{"title":"jazz \/ improv","description":"","products":[{"product_id":"berke-can-ozcan-jonah-parzen-johnson-it-was-always-time-lp-we-jazz","title":"berke can özcan \u0026 jonah parzen-johnson - it was always time lp","description":"\u003cp\u003eIt Was Always Time, the debut duo release from Berke Can Özcan and Jonah Parzen-Johnson on We Jazz Records, is a refreshing and full-throated expression of joy and curiosity. In a year when 76 countries hold national elections and listeners find themselves in an existential battle against apathy and cynicism, this effortlessly authentic album offers an innocent reminder that the antidote to stagnation is curiosity and the fuel for change is the joy of building something transformative together. In April 2022, Brooklyn based baritone saxophonist, Jonah Parzen-Johnson, found himself on a flight from New York to Istanbul to play a one-off duo concert with a veteran drummer and sound designer at the center of Istanbul's vibrant music scene, Berke Can Özcan. They met for the first time 30 minutes before soundcheck. The concert that followed could have been the culmination of years of collaboration. Both urgent and timeless, their musical partnership is instantly solid, innocent and joyful. Recorded across continents, time zones, and cultures, It Was Always Time meticulously builds on itself, weaving layers of found-sound samples over acoustic percussion to frame poignant saxophone melodies that melt into rich synth interludes. Although the album is almost completely improvised, the depth of texture and devotion to melody make it feel through-composed. From track to track, each musician places their trust in the other, and as ambition evolves into empathy, the whole becomes greater than the sum of its parts. This is not a protest album, or music that sets out to directly change the world. Rather, in the subtle way that only art is capable of, the music made by this international duo of strangers turned friends is a reminder: Be curious, find joy, build something better together. It's time. It was always time.\u003c\/p\u003e","brand":"we jazz","offers":[{"title":"Default Title","offer_id":44945969086658,"sku":"wjlp077","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/berkecanozcanitwas.jpg?v=1739886966"},{"product_id":"cadentia-nova-danica-mc-gub-gub-ode-to-skt-john-pladepip-lp-formalibera","title":"cadentia nova danica-mc gub gub \/ ode to skt. john \/ pladepip lp","description":"\u003cp\u003eThis revelatory album positions John Tchicai's large ensemble, Cadentia Nova Danica (CND), in the broad context of international new music activity. All previous releases by the group presented them as a free jazz unit. There were only three -- their self-titled release on Polydor (1968); Afrodisiaca (MPS, 1969); and Live at Jazzhus Montmartre (Storyville), recorded in 1967 but not released until 2016. They are all on jazz labels, so the bias is perhaps understandable. CND was a great free jazz group, to be sure. But the band and its leader were willing to experiment with a wide range of musical developments outside of jazz and incorporate them into their music. This LP encompasses a collaboration with classical composer Svend Erik Werner, an experiment with taped sound collage, and a remarkable sui generis composition by Tchicai. With the addition of this album to CND's discography, a broader and deeper portrait of the band's courageous spirit begins to emerge. Tchicai formed the group just after returning to his native Denmark in 1966 after four highly productive years in New York. Upon his return to Copenhagen, he immediately sought out musicians with whom he could form a band. He was soon working with an ensemble that included trumpeter Hugh Steinmetz and altoist Karsten Vogel. By late 1966, they became Cadentia Nova Danica (New Danish Cadence). They made their Danish debut at Café Montmartre and quickly developed a reputation as one of the most creative bands in Europe. They remained together until 1971, when Tchicai entered the ashram of Swami Narayanananda for an extended period of meditation during which he didn't publicly perform. The cryptically, if absurdly, titled \"Mc Gub Gub, (I-VIII)\" is a stunning example of the creative ways Tchicai used ostinatos to structure his compositions and provide a supporting trellis for improvisation. Recorded during a Danish Avantgarde Jazz concert that also included the Contemporary Jazz Quintet, the piece opens with the band loosely repeating a phrase. There's a constant interchange between composition and improvisation. The written passages also function as transitions between improvised sections, in one case setting up a piano solo whose fluidity contrasts starkly with the angular writing. \"Ode to Skt. John\" is contemporary in form and outlook but based on methods taken from Gregorian music. It also makes room for improvisation from members of Cadentia Nova Danica. Although vividly contrasting, the two modes of musicmaking speak to one another. The alto saxophone and trumpet duet has a songlike, vocal quality in keeping with the spirit, if not the form, of Gregorian music. \"Pladepip,\" Tchicai's foray into musique concréte, another modern classical genre, is unlike anything else in Tchicai's recorded canon. Two full-band improvisations bookend a remarkable audio tape created by Tchicai. Includes insert.\u003c\/p\u003e","brand":"formalibera","offers":[{"title":"Default Title","offer_id":44945983307970,"sku":"2ffcnd177","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/cadentianovadanicamcgub.jpg?v=1739888131"},{"product_id":"mulatu-astatke-hoodna-orchestra-tension-lp-batov","title":"mulatu astatke \u0026 hoodna orchestra-tension lp","description":"\u003cp\u003eEthio-jazz pioneer Mulatu Astatke joins the Hoodna Orchestra, Tel Aviv's number one Afro funk collective, melding his enchanting vibraphone playing with their brass heavy force across seven original compositions that play tribute to the classic Mulatu sound while forging fresh paths. Produced by and featuring Dap-King Neal Sugarman, the results are gritty, yet majestic, soulful and uplifting. Mulatu Astatke requires little introduction at this point. Born in Jimma, Ethiopia, Mulatu went on to live and study in London, Boston and New York. Initially drawn to and trained in jazz and Latin music, he developed the sound he called \"Ethio-jazz\" over a series of seminal albums combining jazz, Latin, funk and soul, with traditional Ethiopian scales and rhythms. Formed in 2012 on the south side of Tel Aviv, the 12 member Hoodna Orchestra is a collective of musicians and composers who initially bonded over a shared love of Afrobeat. They have gone on to incorporate psychedelic rock, hard funk and soul, jazz, and East African music into their sought-after releases, winning praise and airplay from the likes of Iggy Pop and Huey Morgan on BBC Radio 6 Music. The collective draws together a huge array of musical talents such as guitarist Ilan Smilan and organist Eitan Drabkin of Sababa 5 fame, Shalosh trio drummer Matan Assayag, and percussionist Rani Birenbaum of The Faithful Brothers, many of whom also contribute compositions to the orchestra, ensuring its collaborative environment. Since releasing a recording with Ethiopian singer Tesfaye Negatu, Hoodna Orchestra had been looking to find ways to collaborate with Astatke himself and in early 2023 the opportunity arose to invite Astatke to Tel Aviv, record an album and perform it live for their home audience. Stars aligned as Neal Sugarman, multi-instrumentalist member of the Dap-Kings and co-founder of Daptone Records, joined and produced the session with Smilan. On one hand, Tension is clearly a deeply personal tribute by the Hoodna Orchestra to iconic Mulatu Astatke, but at the same time the recordings emit a remarkable amount of chemistry, and together they have created an essential addition to Mulatu's rich discography that charts new directions in his Ethio-jazz trajectory and provides the Hoodna Orchestra with their strongest album to date.\u003c\/p\u003e","brand":"batov","offers":[{"title":"Default Title","offer_id":44946934988994,"sku":"btr103","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/mulatuastatketension.jpg?v=1739914646"},{"product_id":"noah-howard-group-berlin-concert-lp-cien-fuegos","title":"noah howard group-berlin concert lp","description":"\u003cp\u003eTrost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Berlin Concert was recorded live in the titular city in January of 1975 with a quartet featuring pianist Takashi Kako, bassist Kent Carter, drummer Oliver Johnson, and percussionist Lamont Hampton. It was released on the SAJ sub label in 1977. It deftly captures the full diapason of Howard's fiery art. Fueled by the propulsive swing of the great Oliver Johnson, bassist Kent Carter -- both Americans who spent many years living and working in Europe, including long stints with Steve Lacy -- and percussionist Lamont Hampton, Berlin Concert nonchalantly toggles between modal workouts, where Japanese pianist Takashi Kako invokes the ironclad drive of McCoy Tyner, and the needling fury of \"New York Subway,\" summoning the all-out fury of the '60s New Thing. This album reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gem makes it plain he had plenty more to say. Recorded live by Jost Gebers on January 30th and 31st,1975 at the Quartier Latin in Berlin. Cover design by Wolf Walt. Photograph by Roberto Masotti. Produced by Jost Gebers. Originally released and published on FMP in 1977.\u003c\/p\u003e","brand":"cien fuegos","offers":[{"title":"Default Title","offer_id":44947036963010,"sku":"cf033","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/noahhowardgroupberlin.jpg?v=1739915695"},{"product_id":"noah-howard-quartet-schizophrenic-blues-lp-cien-fuegos","title":"noah howard quartet-schizophrenic blues lp","description":"\u003cp\u003eTrost Records presents the latest release in its ongoing cooperation with Berlin's legendary FMP label, with the long overdue reissue of two classic live albums by the singular alto saxophonist Noah Howard, a key figure in New York's free jazz revolution during the 1960s. Schizophrenic Blues was a quartet date taped live in Berlin in May of 1977 with a quartet comprising Oliver Johnson, bassist Jean-Jacque Avenel, and trumpeter Itaru Oki. It was released on the SAJ sub label in 1978. It deftly captures the full diapason of Howard's fiery art. The piano-less quartet Schizophrenic Blues casts the music in a different light, with the great Japanese trumpeter Itaru Oki serving as a worthy frontline partner for Howard's livewire alto sax. Johnson is back in the rhythm section along with another Lacy disciple in the French bassist Jean-Jacques Avenel, who had already formed a strong musical bond, a mind meld readily apparent in grooves both ferociously energetic and contextually nimble. The leader reveals his curiosity by extending his repertoire to include an unexpected reading of \"Bird of Beauty,\" a Stevie Wonder tune that released a few years earlier on Fulfillingness' First Finale, while the album concludes with a rousing, soulful rendition of the \"Lift Every Voice and Sing,\" known fondly as the Black National Anthem. It reinforces the scalding passion of Howard's playing, while simultaneously highlighting a stylistic depth and lyrical grace that's often overlooked in his music. Howard, who suffered a fatal cerebral hemorrhage in 2010, at age 67, has been duly celebrated for his work in the 1960s, but the return of this gems makes it plain he had plenty more to say. Recorded live by Jost Gebers on May 21st and 22nd,1977 at the Quartier Latin in Berlin. Cover design by Dieter Hahne. Photographs by Dagmar Gebers. Produced by Jost Gebers. Originally released and published on FMP in 1978.\u003c\/p\u003e","brand":"cien fuegos","offers":[{"title":"Default Title","offer_id":44947045744834,"sku":"cf034","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/noahhowardschizophrenic.jpg?v=1739915831"},{"product_id":"onilu-s-t-lp-eremite","title":"onilu-s\/t lp","description":"\u003cp\u003eOnilu is an all-percussionist trio utilizing the extensive family of drummed and tuned percussion instruments to deliver beautifully composed, arranged and executed small ensemble music. Nothing about this all-percussion band feels rarified, or missing anything musical. To the contrary, Onilu create a soundworld where nothing is missing, and everything is musical -- defying the stereotype of modern percussion ensembles as esoteric or academic pursuits, reaffirming the powerful social and sacred musics made in African diasporic communities and across cultures by drum and percussion groups since the beginning of human time. The members of Onilu are: Kevin Diehl, leader of the enduring Philadelphia-based Afro-Cuban Yoruba free-jazz ensemble Sonic Liberation Front; Chad Taylor, Artistic Director of Jazz Studies at the University of Pittsburgh and esteemed drummer of long standing in many scenes. Highlights of Taylor's recent history include his work with James Brandon Lewis, Jaimie Branch, Marc Ribot, Rob Mazurek, and with Joshua Abrams in the duo Mind Maintenance-. Taylor was part of the community of young Chicago-based musicians organized around Fred Anderson's Velvet Lounge in the 1990s that included Abrams, Nicole Mitchell, Jeff Parker, and Matana Roberts, among others; living legend Joe Chambers, who began his illustrious career as the drummer on now-canonical early Blue Note recordings by Andrew Hill, Bobby Hutcherson, Sam Rivers, Wayne Shorter, and Mccoy Tyner. A 1970 founding member of Max Roach's pathbreaking percussion ensemble M'Boom, Chambers continues to record percussion-centered music as a leader for Blue Note records. After nearly three decades working with such historic drummers as Denis Charles, Walter Perkins, Sunny Murray, Hamid Drake, Milford Graves, Susie Ibarra, Charles Bobo Shaw, and Han Bennink, it is Eremite Records' joy and honor to give the drummers not some, but ALL the spotlight. From Dana Hall's liner notes: \"These three artists are master musicians and the music they present here is masterfully conceived. The drum, and its entire global family of membranophones, shakers, and idiophones, are conduits for their collective creative voice. In addition to drummers, they are also composers, and their works here represent a synthesis of ideas, concepts, and their individual dialectics on the language and syntax found in much of African and African Diasporic musics. A music that uses call and response. One that honors the past while looking forward to the future. A music that is principally concerned with feeling, mood, and storytelling. One that eschews frivolity and the baroque. A music that swings and grooves. I found myself dancing to this recording. Trust me, you, too, will find yourself rightfully and unapologetically dancing to this recording.