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LP
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12XU 175LP
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"The Miller Brothers, Roger (Mission of Burma, etc. etc. etc.), Laurence (Destroy All Monsters, etc. etc. etc.) and Benjamin (Destroy All Monsters, etc. etc. etc.) grew up in Ann Arbor, Michigan in a musical family. When the Beatles hit in 1964 Roger was 12 and Laurence and Benjamin were 10, all three ready to rock. Their first band, which covered 13th Floor Elevators, Love, Kinks, Yardbirds, performed two shows summer 1967. In 1969, their spontaneous improv. session Freak Trio Electric sealed the fate towards Sproton Layer. With a complete belief in weed as the doorway to an alternate universe, Roger began a furious bout of composing that spring. There was a lull in the summer, but in the fall, with the addition of Harold Kirchen (brother of Bill Kirchen, Commander Cody) on trumpet, they were off and running again. A few recordings were made in 1969 with one mic on the ping-pong table, and Mark Brahce, set up his first session with the band. The best of these recordings make up the '1969' side of Press Your Hand and the Whole Room Fluctuates. At the end of August 1970, Mark Brahce recorded their album With Magnetic Fields Disrupted in the Miller family recreation room, and the band promptly folded when they got no notice or response. Their brand of psychedelia was on the wane. They reformed briefly in 1971 as an instrumental trio but played only two shows before disbanding in that incarnation. They reformed for a series of five shows in 2013 with Steve Smith on trumpet. The '1969' side of Press Your Hand and the Whole Room Fluctuates consists of songs that didn't make it onto With Magnetic Fields Disrupted, and the '1971' side are all spontaneous Free Rock/Space Jams, with their very unique take on this matter. After Sproton Layer folded, all brothers kept extremely active and continue creating music to this very day. In chronological order, after the demise of Sproton Layer: The Fourth World Quartet, Empool, Destroy All Monsters, Mission of Burma, Nonfiction, Birdsongs of the Mesozoic, GKW, M3, Larynx Zillion's Novelty Shop, No Man, Mister Laurence and his Play Money Band, The Alloy/Anvil Orchestra, Solo Multiphonic Guitar, Binary System, The Mister Laurence Experience, Third Border, M2, Transistor, Trinary System, The Sensorium Saxophone Ensemble, Exploded View, Porcelain Hammer, The Sensorium Chamber Ensemble, Tinn Parrow, and his Clapfold Platune, Solo Electric Guitar Ensemble, and many many more."
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LP
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AKU 1001LP
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2026 repress; LP version. As the first entry in its catalog, French label Akuphone presents a reissue of Lily Chao's Chinese Folk Songs, originally released by Four Seas Records in 1968. This edition includes four previously unheard titles and exclusive liner notes containing Lily Chao's biography and lyric translations. Chao Xiao-Jun aka Lily Chao was born in Taiwan in 1948, while mainland China was rapidly undergoing major changes immediately following the end of the Chinese Civil War. After experiencing hard times in her girlhood, she ventured out into singing quite unwillingly. Indeed, at age 19, Lily Chao was compelled to give up her studies to support her family and start a career as a singer, after passing an audition at the Taipei Cabaret in Taiwan. The cabaret industry was in full swing at the time, offering destinations for popular entertainment, and Lily Chao's efforts to launch her singing career immediately attracted producers' attention. Her appearances at the Taipei Cabaret as part of its shows, which combined music in Mandarin, poetry, drama, magic, and other fine arts, soon earned her a reputation. Despite the immediate success that her numerous stage performances and appearances on the national television channel won her, Lily Chao led a chaotic and painful private life. As she smiled very little and tended to appear distant, the audience dubbed her the "Ice Queen," a nickname that she would keep for the rest of her career. This barely-concealed melancholy can be felt throughout Chinese Folk Songs, as well as in her very particular way of singing, which is both jerky and perfectly fluid. The album stands halfway between Mandarin folk songs and rock singing inspired by The Shadows, all surf guitar and garage sounds recorded with pinpoint precision and enhanced by saxophone and organ touches, while Lily Chao's intoxicating vibratos bring a pinch of soul to the music. An outstanding achievement of timeless pop music from the 1960s.
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AKU 1053LP
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2026 repress! Deluxe laminated sleeve and high-quality vinyl made in France. Includes: A3 poster, 2x 12'' inserts, 1x 4-panels flyer. Limited edition of 700. Akuphone and The Cambodian Vintage Music Archive present the first-ever retrospective dedicated to So Savoeun -- one of the radiant voices that defined Phnom Penh's golden age of sound in the 1960s and 1970s. In those vibrant years, the city pulsed with music: rock bands, crooners, and traditional ensembles blended East and West, shaping a uniquely Cambodian pop that shimmered with hope and modernity. Amid this flourishing scene, So Savoeun's voice stood out -- silken yet powerful, intimate yet expansive, carrying with it the promise of a new era. This collection brings together rare and long-unheard recordings, including luminous duets with legendary contemporaries Meas Saman, Lek Savath, and Sinn Sisamouth. Each track is more than just a song -- it is a fragment of memory, a preserved echo of nights when Phnom Penh's dance halls and radios overflowed with rhythm and possibility. In her own words, hearing these songs resurface is like opening a long-buried chest of jewels, hidden beneath the dust of history and now gleaming again after half a century. Her voice, once thought lost to time, reemerges like the cicada whose chant reverberates endlessly through the forest -- an eternal call that bridges silence and remembrance. Her music is more than nostalgia; it is testament and rebirth. It continues to resonate, not only with those who lived through that golden era, but with new generations discovering its beauty for the first time. Through this release, the past breathes again -- tender, luminous, and unforgettably alive.
