was while working as an elevator operator in the late-50s in Los Angeles, CA that he formed the\u003cstrong\u003e\u003cspan\u003e \u003c\/span\u003eOrnette Coleman Quintet\u003c\/strong\u003e, a core of players who would figure largely in his life: a lanky teenage trumpeter,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eDon Cherry\u003c\/strong\u003e, and a cherubic double bass player with a pensive style,\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eCharlie Haden\u003c\/strong\u003e, who in Ornette found a dream accomplice. Drummers\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eBilly Higgins\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEd Blackwell\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ealso joined the intense exploratory fold as integral pieces.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eColeman fondly recalls his early collaborators: “I would write new music all the time, usually for every show we had, and they would play like they had been playing it their whole lives. As a group and as human beings, we found a relationship to our common humanity and to the creation of art that was really special, truly something else.\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\n\u003cstrong\u003e\u003cem\u003eThis Is Our Music\u003c\/em\u003e\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas issued on\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eAtlantic Records\u003cspan\u003e \u003c\/span\u003e\u003c\/strong\u003ein 1960, Coleman's third release for the label and fifth release overall. The seminal 7-song set is his first with drummer Ed Blackwell in place of Billy Higgins and is also significant in that it's Coleman's lone Atlantic release to feature a non-original, the Gershwin standard \"Embraceable You.\" The remainder of the program is comprised of creative Coleman compositions which give the piano-less quartet room to showcase their immense improvisational talents, highlighted by numbers like \"Blues Connotation,\" \"Beauty Is a Rare Thing\" and \"Kaleidoscope.\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eOrnette Coleman in the album's liner notes:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Blues Connotation is played in the blues tradition, which makes it sound like a blues, but as you listen throughout you hear throughout you hear that the minor thirds do not dominate but act as a basis for the melody. And as you get more accustomed to my music, you will realize that this is happening throughout all of it. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Beauty Is A Rare Thing. This title suggests an impression which is hard to capture in anything one tries to do or believe. Charlie and Blackwell are just as the title suggests in their playing together. The melody, which is simple, starts with an F major concert note and ends with a G concert for the E flat alto and a D concert for the trumpet. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Kaleidoscope. This melody is fast and has a thirty-two bar form structure, but only as a listening form, not as a playing form. This is another part of the music that happens because of the rhythm we are playing. It also has the minor seventh chord that doesn't come in any diatonic key for its beginning and ending direction. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Embraceable You is the first standard that we have recorded, and we played it the way standards are played, with as much spontaneity as we could. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Poise has an F sharp for its sonic on the E flat alto and a D concert for the transposed key with a major seventh melodic direction. Its tempo is medium and has a very free movement. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Humpty Dumpty. As you listen to the introduction it goes into the theme and the piece ends with the intro. It also has a syncopated melody which causes it to have a rhythmic progression rather than a note progression form. \u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\"Folk Tale has a humorous expression in the bridge (sometimes called the middle of the melody) which carries a folk lore expression, and which is one of the truest and most natural forms of expression in writing and music. And this jazz has! Just as classical music has its composers to tell about the country and its people and themselves.\"\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThis essential edition of the\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eOrnette Coleman Quartet's\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e1960 album\u003cstrong\u003e\u003cem\u003e\u003cspan\u003e \u003c\/span\u003eThis Is Our Music\u003cspan\u003e \u003c\/span\u003e\u003c\/em\u003e\u003c\/strong\u003eby\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eORG Music\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003ewas\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003emastered from the original analog tapes at 45RPM by Bernie Grundman\u003c\/strong\u003e, pressed on two 180 gram audiophile-grade LPs at Pallas in Germany, and is housed in an old school style Stoughton case-wrapped gatefold jacket.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eMusicians:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003eOrnette Coleman (alto saxophone)\u003c\/div\u003e\n\u003cdiv\u003eDon Cherry (pocket trumpet)\u003c\/div\u003e\n\u003cdiv\u003eCharlie Haden (bass)\u003c\/div\u003e\n\u003cdiv\u003eEd Blackwell (drums)\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cstrong\u003eOrnette Coleman\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eThis Is Our Music\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eTrack Listing:\u003c\/strong\u003e\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003e1. 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The legendary \u003cstrong\u003eCharlie Hayden\u003c\/strong\u003e plays bass.\u003c\/span\u003e\u003c\/p\u003e","brand":"midheaven","offers":[{"title":"Default Title","offer_id":32227861332034,"sku":"ASH311","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/41jneekzsml_main.jpg?v=1593398091"},{"product_id":"coltrane-alice-lord-of-lords","title":"Alice Coltrane - Lord of Lords","description":"\u003cp\u003e\u003cspan\u003eOriginally released in 1972, Lord Of Lords was Alice Coltrane’s final album for Impulse! and the last installment in her awe-inspiring trilogy that also included Universal Consciousness and World Galaxy. While all three records featured strings alongside a jazz ensemble, Lords Of Lords stood apart from its predecessors due to the sheer size of the orchestra (12 violins, 6 violas and 7 cellos, arranged and conducted by Coltrane herself) and its refined, blissful performances—shining a vital light on the devotional path that she would follow for the rest of her career.