\" First Eremite edition of 999 copies pressed on premium audiophile-quality 140-gram vinyl at Fidelity Record Pressing, from Kevin Gray\/Cohearent audio lacquers. Recorded by Michael Richelle, Philadelphia. Mastered by Joe Lizzi, Queens, NY. Hand screen-printed insert by Alan Sherry, Siwa Studios, Northern New Mexico.\u003c\/p\u003e","brand":"eremite","offers":[{"title":"Default Title","offer_id":44947084083394,"sku":"mte082","price":37.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/onilu.jpg?v=1739916761"},{"product_id":"peter-brotzmann-paal-nilssen-love-butterfly-mushroom-cd-trost","title":"peter brötzmann \u0026 paal nilssen-love - butterfly mushroom cd","description":"\u003cp\u003eThe second volume of the perfect pairing Brötzmann \u0026amp; Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than listeners may be used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planning for it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann. Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone. Paal Nilssen-Love: drums, gongs, percussion.\u003c\/p\u003e","brand":"trost","offers":[{"title":"Default Title","offer_id":44949263483074,"sku":"trost247cd","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/peterbrotzmannbutterflymushroom.jpg?v=1739978498"},{"product_id":"peter-brotzmann-paal-nilssen-love-butterfly-mushroom-lp-trost","title":"peter brötzmann \u0026 paal nilssen-love - butterfly mushroom lp","description":"\u003cp\u003eThe second volume of the perfect pairing Brötzmann \u0026amp; Nilssen-Love, recorded at Zuiderpershuis in Antwerp, August 2015. The music is less frenzied and aggressive than listeners may be used to, as the musicians shared their exploration of new tools with a more contemplative approach. To be sure, both Brötzmann and Nilssen-Love summon the usual energy here and there, but it's a genuine revelation to hear them feel out new sounds in real-time, whether it's the former caressing the rheumy nasality of the contra-alto clarinet, or the latter reveling in the sustained resonance of his new gongs. Still, even if they were trying out new tools, their rapport and level of engagement was just as strong and deep as ever. Colliding schedules prevented them from ever wrapping up the production on the album, but they began planning for it during the pandemic. Sadly, it fell to Nilssen-Love to shepherd the project at home, but it was worth the wait. This duo album represents a major statement from both musicians. Artwork by Brötzmann, design by Lasse Marhaug. Liner notes-transcription of an interview with Peter Brötzmann. Peter Brötzmann: tarogato, contra-alto clarinet, bass saxophone. Paal Nilssen-Love: drums, gongs, percussion.\u003c\/p\u003e","brand":"trost","offers":[{"title":"Default Title","offer_id":44949266628802,"sku":"trost247","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/peterbrotzmannbutterflymushroom.jpg?v=1739978498"},{"product_id":"quarteto-novo-s-t-lp-jazzybelle","title":"quarteto novo-s\/t lp","description":"\u003cp\u003eFirst reissue in 25 years of the Brazilian jazz holy grail, licensed from Universal Music Brazil. A mix between traditional music of northeast Brazil, bebop, jazz, and folk to create an organic sound. Featuring Hermeto Pascoal, Airto Moreira, Theo De Barros, and Heraldo Do Monte. Quarteto Novo only released one album, yet they number amongst one of the more influential acts in Brazilian music. Originally set up as a \"Trio Novo\" by a pharmaceutical company who wanted a live band at an event, they were then picked up by Geraldo Vandré (who was, at that time in 1966, the winner of a Brazilian music popularity competition) for a tour of the Brazilian northeast. After the tour, the trio -- comprised of a very young Airto Moreira (percussions), composer, solo artist and soundtrack composer, producer and arranger Theo de Barros (bass and subsequent guitarist) and Heraldo do Monte (guitar) who also went on to have a fairly successful career -- was joined by multi-instrumentalist Hermeto Pascoal. Recorded in 1967, this was the first album for Airto, and it was a hugely influential release -- mixing the traditional music of northeast Brazil with bebop jazz and folk. Quarteto Novo emphasized northeastern Brazilian music and acoustic instruments for an \"organic\" sound. This first reissue in 25 years of this holy grail is a must for any lover of Brazilian jazz, samba and folk music. Jazzybelle is a new label launched by Olivier Rosset (founder of Chronowax) and Elvin Pagiras, from Modulor (key French distributor who are also behind renowned reissue labels We Want Sounds and Le Très Jazz Club). Jazzybelle will be focused on Brazilian musical gems, but not exclusively.\u003c\/p\u003e","brand":"jazzybelle","offers":[{"title":"Default Title","offer_id":44949288517826,"sku":"jb001","price":34.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/quartetonovo.jpg?v=1739979605"},{"product_id":"rob-mazurek-nestors-nest-lp-keroxen","title":"rob mazurek-nestor's nest lp","description":"\u003cp\u003eRob Mazurek graces the Keroxen Records waves with a genre defying album of field recordings, modular electronics, trumpet harmonies and spirit call chants. An unstoppable force since his first recordings in the early '90s, Rob Mazurek has been at the forefront of experimentation and adventurous improvised music for most of the last four decades. The American composer, cornetist, and visual artist has been developing his own style of improvisational music with a myriad of collaborators, too many to list but amongst them true giants of the 20th and 21st century music cannon like Bill Dixon, Pharoah Sanders, Jeff Parker, Roscoe Mitchell, Yusef Lateef, and Naná Vasconcelos amongst many many others. Nestor's Nest is yet another addition to Mazurek's mammoth catalogue of cosmic unity, coming like a spur of the moment whilst staying at Nestor and Pura's house in Tenerife during the Keroxen Festival edition of 2023. Dead time doesn't exist for the American cornetist and whilst hanging at the organizers house Mazurek decided to record and interact with his colorful tropical surroundings. Mangos, Papayas and Star Fruits all make an appearance here as does the quietness of an idyllic garden juxtaposed with Mazurek's stormy interferences, unleashing his modular synths and other acoustic paraphernalia into an ecstatic mix of pure celestial energy. As he beautifully states on the albums back cover: \"Fruit from the trees of life, Stop All War. Stop the Killing, Open the senses, Breath. Listen. Feel!\" Made from field recordings in and around the Keroxen Tanque and the House of Nestor and Pura in Tenerife, Canary Islands. Final mix at Marfa Experimental Studio, Marfa Texas. Mastered by Daniel Baez.\u003c\/p\u003e","brand":"keroxen","offers":[{"title":"Default Title","offer_id":44949335769282,"sku":"krxn036","price":28.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/robmazureknestor.jpg?v=1739979922"},{"product_id":"the-ancients-s-t-2lp-eremite","title":"the ancients-s\/t 2lp","description":"\u003cp\u003eArriving in North America on Eremite, the debut recording by The Ancients, the intergenerational coalition of Isaiah Collier, William Hooker, and William Parker formed by Parker to play concerts in conjunction with the Milford Graves Mind Body Deal exhibition at the Institute Of Contemporary Art Los Angeles and now a working group. Across 2 LPs of side-length long-form improvised sets recorded at 2220 Arts and Archives in LA and The Chapel in San Francisco, The Ancients bring the free jazz trio languages first explored by the Cecil Taylor Unit and Ornette Coleman's Golden Circle Band (expanded upon in later eras by Sam Rivers' trio and Parker's collective trios with Charles Gayle\/Graves and Peter Brötzmann\/Hamid Drake) into their own unique and scintillating realms of expression. As we tumble further into the throes of history's tides, people of hope and creativity rely on the works of our great artists to lift our spirits and focus our resolve. Ascension was recorded less than a year after the passage of the Civil Rights Act and four months after the assassination of Malcolm X. Journey in Satchidananda was recorded the month Reagan was re-elected governor of California. M'Boom made its debut recording weeks after the Watergate scandal broke and a couple months after the Wounded Knee occupation ended. The music of The Ancients builds on these great musical legacies. It resounds with the pride of survival and the joys of making and sharing music. It delivers to us hope and balm. Something real in you, real in history, and real in the music is shared, right on time. When Eremite records commenced operations during the 1990s free jazz resurgence, heavyweight freedom-seeking tenor saxophonists such as Fred Anderson, Peter Brötzmann, Charles Gayle, Kidd Jordan, and David S. Ware were at the height of their powers. Isaiah Collier's tenor playing in The Ancients is bracing testimony that the wellspring lives on. To hear the young Chicago firebrand blowing freely with veteran improvisers in an entirely open-form group music is a revelatory study of his vast talent, personal voice, and the intensity of his expression -- as well as a bold complement to his composition-based albums as a bandleader (including The Almighty, a New York Times' best albums of 2024 selection). I've admired drummer William Hooker since first encountering his music in a Hartford, CT, city park, early '90s (on a double bill with Jerry González and Fort Apache Band). From the man himself right off the bandstand I bought his even-then rare first recording, the 1976 self-released 2LP opus Is Eternal Life (reissued 2019 by Superior Viaduct). An imposing force on his instrument and an intrepid DIY cat, Hooker's been exuberantly swinging in-and-out of free time for 50+ years. Informed by the innovations of Sunny Murray and Tony Williams yet entirely himself, there is no other term for it than \"pure Hooker.\" At age 78, with the Ancients and everywhere else, THE HOOK is in peak form. With a discography approaching 600 entries and 50+ years working across the musical maps, including in the history-defining bands of Don Cherry, Cecil Taylor, Bill Dixon, Peter Brötzmann, in his own wondrous ensembles from small group to orchestra to opera, a bastion of compassionate leadership and a poetic champion of his musical community, in tireless service to what he rather egolessly refers to as \"the tone world,\" multi-instrumentalist, improviser and composer William Parker is a living hero of the grassroots and the Black Mystery Musics, not to mention one of the great bassists in the history of jazz. To quote George Clinton, conquering the stumbling blocks comes easier when the conqueror is in tune with the infinite. Free jazz is an enduring high art. Its greatest expressions belong to their particular moment in history, and live on to transcend and refract in amaranthine ways. Inside our present historical moment, we are fortunate to have the master musicians in the ancients bringing us their high-level creation. First Eremite edition of 1,299 copies pressed on premium audiophile-quality 140gram vinyl at Fidelity Record pressing, from Kevin Gray\/Cohearent audio lacquers. Live to 2-track concert recordings by Bryce Gonzales, Highland Dynamics. Mastered by Joe Lizzi, Queens, NY. Album and concerts co-produced with The Black Editions Group.