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AKU 1057LP
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Repressed!Ak'chamel, The Givers of Illness plunged into truly deranged extremes to summon the decayed, otherworldly essence captured on Spiritually Unemployed, embracing unhinged and esoteric methods during the tracking process. Recorded in a makeshift adobe studio amid liminal border-zone ruins. Nocturnal treks along forgotten stretches near the U.S.-Mexico line, through derelict border outposts and sun-bleached vehicle husks, yielded unique recording opportunities: Ak'chamel dragged tape decks like sacrificial talismans, to capture gravel crunch, distant javalina fights, and unintentional EVP-like anomalies. Harvesting the psychic weight of migration, abandonment, and geopolitical limbo. A half-broken oud, double-reed pipes, a battered hurdy-gurdy, and self-built spike fiddles were "tortured" pre-recording; strings detuned to unstable microtonal chaos, reeds soaked in questionable desert-sourced liquids, and instruments were kept outdoors to absorb ambient dew, dust, and wild temperature swings, ensuring every take carried an unpredictable, haunted instability. Vintage cassette decks and reel-to-reel units were powered through erratic, low-voltage setups (literally dying generators) which introduced random voltage drops, speed fluctuations, and ghostly dropouts mid-take -- turning tracking into unpredictable spirit interventions. Fresh analog takes were dubbed onto tapes previously buried in arid soil throughout the hot day, then exhumed and played back while layering new overdubs; creating a palimpsest of temporal erosion where past decay bleeds into present performance. Live performances were blasted through overloaded, malfunctioning analog chains (cranked cassette walkmans, battered spring reverbs filled with gravel, warped echo units), then physically "mauled" by running the tape through sandpaper-wrapped capstans or crushing segments underfoot before resplicing -- resulting in tracks that feel compressed, twisted, and ruptured. Thus the desert claims its due: instruments tortured into prophecy, tapes interred and exhumed in chapels of malfunction. Spiritually Unemployed is the resulting artifact -- a sonic border autopsy where enlightenment arrives not as a sealed doctrine but as an open infested wound.
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2LP
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BT 139LP
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2026 restock. Gatefold! Comes with booklet. Black Truffle presents Dalbergia Retusa, an extensive double LP selection of the solo guitar music of Hans Reichel, compiled by Oren Ambarchi. Last heard on Black Truffle as one quarter of the joyously anarchic Bergisch-Brandenburgisches Quartett, Hans Reichel (1949-2011) is one of the great figures of experimental guitar music. Though perhaps lesser known than peers like Derek Bailey, Fred Frith, and Keith Rowe, Reichel's rethinking of the instrument was in some ways the most radical of all. Early on, he dispensed with existing guitars to build a series of his own that explored the use of additional strings and fretboards, moveable pickups, extra bridges, special capos, and other innovations documented in the extensive booklet accompanying this release. Reichel was a long-term resident of Wuppertal, the small Western Germany city that became an unlikely center of European free jazz in the late 1960s, also home to Peter Brötzmann and Peter Kowald. His solo debut Wichlinghauser Blues was an early entry into the FMP discography and began a relationship with the label that stretched into the 1990s; all the solo performances heard here were first released on FMP. Reichel was an important source for the development of Oren Ambarchi's own extended approach to the electric guitar. Appropriately enough, his selection opens with the very first piece by Reichel he ever heard, on a flexidisc included with a 1989 issue of Guitar Player magazine. Though Reichel collaborated with others extensively in many settings and also performed on violin and his other major contribution to instrument invention, the daxophone, his music for solo guitar remains at the core of his oeuvre. Focusing exclusively on solo pieces recorded between 1973 and 1988, the 23 pieces on Dalbergia Retusa showcase the range and consistency of Reichel's work, allowing the listener to see how his performances developed hand-in-hand with his instrumental inventions. Many of the pieces from the 1980s make use of varieties of the "pick behind the bridge guitar," instruments of uncanny harmonic richness primarily designed to be played on the 'wrong' side of the bridge. At times the unexpected behavior of attacks, resonance, and decay can almost seem electronic, conjuring up the technology-assisted work of Henry Kaiser or even Fennesz, but realized solely through Reichel's unorthodox techniques on his invented instruments. Extensively illustrated with photos and Reichel's own plans and drawings of his instruments, Dalbergia Retusa is an essential introduction to the unique world of Hans Reichel.