\u003c\/span\u003e\u003cspan class=\"break\"\u003e \u003c\/span\u003e\u003cspan\u003eOn the first two pieces, “Andromeda’s Suffering” and “Sri Rama Ohnedaruth” (titled after the spiritual name for her late husband), Alice’s dazzling piano and harp blend perfectly with the blanket of strings, while the haunting rhythm section of Charlie Haden and Ben Riley and a magnificent, droning electric organ emerge immaculately on the title track and closer “Going Home.” Coltrane’s musical vision is bold in its imagination and cosmic in scope, yet remains intensely personal and immediate. Lord Of Lords points inward as much as to the beyond, recalling her classical roots and recasting Eastern modes to radically invert the American avant-garde and spiritual jazz traditions.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227861397570,"sku":"SV 150","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/SV150_web_1024x1024__38647.1541610378.jpg?v=1620322288"},{"product_id":"coltrane-john-blue-train","title":"John Coltrane - Blue Train (Blue Vinyl)","description":"\u003cp\u003e\u003cspan\u003eRecorded at Van Gelder Studio in Hackensack, New Jersey, John Coltrane's Blue Train is a hard bob jazz album released on Blue Note in 1957. Certified Gold, Blue Train is Coltrane's second solo album and the only one he recorded for Blue Note as a leader although he was never formally signed to the label. Featured on the album are Coltrane on tenor sax with Lee Morgan on trumpet, Curtis Fuller on trombone, Kenny Drew on piano, Paul Chambers on bass and Philly Joe Jones on drums. Blue Train will be reissued on vinyl as part of an overall Blue Note 75th anniversary vinyl reissue campaign spearheaded by current Blue Note Records President, Don Was.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227861626946,"sku":"","price":34.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/download_99.jpg?v=1607540158"},{"product_id":"coltrane-john-coltrane-jazz","title":"John Coltrane - Coltrane (180gram Vinyl)","description":"\u003cp\u003eRecorded in 1962, Coltrane was John Coltrane's third album for Impulse, but the first devoted entirely to his regular working group. It was also the first album on any label to showcase what came to be known as the classic John Coltrane Quartet. That group with McCoy Tyner on piano, Jimmy Garrison on bass and Elvin Jones on drums established itself as one of the most influential ensembles in jazz.\u003c\/p\u003e\n\u003cp\u003eAfter establishing himself as a new star with Miles Davis quintet, the Thelonious Monk quartet, and various Prestige recordings with Sonny Rollins, Hank Mobley, and Tadd Dameron, John Coltrane made his debut as a leader with this LP. It was also the first album on any label to showcase what came to be known as the classic John Coltrane Quartet. That group, with McCoy Tyner on piano, Jimmy Garrison on bass, and Elvin Jones on drums, established itself in its four years of existence as one of the most influential ensembles in jazz, and one of the most popular as well. The quartet offers wonderful readings here of \"The Inch Worm\" and \"Out Of This World\" plus the tracks \"Soul Eyes,\" \"Tunji\" and \"Miles' Mode.\"\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\"Considered by many to be his finest single album, Coltrane finds John Coltrane displaying all of the exciting elements that sparked brilliance and allowed his fully formed instrumental voice to shine through in the most illuminating manner. On tenor saxophone, he's simply masterful, offering the burgeoning sheets of sound philosophy into endless weavings of melodic and tuneful displays of inventive, thoughtful, driven phrases. Coltrane also plays a bit of soprano saxophone as a primer for his more exploratory work to follow. Meanwhile, bassist Jimmy Garrison, drummer Elvin Jones, and especially the stellar McCoy Tyner have integrated their passionate dynamics into the inner whole of the quartet. The result is a most focused effort, a relatively popular session to both his fans or latecomers, with five selections that are brilliantly conceived and rendered. \"Out of This World,\" at over 14 minutes in modal trim, is a powerful statement, stretched over Tyner's marvelous and deft chords, the churning rhythms conjured by Jones, and the vocal style Coltrane utilizes as he circles the wagons on this classic melody, including a nifty key change.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\"Tunji\" is a mysterious, easily rendered piece in 4\/4 which speaks to the spiritual path Coltrane tred, a bit riled up at times while Tyner remains serene. Hard bop is still in the back of their collective minds during \"Miles' Mode,\" a sliver of a melody that jumps into jam mode in a free-for-all blowing session, while the converse is to be found in Mal Waldron's \"Soul Eyes,\" the quintessential ballad and impressive here for the way Coltrane's holds notes, emotion, and expressive intellectuality. On soprano you can tell Coltrane is close to taking complete control of his newly found voicings, as a playful, jaunty \"The Inch Worm\" in 3\/4 time is only slightly strained, but in which he finds complete communion with the others. Even more than any platitudes one can heap on this extraordinary recording, it historically falls between the albums Olé Coltrane and Impressions -- completing a triad of studio efforts that are as definitive as anything Coltrane ever produced, and highly representative of him in his prime.\" - Michael G. Nastos, All Music\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003eTrack Listing:\u003c\/strong\u003e \u003c\/p\u003e\n\u003cp\u003e1. Out of This World\u003cbr\u003e2. Soul Eyes\u003cbr\u003e3. The Inch Worm\u003cbr\u003e4. Tunji (Toon-gee)\u003cbr\u003e5. 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If you had that on your predictions list, right on, you’ll be extra amped. But either way, meet De Lorians, Tokyo’s newest fire music exports, by way of their self-titled debut.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eGrown from the always-heady Tokyo music scene and led by Takefumi Ishida, playing sax and synth, all five De Lorians contribute material to what they call pataphysical music. The seven tracks here burst with overstuffed Weasels Ripped My Flesh-style action: bonkers horn arrangements, savage guitar solos, constant movement, through-composed sections, improv, surreality, and the occasional peaceful woodwind-dabbled valley. No singing, no poodle play, just constant surprises, rich vibes, and heavy fun.