\u003c\/p\u003e","brand":"eremite","offers":[{"title":"Default Title","offer_id":44949657944258,"sku":"mte080-81","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/ancientsst.jpg?v=1739991976"},{"product_id":"unionen-s-t-lp-we-jazz","title":"unionen-s\/t lp","description":"\u003cp\u003eUnionen is a new quartet of four star-level Norwegian and Swedish jazz musicians. The group takes its name from the United Kingdoms of Sweden and Norway under a common monarch 1814-1905 and brings together Ståle Størlokken (Supersilent), Per \"Texas\" Johansson, Petter Eldh (Koma Saxo), and Gard Nilssen (Supersonic Orchestra). It's not hip to say \"supergroup\" but this sure is one super of a group, with each member contributing to the band sound that is unique in all the best possible ways. From misty introspection to proper rock-out-hardjazz, Unionen is set out to blaze their own trail. Tracks such as opener \"Ståhlbad\" draw you in with their subtle intensity, while the \"rock cut\" on the album, \"6983\" brings forth energy that sounds very much \"live\". Whatever Unionen do, you can feel they've been around the block a time or too, and are not just opting for easy licks to wow the listener. This is deep music that is set to stand the test of time in its originality. Early live shows of Unionen have been triumphant, with UK's Jazzwise calling them a \"highlight scoop\" at the Cologne Jazzweek. The album consists of eight originals, each of which defies clear classification. The compositions, including writing credits by all four members in a true fashion of the \"unionen\", display a genuine musical storytelling desire, matched by the ability to build a narrative that holds the listener close. On the instrumentation side of things, you hear classics like grand piano, fender Rhodes, double bass and drums, but also jazz rarities like Cor Anglais, contrabass clarinet and MPC. It's all part of a coherent sound image so you'll likely not think of how stuff was made but how it makes you feel. Unionen's music is highly emotive, more autumn than summer, more misty than sunny, more evening than midday, and first and foremost more unified than separated. No need for a monarch here, this is true democracy in the form of a jazz quartet. RIYL: Supersilent, Fire!, Scandinavian jazz, the darker side of vintage ECM.\u003c\/p\u003e","brand":"we jazz","offers":[{"title":"Default Title","offer_id":44949703295170,"sku":"wjlp79","price":29.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/unionen.jpg?v=1739994073"},{"product_id":"wolf-eyes-anthony-braxton-live-at-pioneer-works-26-october-2023-lp-esp-disk","title":"wolf eyes \u0026 anthony braxton-live at pioneer works, 26 october 2023 lp","description":"\u003cp\u003eFormed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as \"noise,\" though they have called themselves \"psycho jazz\" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes\/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats.\u003c\/p\u003e","brand":"esp-disk","offers":[{"title":"Default Title","offer_id":44949735506114,"sku":"espdisk5089","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/wolfeyesbraxtonliveat.jpg?v=1739995644"},{"product_id":"various-spiritual-jazz-17-saba-mps-esoteric-modal-progressive-jazz-from-the-saba-mps-labels-1965-78-2lp-jazzman","title":"various-spiritual jazz 17: saba \/ mps-esoteric, modal \u0026 progressive jazz from the saba \u0026 mps labels 1965-78 2lp","description":"\u003cp\u003e\"High quality music to be enjoyed by many people all around the world, no matter where they are.\" --Andreas Brunner-Schwer, MPS Records. The German SABA and MPS family of labels extended this sentiment to include music from musicians all around the world, no matter where they were from -- and here on Spiritual Jazz 17: SABA\/MPS, Jazzman explores that very theme. Throughout the '60s and '70s both labels released a wealth of music from a wealth of international jazz musicians coming from both North and South America, Europe, the Caribbean and the Far East. The aim was to release jazz that was exciting, innovative and interesting, regardless of style: there was swing, blues, bop, avant-garde, fusion -- and spiritual jazz. Plurality became a defining feature and the immense breadth of their output made both SABA and MPS worthy European counterparts to American imprints such as Blue Note and Impulse. On Spiritual Jazz 17: SABA\/MPS Jazzman features, among others, international contributions from Americans Elvin Jones, Nathan Davis, and Dave Pike, Europeans Pedro Iturralde, Jef Gilson, and George Gruntz, and the Japanese Hideo Shiraki. The extensive liner notes outline the history of the SABA and MPS labels, and go some way to explain the spirit and philosophy behind the long-standing record company and the musicians who bore their souls to the recording process. Friedheim Schulz, who oversaw many of the sessions, has fond memories: \"These guys had ideas, they had their special thing, it was the time when there were lots of ideas and new sounds and what have you, and [SABA proprietor] Hans Georg was always of the mind that people should do their own kind of music. So he gave them the chance to record and then he would just put out the albums and that was it! The musicians would really play what they wanted to play.\" Their great legacy is a lineage of music that has transcended the fatigues of time, and Jazzman has picked prime examples from the SABA and MPS catalogues to uphold its own legacy in the long-running series of Spiritual Jazz. Also featuring Tony Scott and the Indonesian Allstars, Albert Mangelsdorff Quartet, Orchester Roland Kovac, Fritz Pauer, and Joachim Kühn Group.\u003c\/p\u003e","brand":"jazzman","offers":[{"title":"Default Title","offer_id":44949825093826,"sku":"jmanlp146","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/spiritualjazz17.jpg?v=1739997867"},{"product_id":"various-spiritual-jazz-17-saba-mps-esoteric-modal-progressive-jazz-from-the-saba-mps-labels-1965-78-cd-jazzman","title":"various-spiritual jazz 17: saba \/ mps-esoteric, modal \u0026 progressive jazz from the saba \u0026 mps labels 1965-78 cd","description":"\u003cp\u003e\"High quality music to be enjoyed by many people all around the world, no matter where they are.\" --Andreas Brunner-Schwer, MPS Records. The German SABA and MPS family of labels extended this sentiment to include music from musicians all around the world, no matter where they were from -- and here on Spiritual Jazz 17: SABA\/MPS, Jazzman explores that very theme. Throughout the '60s and '70s both labels released a wealth of music from a wealth of international jazz musicians coming from both North and South America, Europe, the Caribbean and the Far East. The aim was to release jazz that was exciting, innovative and interesting, regardless of style: there was swing, blues, bop, avant-garde, fusion -- and spiritual jazz. Plurality became a defining feature and the immense breadth of their output made both SABA and MPS worthy European counterparts to American imprints such as Blue Note and Impulse. On Spiritual Jazz 17: SABA\/MPS Jazzman features, among others, international contributions from Americans Elvin Jones, Nathan Davis, and Dave Pike, Europeans Pedro Iturralde, Jef Gilson, and George Gruntz, and the Japanese Hideo Shiraki. The extensive liner notes outline the history of the SABA and MPS labels, and go some way to explain the spirit and philosophy behind the long-standing record company and the musicians who bore their souls to the recording process. Friedheim Schulz, who oversaw many of the sessions, has fond memories: \"These guys had ideas, they had their special thing, it was the time when there were lots of ideas and new sounds and what have you, and [SABA proprietor] Hans Georg was always of the mind that people should do their own kind of music. So he gave them the chance to record and then he would just put out the albums and that was it! The musicians would really play what they wanted to play.\" Their great legacy is a lineage of music that has transcended the fatigues of time, and Jazzman has picked prime examples from the SABA and MPS catalogues to uphold its own legacy in the long-running series of Spiritual Jazz. Also featuring Tony Scott and the Indonesian Allstars, Albert Mangelsdorff Quartet, Orchester Roland Kovac, Fritz Pauer, and Joachim Kühn Group.\u003c\/p\u003e","brand":"jazzman","offers":[{"title":"Default Title","offer_id":44949826109634,"sku":"jmancd146","price":16.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/spiritualjazz17.jpg?v=1739997867"},{"product_id":"tsuki-no-wa-moon-beams-lp","title":"tsuki no wa-moon beams lp","description":"\u003cp\u003eMoon Beams is a bonafide opus -- a masterful mix of jazz, Latin, folk and electroacoustic, topped with bandleader Fuminosuke's soaring, spectral vocals. Bassist Takuyuki Moriya was also a member of Ghost, and drummer Yuta Suganuma is a long-time member of the Shintaro Sakamoto band. The quartet's third album in as many years, Moon Beams found Tsuki No Wa taking a gigantic leap forward in both compositional sophistication and sonic experimentation. Beautifully recorded in a (since demolished) Meiji-era ballet studio, and featuring guest performances from such underground luminaries as Yoshihide Otomo and Ami Yoshida, this timeless, ambitious work sounds just as spellbinding today as it did a couple decades ago. Originally released on CD by Japan's Soundscape label in 2003, and now on vinyl for the very first time, this 2025 version features an updated mix from the band and brand-new album art with unseen photos of the group in their heyday. Mastered by Josh Bonati, 2LP (3 sides of music\/ 4th side is blank), packaged in a full-color, double panel gatefold jacket with eye-popping gold foil lettering.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/IsmO6NJD-yQ?si=M75v2yUfyyDswj9u\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"mesh-key","offers":[{"title":"Default Title","offer_id":44961752613058,"sku":"mky036","price":34.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/tsukinowamoonbeams.jpg?v=1740149952"},{"product_id":"rashied-ali-quintet-feat-frank-lowe-sidewalks-in-motion-lp","title":"rashied ali quintet feat. frank lowe-sidewalks in motion lp","description":"\u003cp\u003eRashied Ali stood as a magnetic force for the musical environment around him. In his last decades he sponsored rehearsal opportunities for young musicians, tightened up neighborhood street-corner drum circles he happened to pass, and for years would pull promising young talents into his orbit. One unique group that Ali led at the 2002 Vision Festival in NYC, along with Frank Lowe, he also took into the studio -- and the moment you hear on Sidewalks in Motion features Ali and Lowe along with young musicians Jumaane Smith (trumpet), Andrew Bemkey on piano, and bassist Joris Teepe. In the years after Lowe's death Ali selected the best takes, and mixed and mastered for release, but the material remained on the shelf, frozen on the runway at the time of Rashied's own untimely passing. The reborn Survival Records is honored to reanimate these sounds in 2025. Survival Records SR-553 is a single LP in an old-school tip-on jacket featuring photos and recollections from Joris Teepe.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/TGJZEzovG3c?si=evgdSI5cv_kPy3eq\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"survival records","offers":[{"title":"Default Title","offer_id":44961781022914,"sku":"sr553","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/aliquintetsidewalks.jpg?v=1740152238"},{"product_id":"rashied-ali-leroy-jenkins-duo-swift-are-the-winds-of-life-expanded-edition-2lp","title":"rashied ali \/ leroy jenkins duo-swift are the winds of life (expanded edition) 2lp","description":"\u003cp\u003ePart of Rashied Ali's artistic strength involved turning improbable sound combinations into unchallenged masterpieces. After the pattern established by John Coltrane's Interstellar Space, and Duo Exchange with Frank Lowe, the drummer stepped into a rather unlikely duet with violinist Leroy Jenkins for Swift are the Winds of Life. Five years with the Revolutionary Ensemble had established Jenkins as a composer; he designed all the pieces played on these 1975 duets with Ali. That record is issued on vinyl here for the first time in almost a half century. The LP is augmented by an informal phantom session in which Ali and Jenkins explore thoroughly other territories -- standards, Coltrane's music, and two untitled, unbridled improvisations. SR-512 is a deluxe 2LP set packaged in an old-school tip-on gatefold jacket that includes Stanley Crouch's original 1975 essay along with new liner notes and excerpts from an interview with Jenkins.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-8F3mPalRjk?si=Afh0lrNi1cq7w4WP\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"survival records","offers":[{"title":"Default Title","offer_id":44961782628546,"sku":"surv512","price":43.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/rashiedaliswift.jpg?v=1740152341"},{"product_id":"roy-haynes-hip-ensemble-lp","title":"roy haynes-hip ensemble lp","description":"\u003cp\u003eWewantsounds reissues Roy Haynes' 1971 LP Hip Ensemble, recorded in New York for Bob Shad's Mainstream Records and featuring Hannibal Marvin Peterson, George Adams, Teruo Nakamura, and Lawrence Killian. Together the musicians create a superb mix of jazz funk and spiritual jazz showcasing Haynes powerful drumming and creativity. Hip Ensemble is presented in its original gatefold artwork with first generation photos and includes the bonus track \"Roy's Tune.\" It comes with newly remastered audio and a two-page insert featuring new liner notes by Kevin Le Gendre. Roy Haynes, who passed at age 99, is one of the undisputed giants of jazz. Born in Roxbury, Massachusetts in 1925, Haynes started drumming during his teenage years before moving to New York in 1945 where his career took off. He went on to play with the likes of Charlie Parker, Miles Davis, and Lester Young, becoming an institution over the decades. In the late '60s, after a stint with the John Coltrane's quartet, he put together the Hip Ensemble, a small group featuring the young turks George Adams on sax, Hannibal Marvin Peterson on trumpet, Japanese bass player Teruo Nakamura, Lawrence Killian on percussion together with German pianist Carl Schroeder on Fender Rhodes. Bob Shad, who had worked with Haynes in the '50s when he was running EmArcy, saw the group live in New York one night and decided to sign them on his label Mainstream Records as he was starting to produce jazz again after a few years releasing psychedelic rock. His idea was to plug into the new modal and jazz-funk scenes that was flourishing at the time and Haynes was also experimenting with. The album Hip Ensemble reflects this new direction with a superb mix of spiritual jazz. Complementing the group for this session were Mervin Bronson, adding a touch of Fender bass and a second percussionist, Elwood Johnson. \"Roy's Tune\" has been added as a bonus track, which was recorded at the same session but not included on the original album -- it briefly came out on a low-key Mainstream compilation two years after. The track is another fascinating breakbeat that has strangely never been sampled. Hip Ensemble has been remastered for vinyl by Colorsound Studio in Paris and is a timely reminder that Haynes is one of the greatest jazz drummers of all times.\u003c\/p\u003e","brand":"wewantsounds","offers":[{"title":"Default Title","offer_id":44967058243778,"sku":"wwslp100","price":30.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/royhayneship.jpg?v=1740428324"},{"product_id":"sun-ra-his-myth-science-arkestra-when-angels-speak-of-love-lp","title":"sun ra \u0026 his myth science arkestra-when angels speak of love lp","description":"\u003cp\u003eOne of a number of sessions cut at the Choreographers Workshop, this 1963 set established Sun Ra's Arkestra as a New York band, sonically coupled to developments in the decidedly urbane downtown arts underground. The stargazing clamor of the music reflects the intensity of a cultural crossroads where concrete and dust pervade any skyward view, from East 3rd Street to Mars and beyond. One of Sun Ra's rarest releases, it had negligible circulation through records shops upon release. While most of the Saturn output couldn't get any rarer or mysterious than it already was, When Angels Speak of Love was released in 1966 it was the most elusive and mysterious in the Sun Ra catalog. It's speculated that the record was issued in two micro runs, with estimates around 150 copies. Hard core collectors around the world had been searching for this gem to no avail until Evidence Records released a CD of the music in 2000. This updated offering utilizes the actual master tapes and we get to hear the Arkestra in its cosmic mid-'60s prime via mono and stereo fidelity. Liner Notes by Clifford Allen.\u003c\/p\u003e","brand":"cosmic myth","offers":[{"title":"Default Title","offer_id":44967078985922,"sku":"cmr005","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sunrawhenangels.jpg?v=1740428969"},{"product_id":"oren-ambarchi-eric-thielemans-kind-regards-lp","title":"oren ambarchi \u0026 eric thielemans-kind regards lp","description":"\u003cp\u003eKind Regards is the second duo release from guitarist Oren Ambarchi and drummer Eric Thielemans. The record captures an expansive performance in Poitiers, France in November 2023. First working together in an unpredictable trio with minimalist legend and eccentric extraordinaire Charlemagne Palestine, Ambarchi and Thielemans quickly established a remarkable musical chemistry that led to an ongoing series of duo concerts, including the performance documented on their LP Double Consciousness. Kind Regards finds the duo refining their shared language while continuing to take risks, allowing the music's gravitational pull to lead them from meditative calm to unexpectedly expressive passages of melodic invention and rhythmic drive. Recorded in sparkling fidelity and carefully mixed by Ambarchi's longtime collaborator Joe Talia, the LP contains a single unbroken performance, stretching out for over 45 minutes. The set begins with Thielemans' hypnotic tom patterns, around which Ambarchi's wavering, shimmering guitar tones? achieved with the help of the rotating speaker of a Leslie cabinet -- flurry and swirl. Thielemans' drums play subtle tricks with time and perception, adding and dropping beats within repeated patterns to create an effect at once rhythmically insistent and liquified. Growing at first into a rapidly pulsing texture of brushed drums and flickering harmonics, the music builds momentum into an irregular groove over which Ambarchi's guitar is transformed into haunting, monumental electric organ chords, strikingly recalling the Wurlitzer work of Alice Coltrane, before settling into a section of gentle portamento melody embedded into the tactile clicks and clangs of Thielemans' percussion. When Thielemans adopts a more traditional jazz approach to the kit in some of the set's second half, the results are stunning, demonstrating a feel for shifting accents and sensibility to the touch of the stick on the drum or cymbal that recalls greats like Jack DeJohnette or Billy Hart. And when Ambarchi turns up the heat, he does so in an unexpected and delightful way, letting loose a swarm of jittering delayed tones straight out of Henry Kaiser's classic It's a Wonderful Life, with a more active use of the guitar's fretboard than his usual approach to the instrument allows. As the performance draws to a close after a climactic episode of distorted harmonic groans and crashing cymbals that manages to be at once thunderous and carefully attuned to detail, it is clearer than ever that, for these two serial collaborators, this is a very special pairing.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/N3JmCnduCfk?si=WmEKfq_zT86-P6OU\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ad 93","offers":[{"title":"Default Title","offer_id":44971388567746,"sku":"whyt088","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/orenambarchikindregards.jpg?v=1740603056"},{"product_id":"wolf-eyes-anthony-braxton-live-at-pioneer-works-26-october-2023-cd","title":"wolf eyes \u0026 anthony braxton-live at pioneer works, 26 october 2023 cd","description":"\u003cp\u003eFormed 29 years ago (1996) by Nate Young, Wolf Eyes is currently a duo generally characterized as \"noise,\" though they have called themselves \"psycho jazz\" (among other things). Extremely prolific, they have literally hundreds of releases and are a towering presence in underground music. Saxophonist Anthony Braxton was an early member of the AACM (Association for the Advancement of Creative Musicians) and has won a MacArthur and been named an NEA Jazz Master, though his work is hardly confined to jazz. He's also an extremely prolific recording artist, debuting on record in 1968. Braxton famously first heard Wolf Eyes at the Festival International de Musique Actuelle de Victoriaville and immediately bought all the band's CDs that they were selling that night; a year later, they made their first album together, Black Vomit (also a concert recording). Their new untitled album (calling it Live At Pioneer Works, 26 October 2023 is merely a way of helping people distinguish it from their other collaborations and to give it a vintage) is the third Wolf Eyes\/Braxton release. The LP has no track titles or even side designations. ESP has tried to keep that same spirit in the other formats.\u003c\/p\u003e","brand":"esp-disk","offers":[{"title":"Default Title","offer_id":44971416715458,"sku":"espdisk5089cd","price":13.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/wolfeyesbraxtonliveat_4b0d0ea0-5658-4df8-a2f7-84891624aa26.jpg?v=1740604754"},{"product_id":"abdul-wadud-by-myself-lp","title":"abdul wadud-by myself lp","description":"\u003cp\u003eThis long out-of-print holy grail private press album, originally released by the late Abdul Wadud himself in 1977, is finally being reissued on vinyl. The release date is what would have been his 76th birthday. There really is no easily comparable album in existence. Abdul Wadud used the cello to make music in a way that was never fore-sought for the instrument, and this album was the first physical representation of his genius. Sourced from the only copy of the original master tapes in existence. However, due to severe deterioration of the tape, the vinyl master lacquers were cut from a DSD transfer of the audio tape. Tape restoration and DSD transfer conducted by grammy-award winning mastering engineer Paul Blakemore. Lacquers cut by Clint Holley and Dave Polster at well-made music. Stampers plated with Gotta Groove Records proprietary groove-coated plating technology. Vinyl manufactured by Gotta Groove Records, and packaged in Gotta Groove anti-static dust sleeves. Contains restoration of original jacket artwork with spot gloss treatment, as well as never before-seen photo of Abdul with his children (Raheem and Aisha), along with a digital download code to redeem a high-resolution digital copy of the tape transfer. This reissue was originally sanctioned by Abdul himself. Unfortunately, he passed away on August 10, 2022. We thank his family, and particularly his son, Raheem DeVaughn, in assisting us see this masterpiece through to become available again on vinyl to a new generation.\u003c\/p\u003e","brand":"gotta groove","offers":[{"title":"Default Title","offer_id":44971474223298,"sku":"ggr2022","price":32.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/abdulwadudby.jpg?v=1740609863"},{"product_id":"natures-consort-s-t-lp","title":"nature's consort-s\/t lp","description":"\u003cp\u003eObscure and outstanding free jazz album reissued for the first time since its original release in 1969. Old-style gatefold LP, with liner notes by Ed Hazell. In the late 1960s, young jazz musician Bobby Naughton, a keyboardist and vibraphonist, faced significant challenges as he sought to record his first album. With major record labels and jazz clubs catering only to big names, Naughton and other creative musicians of his generation found themselves sidelined by the mainstream music industry. They turned to self-reliance and self-production, becoming part of a movement of independent musicians. Naughton's debut album, Nature's Consort, was a DIY effort in every sense -- recorded on home equipment and featuring a hand-printed woodblock cover. The album was distributed independently at concerts and by mail, receiving little attention initially, but over the years it gained a reputation as a rare, sought-after artifact of the period. Though recorded during an outdoor concert in Connecticut, Nature's Consort reflected the \"loft jazz\" scene in New York City. This avant-garde jazz movement centered around musicians who lived and played in loft spaces in lower Manhattan. Naughton commuted from his home in Southbury, Connecticut, to play with his bandmates Mark Whitecage, Mario Pavone, and Laurence Cook in New York's lofts. These musicians regularly performed at venues like Studio We, a key gathering spot for free-form jazz, where musicians could experiment and develop their sound, often with no audience present. Naughton's journey into jazz was a winding one. Originally from Boston, he played rockabilly and blues-rock before transitioning into free jazz. Inspired by avant-garde artists like Carla Bley and Paul Bley, Naughton sought to explore new forms of music that went beyond traditional jazz structures. His bandmates, Mark Whitecage and Mario Pavone, were both deeply affected by the death of John Coltrane in 1967, which prompted them to quit their day jobs, attend Coltrane's funeral, and move to New York to pursue jazz full-time. Nature's Consort was a collective project, with band members sharing equally in any profits. However, Naughton was the driving force behind the group's creative direction. He composed much of the original material and selected pieces by Ornette Coleman and Carla Bley for the band's repertoire. Jazz critic Nat Hentoff praised the album for its \"high-risk improvisation\" and the musicians' ability to anticipate each other's moves. Though Nature's Consort received little press at the time, it has since been recognized as a significant early document of the loft jazz era, representing Naughton's disciplined, improvisational approach to music\u003c\/p\u003e","brand":"aguirre","offers":[{"title":"Default Title","offer_id":44973000687810,"sku":"zorn084","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/naturesconsort.jpg?v=1740679082"},{"product_id":"noah-howard-patterns-lp","title":"noah howard-patterns lp","description":"\u003cp\u003eClassic free jazz album reissued for the first time since the '70s. Old-style Gatefold LP, with liner notes by Ed Hazell. Noah Howard, an alto saxophonist and composer, was known for weaving intricate and innovative musical patterns, often likening his work to \"sound paintings.\" His 1971 album Patterns, the first LP he self-produced on his Altsax label, stands as a testament to his experimental and spiritual approach to music. In interviews, Howard frequently used visual terms like \"patterns\" and \"shapes\" to describe his compositions, emphasizing the importance of melody and structure even in highly improvisational settings. For Howard, patterns and melodies were essential to guiding listeners through his explorations without alienating them, maintaining a balance between innovation and accessibility. Howard's quest for an original sound was deeply influenced by jazz greats like Charlie Parker, Ornette Coleman, and Jackie McLean. While he admired these legends, Howard avoided imitation, striving instead to develop his own distinct voice. His sound was unmistakably his own, and he felt a deep obligation to carry the jazz tradition forward through personal expression, not by mimicking others. His music was also rooted in spirituality, a legacy he traced to his upbringing in the Black Baptist Church. He believed jazz had always contained a spiritual essence, from Louis Armstrong to John Coltrane, and his work aimed to channel this cosmic, spiritual energy. Patterns was recorded in the Netherlands during Howard's second stint in Europe, where he found a more open, less racially charged environment compared to the U.S. For the album, Howard collaborated with Dutch musicians such as Misha Mengelberg (piano), Han Bennink (drums), and Earl Freeman (bass). Despite the challenges faced by guitarist Jaap Schoonhoven, who felt out of place in the session, the album came together as a powerful mix of blues, jazz, and classical elements. The music on Patterns is a high-energy fusion of American free jazz and Dutch improvisation. Howard's saxophone work alternates between leading with passionate, lyrical lines and blending into the collective improvisation. The album's dynamic interplay, particularly between Mengelberg's dissonant piano clusters and Bennink's thunderous drumming, creates a vivid \"sound painting\" full of contrasting forms and colors. Patterns remains one of Howard's most unique and celebrated recordings, showcasing his visionary approach to jazz.