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWith the whole album packed into 32 zig-zagging minutes, it’s a compact and powerful first statement for a young band exploding with ideas, and with a lot more under the hood. At De Lorians’ monthly gigs, there are plenty of more surprises, too. There’s ample improvisation, of course, but some nights they disassemble the sections of their songs, piecing them into new suites that might run longer than the length of their studio debut. Think of this album, perhaps as their (temporarily) definitive ur-suite, a prog-fusion dream of inside-out rhythms and catchy af melodies.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eRanging in age from 22 to 27, the five De Lorians tap into a library of ideas from their precursors, less in retro-loving emulation than for alchemical strategy. With the idea of assembling a Canterbury-style jazz-rock collective, Ishida gathered the band in 2016 from like-minded musicians, including Soya Nogami (guitar), Hyozo Shiratori (keyboards), and Genki Goto (bass). Drafting drummer SyZeuhl from a musicians’ classifieds site, the quintet was soon off to the races, and beyond the track. “Zappa is God among us,” Ishida says. But besides that, the influences veer wildly, the compositions bending under the influence of each musician. Shiratori plays singing saw and theremin sometimes. Nogami is a Khöömii vocalist, a form of overtone-rich Tuvan throat singing. Lately, Ishida has been on a ‘50s easy listening bender.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eIn a country where piracy and streaming have never overtaken the brick-and-mortar music industry, the members of De Lorians constitute a kind of fundamental music exchange unit that’s largely been disappeared elsewhere in the world. Ishida came across a mention of Pharaoh Sanders’s Karma LP while browsing in a bookstore, soon picked up a copy, and was transformed as a musician. But he also discovered that his local CD rental shop had a well-curated spiritual jazz section, and was soon exploring the music of Alice Coltrane, Doug Carn, and others. But there’s also psychedelic rock, cyberpunk, anime, memes, Pokemon, and whatever else has been discovered since this bio was written.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eBut making music nearly full time, right now, De Lorians’ biggest influence at the moment is probably each other. Recorded at the Tsubame Studio in Tokyo in September 2018, De Lorians is 32 minutes of timeless high-energy unity and barely controlled propulsion, exploding soon from a portal near you.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227866214466,"sku":"","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a4290680509_16.jpg?v=1596218402"},{"product_id":"flying-lotus-flamagra","title":"Flying Lotus - Flamagra (2xLP)","description":"\u003cp\u003e\u003cspan\u003eEnter Flamagra - a work that sweeps up every quantum advance and creative leap of the last dozen years of Lotus’ career and takes them even further; the Warp release encompasses hip-hop, funk, soul, jazz, global dance music, tribal poly-rhythms, IDM, the L.A. Beat scene, but it soars above a specific vortex whose coordinates can’t be accurately charted. Other than to say that it is a Flying Lotus record, perhaps the definitive one. An astral afro-futurist masterpiece of deep soul, cosmic dust, and startling originality. He’s aided by a dream cast of collaborators: Anderson .Paak, George Clinton, Yukimi Nagano of Little Dragon, Tierra Whack, Denzel Curry, Ishmael Butler of Shabazz Palaces, Toro y Moi, and his telepathic kinsman, Thundercat. David Lynch even pops up for an eerie narration wherein he somberly warns that, “Fire is coming.” But they all naturally bend to the magnetic warp of Lotus’ spells—a transfixing hex unto themselves.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227876536386,"sku":"LP-WRP-291","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/LP-WRP-291.jpg?v=1613595785"},{"product_id":"flying-lotus-youre-dead","title":"Flying Lotus - You're Dead","description":"\u003cp\u003e\u003cspan\u003eYou’re Dead! is a shamanic pilgrimage into the psychedelic unknown of the infinite afterlife. A sonic, visual and metaphysical fusion of technological innovation and technical virtuosity that amounts to a transcendent, mind-expanding plasm that could only exist between our world and another. The enduring universe of Lotus’ supporting cast has expanded and evolved to feature in order of appearance, Herbie Hancock, Kendrick Lamar, Captain Murphy, Snoop Dogg, Angel Deradoorian, Thundercat, Niki Randa, alongside mindblowing original artwork by Japanese comic book artist Shintaro Kago. “The album isn’t about the end, it’s really the beginning. It’s a celebration of the next experience. It’s the transition and the confusion. 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But whereas his previous material seemed to dwell in the Eternal-Internal, MITH lives very much in our world — the one of concrete and tears; of dirt and blood; of injustice and hope.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAcross these songs, in an impressionistic poetry all his own, Holley touches on Black Lives Matter (“I’m a Suspect”), Standing Rock (“Copying the Rock”) and contemporary American politics (“I Woke Up in a Fucked-Up America”). A storyteller of the highest order, he commands a personal and universal mythology in his songs of which few songwriters are capable — names like Bob Dylan, Joni Mitchell, Joanna Newsom and Gil Scott-Heron come to mind.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eMITH was recorded over five years in locations such as Porto, Portugal; Cottage Grove, Oregon; New York City and Holley’s adopted hometown of Atlanta, Georgia. These 10 songs feature contributions from fellow cosmic musician Laraaji, jazz duo Nelson Patton, visionary producer Richard Swift, saxophonist Sam Gendel and producer\/musician Shahzad Ismaily.\u003c\/span\u003e\u003c\/p\u003e","brand":"secretly canadian","offers":[{"title":"Default Title","offer_id":32227883450434,"sku":"","price":17.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3829842247_16.jpg?v=1602263881"},{"product_id":"mcneill-lloyd-soul-jazz-records-presents","title":"Lloyd McNeill - Elegia","description":"\u003cp\u003e\u003cstrong\u003e\u003cem\u003eSuper rare deep spiritual jazz album with a heavy Brazilian influence featuring Nana Vasconceles, Dom Salvador, Portinho, Cecil McBee and more. Originally released privately by the artist and flautist Lloyd McNeill in 1980 and out of print for nearly 40 years.