\u003c\/p\u003e","brand":"aguirre","offers":[{"title":"Default Title","offer_id":44973034963138,"sku":"zorn091","price":33.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/noahhowardpatterns.jpg?v=1740679256"},{"product_id":"joe-mcphee-straight-up-without-wings-the-musical-flight-of-joe-mcphee-book","title":"joe mcphee-straight up, without wings: the musical flight of joe mcphee book","description":"\u003cp\u003eIn Straight Up, Without Wings, Joe McPhee surveys sixty years in creative music. Starting with his trumpeter-father's influence and formative years in the U.S. Army, McPhee recounts experiences as a Black-hippy-cum-budding-musician based in upstate New York, perched at an ideal distance from Manhattan's free jazz demimonde of the 1960s and its loft scene of the 1970s. A natural storyteller, revealing never-told tales and reveling in the joys of noise, McPhee puts the influence of -- and encounters with -- Ornette Coleman, John Coltrane, and Albert Ayler into the context of an independently-minded young player, ravenous for experience, dealing with the crucible of racism, seeking to break out beyond the bounds of a regional Hudson Valley scene that he knows like the back of his hand. The memoir draws forward through thrilling passages in Europe and across the United States, as McPhee gains momentum, as his music becomes the impetus for multiple record labels, as he collaborates with figures from Peter Brötzmann to Pauline Oliveros, and as he eventually goes on to inspire musicians far and wide. Written as an oral history, deftly conducted by Mike Faloon to preserve McPhee's unique narrative voice, Straight Up, Without Wings includes \"reflections\" by eight musicians from across the protagonist's rich history. Photography: Ziga Koritnik, Ken Brunton, John Corbett. First printing, edition of 1000.\u003c\/p\u003e","brand":"corbett vs dempsey","offers":[{"title":"Default Title","offer_id":44973053903042,"sku":"cvsd126","price":31.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/joemcpheestr8.jpg?v=1740681487"},{"product_id":"von-spar-eiko-ishibashi-joe-talia-tatsuhisa-yamamoto-album-i-lp","title":"von spar, eiko ishibashi, joe talia, tatsuhisa yamamoto-album i lp","description":"\u003cp\u003e\"The inspiration for Album l and Album II began with a performance by Japanese musician Eiko Ishibashi at Cologne's Week-End Fest in 2019. For this appearance, the renowned experimental musician and composer of the Oscar-winning film Drive My Car was joined on drums by Tatsuhisa Yamamoto and Joe Talia; both integral members of the top-level improvisational\/experimental scene in Tokyo. While in town for the festival, Ishibashi met up with the members of the Cologne-Berlin based group Von Spar who featured Ishibashi on their then new album Under Pressure. It was these previous collaborations that triggered the seven friends to take part in an extended session which resulted in these two new recordings, the first of which contains a variety of short pieces while the second boasts one continuous epic, album-length track. These recordings are a development of Von Spar's collaborative ambitions, where Sebastian Blume, Jan Philipp Janzen, Christopher Marquez, and Phillip Tielsch have previously invited special guests to their home studio to help realize a vision -- a methodology exemplified on their last two releases, Street Life and the aforementioned Under Pressure, which featured contributions from Marker Starling, Laetitia Sadier, Vivien Goldman, and R. Stevie Moore. On Album I, the percussion and drums phase in and out in a bold and skillful manner and form the framework for delicate guitars and complex progressions on the keys, all resulting in somnambulistic city-pop pieces like the opener, grooving electro-jazz reminiscent of the early 2000s, and fusion. You can also hear elements of contemporary jazz explorations from New York, LA and London, or reach back further to the Chicago post-rock of the early '90s. Album II with its expansive, experimental nature goes one step further featuring Yamamoto and Janzen's jagged percussion serving as the bedrock for a menacing and otherworldly arrangement of wind instruments to float in until essential sampler work by Joe Talia brings everything to a lively conclusion. These two albums may have the same origin but they are wildly different pieces of work, both exciting in their own way and proof that daring to experiment with freedom and trust in your collaborators can lead to musical highs such as these.\" --Lars Fleischmann, 2024\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973178060994,"sku":"bb458","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/vonsparalbum1.jpg?v=1740688982"},{"product_id":"von-spar-eiko-ishibashi-joe-talia-tatsuhisa-yamamoto-album-ii","title":"von spar, eiko ishibashi, joe talia, tatsuhisa yamamoto-album ii","description":"\u003cp\u003e\"The inspiration for Album l and Album II began with a performance by Japanese musician Eiko Ishibashi at Cologne's Week-End Fest in 2019. For this appearance, the renowned experimental musician and composer of the Oscar-winning film Drive My Car was joined on drums by Tatsuhisa Yamamoto and Joe Talia; both integral members of the top-level improvisational\/experimental scene in Tokyo. While in town for the festival, Ishibashi met up with the members of the Cologne-Berlin based group Von Spar who featured Ishibashi on their then new album Under Pressure. It was these previous collaborations that triggered the seven friends to take part in an extended session which resulted in these two new recordings, the first of which contains a variety of short pieces while the second boasts one continuous epic, album-length track. These recordings are a development of Von Spar's collaborative ambitions, where Sebastian Blume, Jan Philipp Janzen, Christopher Marquez, and Phillip Tielsch have previously invited special guests to their home studio to help realize a vision -- a methodology exemplified on their last two releases, Street Life and the aforementioned Under Pressure, which featured contributions from Marker Starling, Laetitia Sadier, Vivien Goldman, and R. Stevie Moore. On Album I, the percussion and drums phase in and out in a bold and skillful manner and form the framework for delicate guitars and complex progressions on the keys, all resulting in somnambulistic city-pop pieces like the opener, grooving electro-jazz reminiscent of the early 2000s, and fusion. You can also hear elements of contemporary jazz explorations from New York, LA and London, or reach back further to the Chicago post-rock of the early '90s. Album II with its expansive, experimental nature goes one step further featuring Yamamoto and Janzen's jagged percussion serving as the bedrock for a menacing and otherworldly arrangement of wind instruments to float in until essential sampler work by Joe Talia brings everything to a lively conclusion. These two albums may have the same origin but they are wildly different pieces of work, both exciting in their own way and proof that daring to experiment with freedom and trust in your collaborators can lead to musical highs such as these.\" --Lars Fleischmann, 2024\u003c\/p\u003e","brand":"bureau b","offers":[{"title":"Default Title","offer_id":44973179404482,"sku":"bb459","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/vonsparalbum2.jpg?v=1740689064"},{"product_id":"don-cherry-om-shanti-om-cd","title":"don cherry-om shanti om cd","description":"\u003cp\u003eAn amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civilizations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.\u003c\/p\u003e","brand":"black sweat","offers":[{"title":"Default Title","offer_id":44977596334274,"sku":"bs058cd","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/doncherryomshanti.jpg?v=1740945882"},{"product_id":"don-cherry-om-shanti-om-lp","title":"don cherry-om shanti om lp","description":"\u003cdiv class=\"description pod\" id=\"ProductLongDesc\"\u003e\n\u003cp\u003eAn amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in its simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civilizations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.\u003c\/p\u003e\n\u003c\/div\u003e","brand":"black sweat","offers":[{"title":"Default Title","offer_id":44977655382210,"sku":"bs058","price":26.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/doncherryomshanti.jpg?v=1740945882"},{"product_id":"natural-information-society-since-time-is-gravity-2lp","title":"natural information society-since time is gravity 2lp","description":"\u003cp\u003eThe next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer \u0026amp; multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums- \u0026amp;-counting flagship ensemble. Joining the core NIS of Abrams (guimbri \u0026amp; bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) \u0026amp; Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman \u0026amp; Ben Lamar Gay (cornets), Nick Mazzarella \u0026amp; Mai Sugimoto (alto saxophones \u0026amp; flute), Kara Bershad (harp) \u0026amp; Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio \u0026amp; The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado. \"Since first developing Natural Information Society in 2010, Joshua Abrams has been gradually expanding the group's conceptual underpinnings, its musical references \u0026amp; the sheer number of the group's members. Its music is, in a sense, an expansive form of minimalism, based in repeated \u0026amp; overlaid rhythmic patterns, ostinatos \u0026amp; modality. Its roots, its scale \u0026amp; its meaning become clearer in time. If time is gravity, it also allows us to carry more. Having begun as fundamentally a rhythm section with Abrams' guimbri at its core, the version here can stretch to a tentet, including six horns. Abrams has been expanding his minimalism gradually, but he has long understood a key to minimalism's potential: the breadth of its roots in the late 1950s \u0026amp; early 1960s, ranging from the dissatisfaction of young European-stream composers with the limitations of serialism to the simultaneous dissatisfaction of jazz musicians with the dense harmonic vocabulary of bop \u0026amp; hard bop. The former began exploring rhythmic complexity \u0026amp; narrow tonal palates in place of harmonic abstraction (Steve Reich's Drumming, Philip Glass' Music with Changing Parts; perhaps above all Terry Riley's In C \u0026amp; his late '60s all-night organ \u0026amp; loop concerts); the later reduced dense chord changes to scales (signally with Miles Davis' Kind of Blue, but rapidly expanding with John Coltrane's vast project). In the 1950s the LP record opened the world with documentation of Asian \u0026amp; African musics, key influences on both minimalists \u0026amp; jazz musicians. If John Coltrane's soprano saxophone suggested the keening shehnai of Bismillah Khan, the instrument was rapidly taken up by two key minimalists, LaMonte Young \u0026amp; Riley, similarly appreciative of its flexible intonation, the same thing that kept it out of big bands. If the guimbri, the North African hide-covered lute that Abrams plays with NIS, involves a rich tradition of hypnotic healing music associated with the Gnawa people, Abrams' music also touches on other musics as well --other depths, memories \u0026amp; healings, different drones, rhythms \u0026amp; modes. As the group expands on Since Time Is Gravity, he has made certain jazz traditions in the same stream more explicit as well. If there is a mystical \u0026amp; elastic quality involved in the experience of time, both in direction \u0026amp; duration, you will catch it here. The parts for the choir of winds expand on the roles of Abrams' guimbri, Mikel Patrick Avery \u0026amp; Hamid Drake's percussion \u0026amp; Lisa Alvarado's harmonium: at times, the winds are almost looping in the tentet version, each hitting a repeating note in turn, at once drone \u0026amp; distinct inflection on temporal sequence. The brilliance of the work resides in Abrams' compositions, the NIS' intuitive execution \u0026amp; in Ari Brown's singular embodiment of the great tenor saxophone tradition, including the oracular genius of Eddie 'Lockjaw' Davis, \u0026amp; Yusef Lateef...\" --Stuart Broomer, April 2022\u003c\/p\u003e","brand":"eremite","offers":[{"title":"Default Title","offer_id":44982310928578,"sku":"mte078-079","price":44.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/naturalinformationsincetime.jpg?v=1741119305"},{"product_id":"natural-information-society-since-time-is-gravity-cd","title":"natural information society-since time is gravity cd","description":"\u003cp\u003eThe next chapter of the Natural Information Society is here. Since Time Is Gravity, credited to Natural Information Society Community Ensemble with Ari Brown, presents a newly expanded manifestation of acclaimed composer \u0026amp; multi-instrumentalist Joshua Abrams nearly 15 year, 7 albums- \u0026amp;-counting flagship ensemble. Joining the core NIS of Abrams (guimbri \u0026amp; bass), Lisa Alvarado (harmonium) Mikel Patrick Avery (drums) \u0026amp; Jason Stein (bass clarinet) are Hamid Drake (percussion), Josh Berman \u0026amp; Ben Lamar Gay (cornets), Nick Mazzarella \u0026amp; Mai Sugimoto (alto saxophones \u0026amp; flute), Kara Bershad (harp) \u0026amp; Chicago living legend of the tenor saxophone Ari Brown. Recorded live to tape at Electrical Audio \u0026amp; The Graham Foundation, cover painting Vibratory Cartography: Nepantla, by Lisa Alvarado.\u003c\/p\u003e","brand":"aguirre","offers":[{"title":"Default Title","offer_id":44982312206530,"sku":"zorn099cd","price":20.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/naturalinformationsincetime.jpg?v=1741119305"},{"product_id":"albert-ayler-the-first-recordings-vol-2-lp","title":"albert ayler-the first recordings vol 2 lp","description":"\u003cp\u003eRecorded in Stockholm on October 25, 1962, this session is one of Albert Ayler's earliest recordings, featuring a European backing group he assembled during his brief stay there, before returning to the States in 1963 and beginning his legendary run with ESP-Disk' and Impulse. Though his genius is not yet fully formed, one can easily hear he's headed that direction, and this rare and long out of print recording is an essential piece of the history from one of America's most uniquely lyrical voices on the saxophone. Clear vinyl.\u003c\/p\u003e","brand":"sowing","offers":[{"title":"Default Title","offer_id":44982419390658,"sku":"sow018","price":23.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/albertaylerfirstrecovol2.jpg?v=1741127414"},{"product_id":"albert-ayler-bells-lp","title":"albert ayler-bells lp","description":"\u003cp\u003eOriginally released in 1965. The transitional \"Bells\" was just under 20 minutes, released originally as one side of a clear vinyl LP with the other side empty of music. It was recorded at a May 1, 1965, Town Hall concert of ESP artists, displaying Albert Ayler's new group, which added Albert's brother Donald and Charles Tyler. The denser sound of \"Bells\" shows Ayler moving towards the bigger sonic statement made on Spirits Rejoice, his September 23, 1965, Judson Hall session. By the way, \"Bells\" as heard here is not, in fact, a single composition; rather, it is a medley moving from \"Holy Ghost\" to an unnamed theme and then into \"Bells\" proper. ESP-Disk' founder Bernard Stollman was so excited by \"Bells\" that it was released without delaying to record additional music to fill the other side of the LP. Both Donald Ayler and Charles Tyler were making their recorded debuts; Tyler would go on to record for ESP as a leader (Charles Tyler Ensemble, and Eastern Man Alone. One vinyl pressing of Spiritual Unity in the '60s substituted a different track for \"Spirits.\" Mr. Stollman had no memory of how this had happened, but it was subsequently corrected and became a rarity known only to rabid collectors and ESP fanatics. The one that is on all the CDs (except for one Japanese release with both) and all the rest of the vinyl editions is the same tune as what is titled \"Saints\" on Witches \u0026amp; Devils (aka Spirits, recorded on February 24, 1964). The anomalous substitution, which does sound somewhat similar, is the same tune known as \"Vibrations\" on the album Vibrations (aka Ghosts) and as \"[tune Q]2\" in Revenant's Holy Ghost boxed set. Martin Davidson (owner of Emanem, another indie label responsible for many groundbreaking jazz releases) suggested that ESP-Disk' include this mysterious rarity on its 50th-anniversary CD edition of Spiritual Unity, and supplied the sound file. ESP kept the vinyl edition of Spiritual Unity as originally intended. How to get \"Vibrations\" out on vinyl, then? Well, Bells has long had plenty of open space on its B-side. . . .\u003c\/p\u003e","brand":"esp-disk","offers":[{"title":"Default Title","offer_id":44982421487810,"sku":"esp1010","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/albertaylerbells.jpg?v=1741127519"},{"product_id":"albert-ayler-new-york-eye-ear-control-lp","title":"albert ayler-new york eye \u0026 ear control lp","description":"\u003cp\u003eFeatured artists: Albert Ayler (tenor sax), Ed Blackwell (trumpet), Don Cherry (trumpet, cornet), Sunny Murray (drums), Gary Peacock (bass), Roswell Rudd (trombone), John Tchicai (saxophone, alto sax). Michael Snow is a Canadian national treasure, a true Renaissance man. He assembled a stellar group to improvise a sound track for his art film, titled Walking Woman, featuring a silhouette that is rumored to have been inspired by Carla Bley. Digitally remastered. Manufactured in the USA by the original label. New digipak format. \"This is a very interesting set, music that was freely improvised and used as the soundtrack for the 34-minute short film New York Eye and Ear Control. Tenor saxophonist Albert Ayler leads the all-star sextet (which also includes trumpeter Don Cherry, altoist John Tchicai, trombonist Roswell Rudd, bassist Gary Peacock and drummer Sunny Murray) on two lengthy jams. The music is fiery but with enough colorful moments to hold one's interest throughout.\" --Scott Yanow, AllMusic\u003c\/p\u003e","brand":"esp-disk","offers":[{"title":"Default Title","offer_id":44982421913794,"sku":"esp1016","price":24.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/albertaylernyeye.jpg?v=1741127591"},{"product_id":"albert-ayler-spiritual-unity-lp","title":"albert ayler-spiritual unity lp","description":"\u003cp\u003e180gm. Pressed in the United States with original artwork restored. Spiritual Unity, recorded on July 10, 1964, is the album that made Albert Ayler and ESP-Disk' famous (or, in some people's eyes\/ears, infamous). Mr. Ayler had already recorded in Europe and, in February '64, in New York, but this was the first album on which neither he nor his collaborators held back. It was also ESP's first jazz recording. Spiritual Unity presented a new improvisation paradigm: looser structure, less regard for standard pitch, and no obligation to present a regular beat. Ayler's sound was unprecedented, much rawer than any other jazz of the time. Sometimes it was expressed in squalls of untempered sound, sometimes in outbursts of poignant spontaneous melody. Meanwhile, under and around the leader's unfettered self-expressions, bassist Gary Peacock and drummer Sunny Murray reinvented the roles of their instruments.\u003c\/p\u003e","brand":"esp-disk","offers":[{"title":"Default Title","offer_id":44982422569154,"sku":"esp1002","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/albertaylerspiritual.jpg?v=1741127714"},{"product_id":"jeff-parker-mondays-at-the-enfield-tennis-academy-2lp","title":"jeff parker-mondays at the enfield tennis academy 2lp","description":"\u003cp\u003e\"Mondays at The Enfield Tennis Academy, x2 LPs of long-form, lyrical, groove-based free improv by acclaimed guitarist \u0026amp; composer Jeff Parker's ETA IVtet, is at last here. Recorded live at ETA (referencing David Foster Wallace), a bar in LA's Highland Park neighborhood with just enough space in the back for Parker, drummer Jay Bellerose, bassist Anna Butterss, \u0026amp; alto saxophonist Josh Johnson to convene in extraordinarily depthful \u0026amp; exploratory music making. Gleaned for the stoniest side-length cuts from 10+ hours of vivid two-track recordings made between 2019 \u0026amp; 2021 by Bryce Gonzales, Mondays at The Enfield Tennis Academy is a darkly glowing séance of an album, brimming over with the hypnotic, the melodic, \u0026amp; patience \u0026amp; grace in its own beautiful strangeness. Room-tone, electric fields, environment, ceiling echo, live recording, Mondays, Los Angeles. Jeff Parker's first double album \u0026amp; first live album, Mondays at The Enfield Tennis Academy belongs in the lineage of such canonical live double albums recorded on the West Coast as Lee Morgan's Live at the Lighthouse, Miles Davis' In Person Friday \u0026amp; Saturday Night at the Blackhawk, San Francisco \u0026amp; Black Beauty, \u0026amp; John Coltrane's Live in Seattle. While the IVtet sometimes plays standards \u0026amp;, including on this recording, original compositions, it is as previously stated largely a free improv group -- just not in the genre meaning of the term. The music is more free composition than free improvisation, more blending than discordant. It's tensile, yet spacious \u0026amp; relaxed. Clearly all four musicians have spent significant time in the planetary system known as jazz, but relationships to other musics, across many scenes \u0026amp; eras -- dub \u0026amp; Dilla, primary source psychedelia, ambient \u0026amp; drone -- suffuse the proceedings. Listening to playbacks Parker remarked, humorously \u0026amp; not, 'we sound like the Byrds' (to certain ears, the Clarence White-era Byrds, who really stretched it). A fundamental of all great ensembles, whether basketball teams or bands, is the ability of each member to move fluidly \u0026amp; fluently in \u0026amp; out of lead \u0026amp; supportive roles. Building on the communicative pathways they've established in Parker's -- The New Breed -- project, Parker \u0026amp; Johnson maintain a constant dialogue of lead \u0026amp; support. Their sampled \u0026amp; looped phrases move continuously thru the music, layered \u0026amp; alive, adding depth \u0026amp; texture \u0026amp; pattern, evoking birds in formation, sea creatures drifting below the photic zone. Or, the two musicians simulate those processes by entwining their terse, clear-lined playing in real-time. The stop\/start flow of Bellerose, too, simulates the sampler, recalling drum parts in Parker's beat-driven projects. Mostly Bellerose's animated phraseologies deliver the inimitable instantaneous feel of live creative drumming. The range of tonal colors he conjures from his extremely vintage battery of drums \u0026amp; shakers -- as distinctive a sonic signature as we have in contemporary acoustic drumming -- bring almost folkloric qualities to the aesthetic currency of the IVtet's language. A wonderful revelation in this band is the playing of Anna Butterss. The strength, judiciousness \u0026amp; humility with which she navigates the bass position both ground \u0026amp; lift upward the egalitarian group sound. As the IVtet's grooves flow \u0026amp; clip, loop \u0026amp; repeat, the ensemble elements reconfigure, a terrarium of musical cultivation growing under controlled variables, a tight experiment of harmony \u0026amp; intuition, deep focus \u0026amp; freedom. For all its varied sonic personality, Mondays at The Enfield Tennis Academy scans immediately \u0026amp; unmistakably as music coming from Jeff Parker's unique sound world. Generous in spirit, trenchant \u0026amp; disciplined in execution, Parker's music has an earned respect for itself \u0026amp; for its place in history that transmutes through the musical event into the listener. Many moods \u0026amp; shapes of heart \u0026amp; mind will find utility \u0026amp; hope in a music that combines the autonomy \u0026amp; the community we collectively long to see take hold in our world, in substance \u0026amp; in staying power. On the personal tip, this was always my favorite gig to hit, a lifeline of the eremite records Santa Barbara years. Mondays southbound on the 101, driving away from tasks \u0026amp; screens \u0026amp; illness, an hour later ordering a double tequila neat at the bar with the band three feet away, knowing i was in good hands, knowing it would be back around on another Monday. To encounter life at scales beyond the human body is the collective dance of music \u0026amp; the beholding of its beauty, together.\" --Michael Ehlers \u0026amp; Zac Brenner Pressed on premium audiophile-quality 120 gram vinyl at RTI from Kevin Gray\/Cohearent Audio lacquers. Mastered by Joe Lizzi, Triple Point Records, Queens, NY. \u003cbr\u003e\u003c\/p\u003e","brand":"eremite","offers":[{"title":"Default Title","offer_id":44984286970050,"sku":"mte076-077","price":44.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/jeffparkermondays.jpg?v=1741202271"},{"product_id":"sun-ra-live-in-roma-1980-2cd","title":"sun ra-live in roma 1980 2cd","description":"\u003cp\u003eBorn Herman Poole Blount in Alabama during 1914, Sun Ra first emerged on the Chicago jazz scene during the late 1940s. One of the great avant-garde composers of his generation -- leading the way on piano, organ, and (eventually) synthesizer -- beginning in the mid-1950s and lasting until his death in 1993, led the Arkestra, a band through which a near countless number of important artists passed and collaborated with, and many remained for the duration of their careers, notably Marshall Allen, John Gilmore, and June Tyson. Known for their wild costumes and theatrics, Ra's eccentric image and claims that he was from Saturn was deeply political, imagining an alternate social order, history, and future for African Americans that rests as a pioneering force in the Afro-Futurist movement. Recorded live at Teatro Giulio Cesare on March 28, 1980, comprising an astounding 27 compositions, including the highly celebrated \"Astro Black,\" \"Mr. Mystery,\" \"Romance of Two Planets,\" \"Space Is the Place,\" \"We Travel the Spaceways,\" and \"Calling Planet Earth.