\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\"Lloyd McNeill is a cultural polymath – a multi- disciplinarian flautist, painter, academic, poet, and photographer – who has worked with everyone from Mulatu Astatke to Nina Simone, Eric Dolphy and Nana Vasconcelos (and as a painter was befriended by Picasso!). McNeill grew up during the era of the Civil Rights Movement in the 1960s and his life and work is a reflection of those ideals. All of his music was only ever released on his own private-press record label, echoing the Civil Rights and African-American themes of the era - black economic empowerment and self- sufficiency – and there is a beautiful spirituality in all his music.\"\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eSoul Jazz Records are releasing flautist Lloyd McNeill’s album ‘Elegia’ (1980). Originally released on the artists’ own private press Baobab label in New York, the album is a serious collectors’ piece, a heavyweight and fascinating fusion of deep spiritual jazz with Brazilian rhythms and melodies. The album has been out of print for nearly 40 years.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis groundbreaking album is the culmination of Lloyd McNeill’s many years involved with Brazilian musicians and features the great percussionist Nana Vasconcelos alongside fellow Brazilians Portinho and Dom Salvador, and US jazz musicians including bassist Cecil McBee.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn a 50-year musical career, McNeill has worked with many artists including Nina Simone, Eric Dolphy, Mulatu Asatke and Sabu Martinez.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eMcNeill grew up during the era of the Civil Rights Movement in the 1960s and his life and work is a reflection of those ideals. All of his music was only ever released on his own private-press record label, echoing the Civil Rights and African-American themes of the era – black economic empowerment and self-sufficiency – and there is a beautiful spirituality in all his music.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eIn the late 1960s McNeill became a teacher of both jazz and painting at the New Thing Art and Architecture Center in Washington and in 1969 was the first African-American professor hired to teach African-American Music History, at Rutgers University.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis is the fifth Lloyd McNeill album that Soul Jazz Records have released and follows on from the recent release of ‘Treasures’ (1976) and the earlier albums ‘Asha’ (1969), ‘Tanner Suite’ (1969) and ‘Washington Suite’ (1970), all of which are being re-pressed to coincide with this new release.\u003c\/span\u003e\u003cbr\u003e\u003cspan\u003eThis album is fully re-mastered from original source and is re-released for the first time ever on Soul Jazz Records in a very limited edition of 1000 vinyl (+ download code), 1000 limited edition CD pressing and digital.\u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227897507906,"sku":"LP-SOJR-429","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5026328504292_T54837319310054.jpg?v=1596217557"},{"product_id":"mingus-charles-east-coasting","title":"Charles Mingus - East Coasting","description":"\u003cp\u003e\u003cspan\u003eThe composer and bass player Charles Mingus recorded East Coasting for Bethlehem in 1957, in between such classics as Tijuana Moods (RCA) and Mingus Ah Um (Columbia). 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The release is part of the Library of Congress National Recording Registry and has been inducted into the Grammy Hall of Fame. “Goodbye Pork Pie Hat”, “Boogie Stomp Shuffle”, “Open Letter To The Duke”… the release is packed with classics and is a best-selling release to this day.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227900031042,"sku":"IMT6919514.1","price":24.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81DmDMv-VzL._SL1500.jpg?v=1594727220"},{"product_id":"mingus-charles-mingus7-inch-black-saint-and-the-sinner-lady","title":"Charles Mingus - The Black Saint and the Sinner Lady","description":"\u003cp\u003e\u003cspan\u003eBassist \/ composer Charles Mingus is one of the most radical figures in American music. Throughout the ’50s, he worked as a sideman with legendary players Charlie Parker, Dizzy Gillespie and more. In the ’60s, he gained recognition as a bandleader, often followed by controversy for making strong-minded statements in the press about race, politics and stodgy music critics. While Mingus received many honors posthumously as well as during his career, perhaps his greatest achievement was transcending the restrictive label of jazz.\u003c\/span\u003e\u003cspan class=\"break\"\u003e \u003c\/span\u003e\u003cspan\u003eThe Black Saint and The Sinner Lady is without question Mingus’ magnum opus. Originally released on Impulse! in 1963, the album broke new ground in both genre-defying composition and innovative recording techniques. A six-part suite with dramatic shifts in mood and tempo, The Black Saint and The Sinner Lady features the three-way brass dialogue of trumpets, trombone and tuba, swooping reeds and awe-inspiring rhythm section. Balancing delicate Spanish modes and Ellingtonian themes, the ensemble breaks into a divine cacophony of group improvisation on par with free jazz giants like Ornette Coleman or Cecil Taylor.\u003c\/span\u003e\u003cspan class=\"break\"\u003e \u003c\/span\u003e\u003cspan\u003eIn his best-known essay, “Psychotic Reactions and Carburetor Dung,” Lester Bangs praises, “the experience of the first few listenings to a record so total, so mind-twisting, that you authentically can say you’ll never be quite the same again. Black Saint and The Sinner Lady did that, and a very few others. 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(Topped only by Duke Ellington.)\u003c\/em\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\"\u003c\/em\u003e\u003c\/strong\u003eAn eccentric and quirky pianist, Monk's recordings were marked by strategic dissonance, abrupt key changes, and the usage of silence as an instrument, a style which was not fully understood in its time, (One jazz critic referred to Monk as \"the elephant at the keyboard\") but would prove highly influential to the likes of Wynton Marsalis, Mulatu Astatke, Chick Corea, and even his contemporaries like Miles Davis and Charles Mingus. In 1964, Monk released his seventh album with Columbia Records, simply titled Monk, featuring a lineup of famed jazz session greats, including Larry Gales on bass, Ben Riley on drums, and Charlie Rouse on tenor saxophone.\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMonk only featured seven tracks, only two of which were original compositions, but Monk's style can be heard all across the 46-minute collection. With cool jazz and hard bop spins on showtune obscurities like \"April In Paris\" and \"Just You, Just Me\", jazz standards like \"(Just One Way To Say) I Love You\" as well as Monk's own works like \"Pannonica\" and \"Teo\", a tribute to Columbia's legendary jazz producer, Teo Macero.\"\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227901341762,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/71Oz9Jn50eL._SX425.jpg?v=1595959280"},{"product_id":"monk-thelonius-monks-dream-the-thelonius-monk-quartet","title":"Thelonius Monk - Monks Dream (180-Gram Vinyl)","description":"\u003cp\u003e\u003cspan\u003eWith the arrival of Thelonious Sphere Monk, modern music let alone modern culture--simply hasn't been the same. Recognized as one of the most inventive pianists of any musical genre, Monk achieved a startlingly original sound that even his most devoted followers have been unable to successfully imitate. His musical vision was both ahead of its time and deeply rooted in tradition, spanning the entire history of the music from the stride masters of James P. Johnson and Willie the Lion Smith to the tonal freedom and kinetics of the avant garde. And he shares with Edward Duke Ellington the distinction of being one of the centurys greatest American composers. At the same time, his commitment to originality in all aspects of life in fashion, in his creative use of language and economy of words, in his biting humor, even in the way he danced away from the piano has led fans and detractors alike to call him eccentric, mad or even taciturn. Consequently, Monk has become perhaps the most talked about and least understood artist in the history of jazz.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eAfter extended negotiations, Monk signed in 1962 to Columbia Records, one of the big four American record labels of the day along with RCA Victor, Capitol, and Decca. Monk's relationship with Riverside had soured over disagreements concerning royalty payments and had concluded with a brace of European live albums; he had not recorded a studio album since 5 by Monk by 5 in June 1959.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWorking with producer Teo Macero on his debut for the label, the sessions in the first week of November had a stable line-up that had been with him for two years: tenor saxophonist Charlie Rouse (who worked with Monk from 1959 to 1970), bassist John Ore, and drummer Frankie Dunlop. Monk's Dream, his earliest Columbia album, was released in 1963. Columbia's resources allowed Monk to be promoted more widely than earlier in his career. Monk's Dream would become the best-selling LP of his lifetime, and on February 28, 1964, he appeared on the cover of Time magazine, being featured in the article \"The Loneliest Monk\".\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227901407298,"sku":"","price":22.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/81OefCSOv6L._SL1500.jpg?v=1615944090"},{"product_id":"monk-thelonius-with-john-coltrane","title":"Thelonious Monk With John Coltrane (Purple Vinyl)","description":"\u003cp\u003e\u003cspan\u003eWhen Monk and Trane spent six months of 1957 working together at New York's Five Spot Cafe, it was an historic event which certainly should have been exhaustively recorded. But non-musical conflicts made that impossible, leaving as the only permanent reminders of this momentous encounter the three remarkable quartet selections that highlight this album.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227901669442,"sku":"WXT9465755.1","price":25.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/51TG1ocv3tL.jpg?v=1607540478"},{"product_id":"muldrow-georgia-anne-overload","title":"Georgia Anne Muldrow - Overload","description":"\u003cp\u003e\u003cspan\u003eGeorgia Anne Muldrow releases her new album - a modern soul classic in the making - titled “Overload” via Flying Lotus’s Brainfeeder record label.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eDuring her 12 year career she has earned the respect and admiration of listeners and peers alike via her incredible talent not only as a vocalist and songwriter spanning jazz, soul and hip-hop, but her long standing role as a producer and musician.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“You’re my Jay Electronica… you take it there,” declares Ali Shaheed Muhammad of A Tribe Called Quest. He is one of a long list of admirers including Mos Def (“She’s incredible. She’s like [Roberta] Flack, Nina Simone, Ella Fitzgerald, she’s something else.”), Erykah Badu, Dev Hynes aka Blood Orange (“She is one of my favourite musicians in the world”), Bilal and Robert Glasper who invited Georgia to perform on his “Miles Ahead” OST in 2016.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“Music is my discipline. It’s my way of meditating, it’s my way of thanking God, it’s my way of communicating… It’s my way of life,” Georgia explains. Typically working alone, her new album flips that dynamic and takes Georgia out of her comfort zone for the first time since “Seeds” (2003) which was entirely produced by Madlib. “Overload” bears the fruits of numerous collaborations\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e, most notably with duo Mike \u0026amp; Keys (50 Cent, Nipsey Hussle, Snoop Dogg, G-Eazy) who contribute production to four tracks including the sleek, anthemic title track - Pitchfork ‘Best New Track’ on 25 June 2018 - alongside Khalil (Dr Dre).\u003cbr\u003e\u003cbr\u003e“Overload [the album] is an experiment in restraint,” she explains. I pack myself into something as clear as possible with the help of gifted artists from all over the world. The live show is an experiment in interpretation. That's when [my band] The Righteous and I unpack into a joyful noise. Both of these dynamics have been striving to balance themselves within me since birth… since wanting to record anything. And by the grace of Patience, Discipline and Devotion, a sweet spot has started to appear.”\u003cbr\u003e\u003cbr\u003eElsewhere Dutchman Moods and Manila’s Lustbass bring the slo-mo funk heat on ‘Aerosol’ and ‘Vital Transformation’ respectively, and Shana Jenson (Muldrow) and Georgia’s partner Dudley Perkins crop up on ‘You Can Always Count On Me’ (a cover of the Gap Band classic) and ‘These Are The Things I Like About You’. Flying Lotus, Aloe Blacc and Dudley Perkins share Executive Production credits on the album.