\" High among the greatest live gigs by the Arkestra captured on tape, carefully mastered by Matt Bordin at Outside Inside Studio, Live in Rome 1980 is a near perfect snapshot of the band's versatility and range, including many of their most notably and famous songs, as well as striking renditions of the Horace Henderson penned Benny Goodman number \"Big John's Special,\" Fletcher Henderson's \"Yeah Man!,\" and \"Limehouse Blues,\" displaying Ra's willingness to address and rework the entire, diverse history of jazz in a single go. Heard in its totality, perhaps what makes Live in Rome 1980 most striking is the way in which the concert plays out. Roughly the first half encounters the band locked in some of the most out-there, free jazz fire that can be imagined, weaving a startling sense of interplay and furious energy into a brilliant tapestry of writhing sonority, the likes of which were only really achieved by this band. The second half, with only moments of exception that return to the furious energy of the first, is a very different affair, easy toward the vocal standards, led by June Tyson's vocals and the joyous collective chanting of the band, for which they have become so widely celebrated, threading the sounds of off-kilter big band swing with heavy grooves and imagines of outer space.\u003c\/p\u003e","brand":"holidays","offers":[{"title":"Default Title","offer_id":44995817668802,"sku":"hol136cd","price":28.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sunraliveinroma1980.jpg?v=1741724137"},{"product_id":"sun-ra-live-in-roma-1980-3lp-box","title":"sun ra-live in roma 1980 3lp box","description":"\u003cp\u003eBorn Herman Poole Blount in Alabama during 1914, Sun Ra first emerged on the Chicago jazz scene during the late 1940s. One of the great avant-garde composers of his generation -- leading the way on piano, organ, and (eventually) synthesizer -- beginning in the mid-1950s and lasting until his death in 1993, led the Arkestra, a band through which a near countless number of important artists passed and collaborated with, and many remained for the duration of their careers, notably Marshall Allen, John Gilmore, and June Tyson. Known for their wild costumes and theatrics, Ra's eccentric image and claims that he was from Saturn was deeply political, imagining an alternate social order, history, and future for African Americans that rests as a pioneering force in the Afro-Futurist movement. Recorded live at Teatro Giulio Cesare on March 28, 1980, comprising an astounding 27 compositions, including the highly celebrated \"Astro Black,\" \"Mr. Mystery,\" \"Romance of Two Planets,\" \"Space Is the Place,\" \"We Travel the Spaceways,\" and \"Calling Planet Earth,\" over six vinyl sides. High among the greatest live gigs by the Arkestra captured on tape, carefully mastered by Matt Bordin at Outside Inside Studio, Live in Rome 1980 is a near perfect snapshot of the band's versatility and range, including many of their most notably and famous songs, as well as striking renditions of the Horace Henderson penned Benny Goodman number \"Big John's Special,\" Fletcher Henderson's \"Yeah Man!,\" and \"Limehouse Blues,\" displaying Ra's willingness to address and rework the entire, diverse history of jazz in a single go. Heard in its totality, perhaps what makes Live in Rome 1980 most striking is the way in which the concert plays out. Roughly the first half encounters the band locked in some of the most out-there, free jazz fire that can be imagined, weaving a startling sense of interplay and furious energy into a brilliant tapestry of writhing sonority, the likes of which were only really achieved by this band. The second half, with only moments of exception that return to the furious energy of the first, is a very different affair, easy toward the vocal standards, led by June Tyson's vocals and the joyous collective chanting of the band, for which they have become so widely celebrated, threading the sounds of off-kilter big band swing with heavy grooves and imagines of outer space.\u003c\/p\u003e","brand":"holidays","offers":[{"title":"Default Title","offer_id":44995819045058,"sku":"hol136","price":95.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sunraliveinroma1980.jpg?v=1741724137"},{"product_id":"maleem-mahmoud-ghania-with-pharoah-sanders-the-trance-of-seven-colors-2lp","title":"maleem mahmoud ghania with pharoah sanders-the trance of seven colors 2lp","description":"\u003cp\u003eZehra present The Trance Of Seven Colors by master Gnawa musician Maleem Mahmoud Ghania and free jazz legend Pharoah Sanders, available on vinyl for the very first time. Originally released in 1994 on Bill Laswell's Axiom imprint, and produced by Bill Laswell, The Trance Of Seven Colors is the meeting of two true musical masters. Maleem Mahmoud Ghania (1951-2015), son of the master of Gnawa music Maleem Boubker Ghania and the famous clairvoyant and \"moqaddema\", A'isha Qabral, and a master of the traditional Gnawa style in his own right. Mahmoud learned this craft as a youth along with his brothers, walking from village to village, performing ceremonies with his father Boubker and was one of the few masters (Maleem) who continued to practice the Gnawa tradition strictly for healing (the central ritual of the Gnawa is the trance music ceremony -- with the purpose of healing or purification of the participants). With 30 cassette releases of music from the Gnawa repertoire with his own ensemble and performances at every major festival in Morocco, including performing for the King in various contexts, Mahmoud Ghania was also one of Morocco's most prominent professional musicians. In 1994, Bill Laswell and Pharoah Sanders went to Morocco equipped with just some mobile recording devices to record Ghania and a large ensemble of musicians (a good portion being family members) in a very intimate set-up at a private house. Sanders, the legendary free jazz musician, contributed the distinctive tenor saxophone sounds that gained him highest praise as a truly spiritual soul right from the days of playing with John Coltrane and his wife Alice and on seminal solo albums, like Karma (1969). The aptly titled The Trance Of Seven Colors ranks among the best Gnawa recordings ever released, making it onto The Vinyl Factory's list of \"10 incredible percussive albums from around the world\". 25 years after its original CD release, it is finally available on vinyl. Remastered for vinyl and vinyl cut by Rashad Becker at Dubplates \u0026amp; Mastering, Berlin. 180 gram vinyl; comes in gatefold sleeve; includes download code. \"One of the most important albums of Gnawa trance music released in the '90s.\" --The Attic \"first-hand access to Gnawa healing ceremonial music\" --All Music\u003c\/p\u003e","brand":"zehra","offers":[{"title":"Default Title","offer_id":44995824287938,"sku":"zehra001","price":32.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/maleemtranceof.jpg?v=1741724716"},{"product_id":"atria-vicente-orlando-furioso-lp","title":"atria vicente-orlando furioso lp","description":"\u003cp\u003e\"Early European composers felt that their work reflected in its structure the divine nature of the material world. Via tuning, form, and contrapuntal alchemy, these musicians sought to illuminate and edify the complex and perfect order of existence. The music recorded here also reflects the contours of an ordered world, but it is no place any of us has ever visited. By assembling far-flung building blocks from the detritus of a 21st century musical vocabulary, Orlando Furioso brings the listener into a bizarre new cosmos. The result is deeply expressive music that speaks not with the voice of a narrator or memoirist, but with that of a cartographer. Like a science-fiction Dante, the listener is taken on a tour of many diverse and colorful provinces of an alien world. Though each composition references its own set of real-world musical locales (from the Andes to Indonesia to Italy to New Orleans), they are bound by stylistic consistency into a coherent, continuous geography. Permeating this world is an uncompromising commitment to microtonal harmony, rhythmic intensity, and an ability to deploy the esoteric (Nicola Vicentino's notorious 31-tone temperament) and the head-smackingly obvious (a surprise djent breakdown) with equal conviction. Though Atria Vicente's compositions are steering the ship, serious recognition is due to all the players on the record for their ability to meet these demands. Our omnivorous musical diets offer real abundance. They enrich our craft by providing access to limitless approaches from which to choose -- more masters to study, traditions to absorb, and techniques to hone than is possible in multiple lifetimes. They can also inflict heavy and often contradictory burdens of influence . . . When completed with precision and with no stone left unturned, the seams between the pieces vanish and the listener is deposited somewhere beautiful and strange, left to assign their sensations meanings of their own.\" --Mat Muntz Orlando Furioso is led by Atria Vicente and features David Acevedo, David Leon, Andrew Boudreau, Alec Goldfarb, Daniel Hass, Simón Willson, and Niña Tormenta. Orlando Furioso celebrated its release at Roulette Intermedium in Brooklyn, NY, as a part of Wet Ink Ensemble's 24th Season opening concert, a performance lauded by The New York Times. Winner of the Deutscher Jazz Preis: Best International Debut Album 2023.\u003c\/p\u003e","brand":"aguirre","offers":[{"title":"Default Title","offer_id":44999205847234,"sku":"zorn094","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/vicenteatriaorlando.jpg?v=1741871846"},{"product_id":"various-habibi-funk-2lp","title":"various-habibi funk 2lp","description":"\u003cp\u003eHabibi Funk is dedicated to re-releasing a style of music that historically never existed as a musical genre. We use the term to describe a certain sound that we like from the countries of the Arab world. The songs we chose were created in places quite far from another and under very different circumstances. Some were written and recorded during war times, others in exile. Despite the differences we think there is a musical connection between them. Essentially, we are interested in the musical endeavors, in which artists from the Arab world mixed local and regional influences with musical interests that came from outside of the region. Even though the name suggests it's all about funk music, our focus is more than just that. Often these influences might be inspired from Western popular music such as soul, pop and rock but it's not limited to that either. Some of our favorite records are best described as Arabic zouk (a genre originating from the Caribbean islands of Martinique and Guadeloupe) like Mallek Mohamed's music, Algerian coladera (a popular musical style from the Cape Verdean islands) or Lebanese AOR, which means the process of musical influences displayed on this compilation was much more versatile than just taking Western music as a blueprint and translating it with a local accent. The compilation features 15 different artists. \u003c\/p\u003e","brand":"habibi funk","offers":[{"title":"Default Title","offer_id":45002200154306,"sku":"hab007","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/habibifunkcomp.jpg?v=1741988297"},{"product_id":"rabih-abou-khalil-arabian-waltz-lp","title":"rabih abou-khalil - arabian waltz lp","description":"\u003cp\u003e\"Arabian Waltz is the pinnacle of Rabih Abou-Khalil's achievement as a composer and arranger. It is a sublime fusion of jazz, Middle Eastern traditional music, and Western classical. In addition to Abou-Khalil on oud (the Arabic lute), Michel Godard on the tuba and the serpent (the tuba's antique kinsman), and Nabil Khaiat on frame drums, the album also features the Balanescu String Quartet instead of the usual trumpet or sax. The presence of the Balanescu might seem to pose a dilemma for the composer: traditional Middle Eastern music uses no harmony but a string quartet is all about harmony. Abou-Khalil achieves a compromise by generally writing the string parts in unison (or in octaves), in effect using the quartet as a single voice, but also letting the quartet split up to play parts in unison with the other instruments or to provide ornamentation. Without surrendering jazziness at all, the presence of the strings makes possible a wondrous atmosphere, almost as if one is listening to the soundtrack of a classy movie set in Beirut or Damascus during the '40s. This feeling is greatest on 'Dreams of a Dying City' with its brooding tuba and cello motifs and grave, repeated rhythms. 'The Pain After' starts with an impressive tuba solo that turns into a long interlude for tuba and string quartet; sad, slow music that sounds like one of Beethoven's late quartets. Then Abou-Khalil finally enters on oud, bringing a sustained note of wistfulness. Fortunately, beside the darker numbers lie the propulsive drama of 'Arabian Waltz' and the bobbing and weaving quirkiness of 'Ornette Never Sleeps.' Abou-Khalil is known for experimenting with the possibilities his guest musicians bring to his style. In this case, the guests have inspired the host to reach a new height and maybe even a new style. This recording suits every fan of world music, jazz, classical, or just good music.\" --Kurt Keefner\u003c\/p\u003e","brand":"enja","offers":[{"title":"Default Title","offer_id":45003959664834,"sku":"enj90591","price":24.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/rabihaboukhalilarabian.jpg?v=1742130686"},{"product_id":"sharhabil-ahmed-the-king-of-sudanese-jazz-lp","title":"sharhabil ahmed-the king of sudanese jazz lp","description":"\u003cp\u003eWe're super happy to announce our 13th release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It's an incredible unique mix of rock'n'roll, funk, surf, traditional Sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we're happy they will now be widely available. 'Argos Farfish' which was featured on our last comp amassed close to 400,000 plays already. Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for 'Al Ahram Weekly': '[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.' Referring to its sonic appearance, Sudanese jazz hasn't too much in common with the western idea of jazz. Sharhabil's sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So, it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is the king of Jazz, literally, since in he won a competition over other artists for that title.\u003c\/p\u003e","brand":"habibi funk","offers":[{"title":"Default Title","offer_id":45004149424322,"sku":"hab013","price":27.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sharhabilahmedkingof.jpg?v=1742154056"},{"product_id":"lampen-halogen-lp","title":"lampen-halogen lp","description":"\u003cp\u003eFinnish duo Lampen presents their second album Halogen on We Jazz Records. Lampen is Kalle Kalima and Tatu Rönkkö. Kalle plays guitar, Tatu plays percussions and sampler. The band makes its home between Helsinki and Berlin, where Kalima is based. Lampen's sound is reminiscent of the wide-screen meditations of the likes of Earth and The Necks, but on a territory of their own. Think meditative deep contemporary jazz drawing from way outside of the genre's borders and landing somewhere with heightened levels of low-key sonic intensity. Ideas form in time and nothing is rushed, and when you land in the full eruption of the duo's force, you get there surprisingly yet logically.\u003c\/p\u003e","brand":"we jazz","offers":[{"title":"Default Title","offer_id":45010682904770,"sku":"wjlp067","price":29.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/lampenhalo.jpg?v=1742476870"},{"product_id":"die-like-a-dog-fragments-of-music-life-death-of-albert-ayler-2lp","title":"die like a dog-fragments of music, life \u0026 death of albert ayler 2lp","description":"\u003cp\u003eBrötzmann reflected: \"The idea of expressing my love of and admiration for Albert Ayler -- both man and music -- in a musical statement is not new. We both tried to do similar or almost identical things at the same point in time, each independently and without knowing anything about each other -- each of us within his own culture.\" This album was recorded in August 1993 at Townhall Charlottenburg in Berlin, and was released in 1994 by FMP. Featuring Peter Brötzmann (tenor saxophone, alto saxophone, tarogato); Toshinori Kondo (trumpet, electronics); William Parker (double bass); Hamid Drake (drums, frame drum).\u003c\/p\u003e","brand":"cien fuegos","offers":[{"title":"Default Title","offer_id":45010710560962,"sku":"cf032","price":39.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/dielikeadogfragments.jpg?v=1742479157"},{"product_id":"arashi-with-takeo-moriyama-tokuzo-2lp","title":"arashi with takeo moriyama-tokuzo 2lp","description":"\u003cp\u003eThe trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music -- drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria. Japanese saxophonist and improviser Akira Sakata turned 79 in February of 2024, but this singular musician shows no little sign of age. Over the last 15 years or so, as he neared the typical retirement age, he formed a couple of searing working bands that finally earned him a devoted international following despite his crucial role in establishing his homeland as key center for free jazz as a member of the Yosuke Yamashita Trio in the 1970s. Arashi, with Norwegian drummer Paal Nilssen-Love and Swedish bassist Johan Berthling, has become his primary touring group, a fiery unit operating with a collective improvisational drive that lifts his white-hot alto saxophone and clarinet playing to new heights and provides the ideal platform for his over-the-top vocal exhortations. While the trio was on a short Japanese tour in 2019, Sakata arranged for a handful of special collaborations, bringing his two younger Scandinavian colleagues face-to-face with some of Japan's most important artistic figures. They performed with Min Tanaka, the singular experimental dancer, who famously improvised with guitarist Derek Bailey and pianist Cecil Taylor, as well as the legendary new music pianist Yuji Takahashi. The concert documented on this phenomenal recording features the third veteran of Japanese experimental music Arashi worked with on that tour, drummer Takeo Moriyama, the third member of the Yamashita trio. As the present recording makes patently clear, Moriyama fit right in. The percussionists melded beautifully, driving the music but also clearing space for one another and forging astonishing feats of interactivity. Rather than canceling one another out or laying it on too thick, they quickly find a method to co-exists, tapping history without the slightest hint of nostalgia. The trio nonchalantly becomes a quartet, absorbing more history, more ideas, and more energy, spitting it back out with greater concentration and focus than ever.\u003c\/p\u003e","brand":"trost","offers":[{"title":"Default Title","offer_id":45010780553410,"sku":"trost248","price":39.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/arashitokuzo.jpg?v=1742483667"},{"product_id":"arashi-with-takeo-moriyama-tokuzo-cd","title":"arashi with takeo moriyama-tokuzo cd","description":"\u003cp\u003eThe trio of Japanese saxophone legend Akira Sakata with the Scandinavian rhythm section presents already his fifth album! While the trio was on a Japan tour in 2019, Sakata arranged for a handful of special collaborations, with some of Japan's most important artistic figures. Featuring the avantgarde dancer Min Tanaka, the pianist Yuji Takahashi and a heavyweight veteran of Japanese experimental music -- drummer Takeo Moriyama. Moriyama was playing with Sakata in the Yosuke Yamashita Trio and is his unflinching sparring partner on the explosive 2022 Trost duo recording Mitochondria. Japanese saxophonist and improviser Akira Sakata turned 79 in February of 2024, but this singular musician shows no little sign of age. Over the last 15 years or so, as he neared the typical retirement age, he formed a couple of searing working bands that finally earned him a devoted international following despite his crucial role in establishing his homeland as key center for free jazz as a member of the Yosuke Yamashita Trio in the 1970s. Arashi, with Norwegian drummer Paal Nilssen-Love and Swedish bassist Johan Berthling, has become his primary touring group, a fiery unit operating with a collective improvisational drive that lifts his white-hot alto saxophone and clarinet playing to new heights and provides the ideal platform for his over-the-top vocal exhortations. While the trio was on a short Japanese tour in 2019, Sakata arranged for a handful of special collaborations, bringing his two younger Scandinavian colleagues face-to-face with some of Japan's most important artistic figures. They performed with Min Tanaka, the singular experimental dancer, who famously improvised with guitarist Derek Bailey and pianist Cecil Taylor, as well as the legendary new music pianist Yuji Takahashi. The concert documented on this phenomenal recording features the third veteran of Japanese experimental music Arashi worked with on that tour, drummer Takeo Moriyama, the third member of the Yamashita trio. As the present recording makes patently clear, Moriyama fit right in. The percussionists melded beautifully, driving the music but also clearing space for one another and forging astonishing feats of interactivity. Rather than canceling one another out or laying it on too thick, they quickly find a method to co-exists, tapping history without the slightest hint of nostalgia. The trio nonchalantly becomes a quartet, absorbing more history, more ideas, and more energy, spitting it back out with greater concentration and focus than ever.\u003c\/p\u003e","brand":"trost","offers":[{"title":"Default Title","offer_id":45010781765826,"sku":"trost248","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/arashitokuzo.jpg?v=1742483667"},{"product_id":"joe-mcphee-im-just-sayn-lp","title":"joe mcphee-i'm just say'n lp","description":"\u003cp\u003eAs a common ligature to the OG free jazz scene of '60s NYC, with formative binds to its European offshoots and the experimental avant garde, Joe McPhee is a true force of nature who has represented jazz at its freest over a remarkable lifetime. In duo with Swedish free jazz and noise standard bearer Mats Gustafson, he upends expectations with an astonishingly vivid and upfront example of his enduring contribution to freely improvised music. In 11 parts he variously reflects on everything from the neon sleaze and scuzz of NYC to contemporary US politicians and laugh out loud imitations of his previous sparring partners such as Peter Brötzmann, with a head-slapping immediacy that leaves you reeling, spellbound. McPhee's flow of rare, organic cadence, ranging from urgent to contemplative and dreamlike, is blessed with a unique turn-of-phrase that surely mirrors his decades of instrumental work. Gustafsson, meanwhile, dexterously takes up the mantle with a multi-instrumental spectrum of sounds, leaving McPhee unbound and able to float and sting on the mic. There's obvious wisdom in his perceptively penetrative observations, as derived from a rich cultural life well spent, but also a playful naivety and levity in his ability to veer from almost melodic speech to explosive aggression and a knowing, bathetic wit. It's perhaps hard to believe that McPhee only started incorporating and performing spoken word in his work in the past ten years, a half century since his declaration of \"What Time Is It?\" announced his arrival on a legendary debut Nation Time (1971), ushering in one of free jazz's most singular characters in the process. Oscillating between discordant reflections on life as a touring musician, set to Gustafsson's skronk and culminating in a snort-worthy imitation of Peter Brötzmann's gruff German accent, on \"Short Pieces\" or the glowering growl and noise exhortations of \"Guitar,\" he evokes a more sweetly consonant calm in \"When I Grow Up\" and eerie threat of \"The Dreams Book,\" and viscerality of \"Disco Death,\" where Gustafson's tonal versatility comes into hugely mutable play, whilst McPhee's extraordinary, unaffected voice is a constant. It's perhaps McPhee's balance of cool measuredness and wellspring of barbed energies that allows listeners, at least, to get the most out of this one; not stifling with mannered or manicured enunciation that can trigger certain icks; keeping close to the nature of spoken word in a way that avoids cliche and becomes inherently critical of it within his purposeful, non-hesitant clarity and unflinching approach.\u003c\/p\u003e\n\n\u003ciframe width=\"100%\" height=\"450\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https:\/\/w.soundcloud.com\/player\/?url=https%3A\/\/api.soundcloud.com\/playlists\/1950581663\u0026amp;color=%23ff5500\u0026amp;auto_play=false\u0026amp;hide_related=false\u0026amp;buying=false\u0026amp;download=false\u0026amp;show_comments=true\u0026amp;show_user=true\u0026amp;show_reposts=false\u0026amp;show_teaser=true\"\u003e\u003c\/iframe\u003e","brand":"smalltown supersound","offers":[{"title":"Default Title","offer_id":45011455934658,"sku":"stsljn441","price":38.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/joemcpheeimjust.jpg?v=1742503040"},{"product_id":"the-sorcerers-s-t-lp","title":"the sorcerers-s\/t lp","description":"\u003cp\u003eOriginally released in 2019. Taking influences from Ethiopiques Ethiojazz as well as the soundtracks to the European horror films of the '60s and '70s, The Sorcerers seamlessly blend these disparate elements into one cohesive package. Based in ATA Records' home of Leeds, The Sorcerers are made up of the cream of the city's jazz and world scene. Forming the backbone of the ATA Records house band they incorporate bass clarinets, flutes, and vibraphone alongside bass, guitar organ and drums, providing Ellingtonian textures on top of a solid rhythmic foundation. After featuring on the Funk, Soul \u0026amp; Afro Rarities: An Introduction to ATA Records compilation, they set to work recording a full-length LP at the studios of record label ATA Records. Initially inspired by the work of Ethiopian composer Mulatu Astatke, the Sorcerers have deftly incorporated a wide breadth of musical influences from the creepy metallic textures and quietly insistent rhythm section of \"Pinch Of The Death Nerve\" through to the Moondogesque melodies of the Viking of 5th street and the KPM inspired orchestration of closing track night of the sorcerer. The LP also includes an alternate version of \"Cave Of Brahma,\" a heavily Mulatu influenced track that featured on the ATA Records compilation. The album has a dark undercurrent that weaves throughout all eight tracks, underpinning the album with an unsettling and evocative theme. Support comes from Jazzman Gerald, Jimi Tenor, Shawn Lee, Nightmares On Wax, and Mulatu Astatke himself.\u003c\/p\u003e\n\n\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/I8Y8jv3b_Ko?si=caEucgGpXj3aHI3b\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e","brand":"ata records","offers":[{"title":"Default Title","offer_id":45012361707714,"sku":"ata002","price":30.99,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/files\/sorcerersst.jpg?v=1742562778"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0655\/8351\/3794\/collections\/category-jazz-improv.png?v=1740320963","url":"https:\/\/bentcrayon.com\/collections\/jazz-improv.oembed?page=9","provider":"bent crayon","version":"1.0","type":"link"}