\u003cbr\u003e\u003cbr\u003eThemes of Love, Spirituality, Self-Actualisation are woven into Georgia’s music, but she also does not shy away from politics and has been loudly and vigorously critical of the persistent state of inequality between Black and White in the US. Nowhere more directly than on ‘Blam’ - a song about self-defence. “I believe that it has the bones of spiritual song,” says Georgia. “It’s an updated negro spiritual in aesthetic”.\u003cbr\u003e\u003cbr\u003eGeorgia was 17 when she began making beats in earnest, but first lit up the scene with her debut album “Olesi: Fragments Of An Earth” in 2006. It was at this time that Georgia met, befriended and collaborated with the likes of Madlib, Oh No, MED (fka Medaphoar), Wildchild, DJ Romes and her future partner Dudley Perkins aka Declaime. She co-founded the SomeOthaShip Connect record label with Dudley in 2008, the platform and springboard for many of her musical travels that have expanded and extended down myriad pathways. Georgia has collected many names over the years: Ms. One, Pattie Blingh \u0026amp; The Akebulan 5, an electro fusion collaboration with DJ Romes called Blackhouse and astral jazz outings as Jyoti - a Hindu name given to Georgia by her Aunt Radha’s friend Alice Coltrane (they attended the same ashram) and serendipitously Great Aunt to one Steven Ellison aka Flying Lotus. “She showed me so much love as a child. She knew I was going to work with synthesisers before I did,” laughs Georgia.\u003cbr\u003e\u003cbr\u003eIt is fitting that a decade on in 2018, Georgia should sign to Brainfeeder - a record label deeply embedded in LA, with a ton of shared history, shared beliefs and a united vision of the future - to release her stunning new album “Overload”.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227903111234,"sku":"","price":23.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a0239897947_16.jpg?v=1596217873"},{"product_id":"rollins-sonny-the-bridge","title":"Sonny Rollins - Bridge","description":"\u003cp\u003e\u003cspan\u003eVoted by Miles Davis as the greatest tenor saxophonist ever, Sonny Rollins (also known as Uncle Don) has built up an impressive resume with essential Jazz recordings. One of these is \u003c\/span\u003e\u003cem\u003eThe Bridge\u003c\/em\u003e\u003cspan\u003e, originally recorded and released in 1962. Rollins started out in the early Fifties, averaging a whopping 10 album releases per year in the second half of the decade. After taking a much needed three-year breather, Rollins picked up the pieces in 1962 with \u003c\/span\u003e\u003cem\u003eThe Bridge\u003c\/em\u003e\u003cspan\u003e in a pianoless quartet consisting of guitarist Jim Hall, bassist Bob Cranshaw and drummer Ben Riley. He explores four standards and two brand new compositions, one of which the title track.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227919069250,"sku":"WXT4201248.1","price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/71Lv6HZGLfL._SL1500.jpg?v=1629829438"},{"product_id":"simone-nina-forbidden-fruit","title":"Nina Simone - Forbidden Fruit","description":"\u003cp\u003e\u003cspan\u003eThe second album Nina Simone recorded for Colpix, Forbidden Fruit is something of a departure from previous recordings. Gone are the supper club and middle of the road arrangements that had defined her career up to this point, to be replaced by an earthier sound. The material chosen also stretches Nina much more to the limits, with numbers such as House of the Rising Sun, Forbidden Fruit and Gin House Blues being indicative of the material she would make her reputation with during the course of the 1960s. The overall effect is a strong and exceptional album and one of the highlights of her sojourn with Colpix.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227923525698,"sku":"","price":28.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/51pqOafP6-L._SX355.jpg?v=1595954464"},{"product_id":"simone-nina-little-blue-girl","title":"Nina Simone - Little Girl Blue (180gram Green Vinyl)","description":"\u003cp\u003e\u003cspan\u003eLittle Girl Blue is the debut album by jazz singer, pianist, and songwriter Nina Simone. It was released by Bethlehem Records in February 1959. At this time, Simone was in her mid-20s and still aspiring to be a classical concert pianist. She immediately sold the rights for the album to Bethlehem for $3,000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eLittle Girl Blue is an artistic statement by jazz virtuoso Nina Simone that reinvents a wide variety of compositions. Simone's combination of classical training, smoky-alto vocal delivery and the influence of modern jazz make her a novel and inspiring jazz singer and instrumentalist.\u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227923558466,"sku":"950629","price":27.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/1547447.jpg?v=1615947512"},{"product_id":"simone-nina-simone-at-town-hall","title":"Nina Simone - Nina Simone at Town Hall (180gram Purple Vinyl)","description":"\u003cp\u003e\u003cspan\u003eThis is the epic Town Hall concert held by Nina Simone (with Jimmy Bond on bass and Albert \"Tootie\" Heath on drums) in New York on September 15th 1959 and originally released as her second album for Colpix Records, even though some of the songs featured in the concert were subsequently re-recorded in a studio for the album release. The repertoire included both traditional material and original songs written by Nina herself, plus some beautiful renditions of standards such as Gershwin's \"Summertime\" and Billie Holiday's \"Fine and Mellow.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227923656770,"sku":"","price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/3623829.jpg?v=1615941651"},{"product_id":"sun-ra-crystal-spears","title":"Sun Ra -  Crystal Spears (Remastered)","description":"\u003cp\u003e\u003cspan\u003eJagged spears of crystal thrust into the brain (or is it the heart?) elicit an agonizing howl, a cry, and a scream. Thus opens Sun Ra’s 1973 adventure-mystery Crystal Spears. After a few minutes of a cathartic brawl between Minimoog and Yamaha combo organ, percussionists Atakatune and Odun enter while drummer Clifford Jarvis provides tonal textures, not rhythm, from the kit. Marshall Allen saunters in with a rather plaintive oboe, under which Ra later overdubbed (a rarity on an Arkestra recording!) a marimba. But this momentary gentleness is soon disrupted by roaring electronic keyboards over waves of rollicking marimba devilishly chattering below the fray.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eCrystal Spears, intended for release in 1975 by ABC\/Impulse! and assigned catalog # AS-9297, was ultimately rejected by the label. Ra and business manager Alton Abraham retained the rights, rechristened the album Crystal Clear and assigned Saturn Records catalog # 562—but never got around to issuing it. The first three tracks on this album were mastered from that tape, a 1\/4-inch four-track (15 IPS) brand favored by home recording enthusiasts—and generally disfavored by pro engineers. The sessions took place at Variety Recording Studio in New York on February 3, 1973, a month before the Ark returned on March 8 to record another Impulse-rejected album\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e, Cymbals\/Symbols (also available in a remastered edition from Modern Harmonic).\u003cbr\u003e\u003cbr\u003eWhy was Crystal Spears rejected? A year or two after Ra’s signing, reigning ABC management was swept out and new execs rolled in. It’s quite probable that the new execs didn’t comprehend what was happening on these recordings. For the uninitiated, this was not jazz as they knew it, but unbridled cacophony. But is it? Sun Ra always had a method to his madness—and a madness to his method.\u003cbr\u003e\u003cbr\u003eMost of the Ra projects on Impulse! were reissues of Saturn-label releases which had been poorly distributed (and pressed in limited quantities). In 1972-73, Ra reportedly produced eight newly recorded projects for Impulse!—two were released at the time, and five have been issued since 2000. Ra’s “guided improvisations” often showcased his extraterrestrial takes on the blues as well as “chamber jazz,” a classical\/jazz hybrid popularized by 1950’s Hollywood composers such as Leith Stevens, Fred Katz, and Robert Markowitz for crime jazz. It’s a good bet that Ra was as fascinated by these cinematic sounds as he was with the Exotica of Les Baxter. (Fans of the latter should explore Modern Harmonic's double album of Sun Ra Exotica.)\u003cbr\u003e\u003cbr\u003eThe core of the Arkestra played together daily, enduring endless hours in rehearsal and more onstage; by 1973, some had played with Ra for over 15 years. This forged a musical telepathy that helped this music coalesce. Since the mid-1960’s, their group improvisations deployed deep layers that blossomed over repeated listening.\u003cbr\u003e\u003cbr\u003eTrack two, “The Eternal Sphynx,” is probably the most commercial sounding work. Stylistically related to the “Discipline” series of compositions Ra crafted in the early 1970’s, the ensemble plays a repetitive two-bar vamp, in which soloists Danny Davis (alto) and John Gilmore (tenor) and Ra (who slinks into “Space Is The Place”) commune. The band returns to the motif before building up to a Space Chord finale, upon which Ra overlays a minor\/major-7th chord, that irrefutable “sound of intrigue” heard from Peter Gunn to 007.\u003cbr\u003e\u003cbr\u003eCinematic suspense permeates “The Embassy of the Living God,” who apparently resides in a haunted mansion. There’s an eerie majesty to Ra’s chordal voicings. Eloe Omoe’s bass clarinet and Marshall Allen’s oboe add an otherworldliness with their howlings, until the entire group retreats into the shadows as Gilmore’s hellacious wails materialize. Ra’s starburst organ runs and (probably) Kwame Hadi’s trumpet herald the propulsive finish of the track, which ends sharply and conclusively.\u003cbr\u003e\u003cbr\u003e“Sunrise In The Western Sky” opens with various gongs, some overdubbed, announcing the rising of the sun in the east. This is a more languid composition, reflecting its title. By its denouement, the sun is out in full force, its fury scorching the planet. The drums soon abate, their work for the day done. But will the need for sunset bring them back to evoke the gods again? In Sun Ra’s aural cinematheque, one has to await the sequel that may never arrive to learn the answers one may never know.\u003cbr\u003e\u003cbr\u003e– Brother Cleve\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227930177602,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a2150585143_16.jpg?v=1594418117"},{"product_id":"sun-ra-the-space-age-is-here-to-stay","title":"Sun Ra And His Interplanetary Vocal Arkestra - The Space Age is Here to STay","description":"\u003cp\u003e\u003cspan\u003eThe first-ever collection of Arkestra vocal tracks! Over 75 minutes of vocal performances - audible perfection! Across the history of jazz, there is no wilder, more future-forward composer and performer than Herman Poole Blount, aka Sun Ra. Known as much for his wild on-stage persona as his innovative compositions, Sun Ra was the avant-garde bleeding edge of the jazz genre, introducing modal composition and electronic instrumentation before almost anyone else – not to mention bringing the space age to life with his obsession with all things extraterrestrial. Across more than 100 LPs released in his lifetime, Sun Ra charted a course to space and far, far beyond. Known primarily for his keyboard improv and freeform band arrangements, Sun Ra could also write great vocal songs when he set his mind to it. Such songs as \"Space Is The Place\" and \"Interplanetary Music No.1\" show Ra's unique approach to songwriting, using eerie chanting and repetition to create hypnotic moods. And Ra could get swingy when he wanted to as well -- \"Enlightenment\" and \"Sometimes I'm Happy\" are gorgeous ballads, as pretty as any Tin Pan Alley tune. Of course, it wouldn't be Sun Ra without his space age lyrics -- \"Take your first step out to outer space\/You're like a little baby who never walked before\" shows up in the future-predicting \"Walking On The Moon.\" At long\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003elast, Modern Harmonic has put together The Space Age Is Here To Stay, the very first collection of Sun Ra’s vocal tracks - two album’s worth of mind-blowing tunes from the mind of the Man from Saturn himself. Cue this one up and get ready to visit other worlds in Sun Ra's jazz rocket ship!\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003c\/p\u003e","brand":"ALLIANCE","offers":[{"title":"Default Title","offer_id":32227930210370,"sku":"","price":32.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a1451288090_16.jpg?v=1594417998"},{"product_id":"sun-ra-when-sun-comes-out","title":"Sun Ra And His Myth Science Arkestra  - When Sun Comes Out","description":"\u003cp\u003e\u003cspan\u003eWhen Sun Comes Out was the first release on Sun Ra's Saturn label to be recorded in New York. Released in 1963, it was preceded by The Futuristic Sounds of Sun Ra, which had been recorded in Newark, New Jersey (and produced by Tom Wilson, who issued it on Savoy in 1961). When Sun Comes Out was also the first release to contain recordings set down at the Choreographer's Workshop, which served as a longtime rehearsal space for Sunny \u0026amp; the Arkestra. The venue would be a rich source of historic material for future albums.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eStylistically, the move to New York marked Sunny's journey beyond swing, bebop, hard bop, and R\u0026amp;B. This advance is abundantly reflected on When Sun Comes Out. After being neglected by fans and press in the final stages of his Chicago period, Sun Ra responded to the New York jazz community's embrace by pushing the form in new directions—often to the point that what he was playing wasn't jazz. But the only category that mattered to Sun Ra was music.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003eWhen Sun Comes Out is percussion-centric, and not just as backdrops—on many tracks whatever's being hit with a stick (or palms) is on top of the mix. Sun Ra's piano, some brass, and a quartet of saxophones compete for airspace with an arsenal of drums, congas and bongos, bells and cowbells, shakers and gongs (a good\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003edeal of it handled by the reed section). In fact, the mix often defies professional engineering standards, as musical hardware that usually provides the foundation occasionally dominates the lead instruments.\u003cbr\u003e\u003cbr\u003eThe horns are more aggressive than in the Chicago years, Sunny experiments with atonality on the keyboard, and on many tracks he dispenses with conventional structure. The Arkestra here includes four saxophonists (John Gilmore, Marshall Allen, Pat Patrick, and newcomer Danny Davis, then just 17), who take liberties to extend the instrument's vocabulary, their solos often independent of the rhythm bed. Sun Ra was traversing the universe, and there's a lot of space out there. On this album the explosive drummer Clifford Jarvis makes his recording debut with the Arkestra, a relationship that would extend on and off for a decade and a half. 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Vocal features include Michael McDonald \u0026amp; Kenny Loggins, Kendrick Lamar, Wiz Khalifa and Pharrell. 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Congolese rumba, a wild combination of African, Jazz and Latin influences, created future stars of its now legendary creators – Franco, Grand Kalle, Tabu Ley, Dr. Nico, Papa Wemba - and all feature here in their ground-breaking early groups such as O.K.Jazz, Brazzos, Rock-A-Mambo, African Jazz and The Beguen Band.\u003c\/em\u003e\u003c\/p\u003e\n\u003cp\u003e \"The Congo is in fact two countries – The Democratic Republic of the Congo (DRC, formerly Zaire) and the Republic of the Congo. Congo Revolution was first released as a sampler 7” box set for RSD, and this expanded release includes a 50-page booklet\/double gatefold and inner sleeves containing extensive text explaining the evolution of the music and history of the two Congos, and how music, politics and popular culture intersected at the point of independence from the two Congos’ European colonisers – Belgium and France – through songs such as ‘Vive Patrice Lumumba,’ and ‘MNC Uhuru,’ which celebrated the Congolese independence leader prior to his political assassination. \u003c\/p\u003e\n\u003cp\u003e Also included is the stunning images of the Congolese photographer Jean Depara who documented the Congo’s vibrant nightlife in the period 1955-65 as well as being the official photographer for the superstar Congolese artist Franco up until his death in 1989. Depara also documents the rise of the Bills (Congolese teenagers who dressed as cowboys) and sharp-suited évolués (which later gave rise to the fashion-conscious phenomenon of the Congolese ‘Sapeurs’). These images are reproduced in collaboration with Revue Noire in France.\"\u003c\/p\u003e","brand":"redeye","offers":[{"title":"Default Title","offer_id":32227938598978,"sku":"","price":33.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/5026328504377_T57172149050054.jpg?v=1594408592"},{"product_id":"victoria-adia-silences","title":"Adia Victoria - Silences","description":"\u003cp\u003e\u003cspan\u003eTwo years after the release of her critically-acclaimed debut. Beyond the Bloodhounds, Nashville-based modern blues woman Adia Victoria returns with Silences. The album was recorded with Aaron Dessner (The National) at his studio in upstate New York. 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At the time of its release, despite its divisive reception, New Grass helped break down the unnecessary walls dividing genres and revealed music’s potential freedoms. The album has gone on to influence generations of Jazz, R\u0026amp;B, Funk, Hip Hop, Post Punk, No Wave and unshrinking artists like Pharaoh Sanders, Alice Coltrane, Funkadelic, Jungle Brothers, Red Krayola, Sonic Youth and Mark E. Smith. Third Man Records can’t recommend this record highly enough. 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During the period from 2007 till 2011 many live performances were recorded, and decided was to release a compilation of songs as a live album in 2012.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e\"The album presents a series of tracks recorded from shows over the last five years, doubling as essentially a \"best of\" and insight into the live TKDE experience. (...) 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Recorded in 1972, Hear, Sense, and Feel marked the band’s debut, and featured the same line-up that played on next year’s Mirage. Being from Chicago, The Awakening’s line-up unsurprisingly boasts a heavy connection to the AACM (Association for the Advancement of Creative Musicians) collective that claimed The Art Ensemble of Chicago among its most esteemed artists; in fact, both bassist Reggie Willis and tenor saxman\/flautist Ari Brown were AACM members and appeared on albums with Muhal Richard Abrams, Lester Bowie, and Anthony Braxton among others. The other members of The Awakening, on the other hand, hailed from the city’s soul jazz scene, specifically Young Holt Unlimited, for whom co-leaders trumpeter Frank Gordon and keyboardist Ken Chaney played (trombonist Steve Galloway played on Melvin Jackson’s soul jazz classic Funky Skull). 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