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LP
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BONF 029C-LP
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Color vinyl version. A cornerstone in European experimental and popular modern composition. Formed around the core of jazz vibraphonist Christian Burchard and drummer Dieter Serfas, the group started his career in Munich in 1969. More than 300 musicians have passed through their ranks, from their colleagues in Amon Duül II (Lother Meid, Chris Karrer, Jimmy Jackson), Xhol (Hansi Fischer), Between (Roberto Detree, Peter Hamel) to renowned jazzmen (Charlie Mariano, Mal Waldron) and countless musicians from around the world (Yoruba Dun Dun Orchester, Okay Temiz & Oriental Wind, Karnataka College Of Percussion, Mahmoud Gania, Xizhi Nie), making Embryo an ever-changing but always interesting collective of musicians. This is where it all began. Originally released by Ohr in 1970, Embryo's legendary debut was an inventive piece of progressive jazz-rock spiced-up with free moves and soaked in a late '60s psychedelic atmosphere. Miles Davis was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborators of the band) one day he stated: "Embryo -- they are these crazy creative musicians playing really weird stuff." When you get the blessing from the prince of darkness itself, nothing can go wrong, so here's the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock!
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BONF 029LP
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A cornerstone in European experimental and popular modern composition. Formed around the core of jazz vibraphonist Christian Burchard and drummer Dieter Serfas, the group started his career in Munich in 1969. More than 300 musicians have passed through their ranks, from their colleagues in Amon Duül II (Lother Meid, Chris Karrer, Jimmy Jackson), Xhol (Hansi Fischer), Between (Roberto Detree, Peter Hamel) to renowned jazzmen (Charlie Mariano, Mal Waldron) and countless musicians from around the world (Yoruba Dun Dun Orchester, Okay Temiz & Oriental Wind, Karnataka College Of Percussion, Mahmoud Gania, Xizhi Nie), making Embryo an ever-changing but always interesting collective of musicians. This is where it all began. Originally released by Ohr in 1970, Embryo's legendary debut was an inventive piece of progressive jazz-rock spiced-up with free moves and soaked in a late '60s psychedelic atmosphere. Miles Davis was right, Embryo was more than a unique experience. While talking with Charlie Mariano (the saxophone player was one of the most impressive collaborators of the band) one day he stated: "Embryo -- they are these crazy creative musicians playing really weird stuff." When you get the blessing from the prince of darkness itself, nothing can go wrong, so here's the story. Opal was the beginning of all things to come, the record was released in 1970 and licensed by pioneering early Berlin rock/jazz/experimental music label Ohr. It was quite a shock! Also available on clear vinyl (BONF 029C-LP).
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LP
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BONF 030C-LP
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Clear vinyl version. The second album by Christian Burchard and alumni was released in 1971 on the prestigious United Artists imprint, only a year after their debut. A significantly progression and the first venture in the realm of the ethnic/world-rock fusion that would come to be their trademark. The gang from Munich flew over a series of packed jam showing their authentic passion for the Middle East. Combining a series of progressive numbers, still miles away from their British counterpart, the band opened up for a series of transcendental and wicked numbers, pushing the boundaries of the '70s counterculture. While it was some eastern-blues rapture or a post-Coltrane collage in the vein of the classy melody of A Love Supreme, the band built his foundation while facing an ancient future. That was the beginning of a whole era where freedom was the keyword.
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BONF 030LP
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The second album by Christian Burchard and alumni was released in 1971 on the prestigious United Artists imprint, only a year after their debut. A significantly progression and the first venture in the realm of the ethnic/world-rock fusion that would come to be their trademark. The gang from Munich flew over a series of packed jam showing their authentic passion for the Middle East. Combining a series of progressive numbers, still miles away from their British counterpart, the band opened up for a series of transcendental and wicked numbers, pushing the boundaries of the '70s counterculture. While it was some eastern-blues rapture or a post-Coltrane collage in the vein of the classy melody of A Love Supreme, the band built his foundation while facing an ancient future. That was the beginning of a whole era where freedom was the keyword. Also available on clear vinyl (BONF 030C-LP).
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LP
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BYG 304LP
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2026 restock; Fourth volume in the BYG Actuel series; gatefold sleeve, 180 gram vinyl. "A great recording session for the French BYG Actuel label dated August 12, 1969. Tenor saxophonist Archie Shepp met up with members of the Chicago avant-garde school including Art Ensemble Of Chicago members Lester Bowie, Roscoe Mitchell and Malachi Favors. Featuring also Dave Burrell, Sunny Murray, Philly Joe Jones, Art Taylor, Clifford Thornton, Earl Freeman among the others."
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LP
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COSMR 052LP
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Here's for the real thing! A Late '60s Japanese compilation investigating the so-called "Group Sounds" movement. Includes early recordings by a series of musicians better known as The Genova, The Cougars, Micky Curtis & The Samurais, The Playboy, The Burns, The Genova, Isao Idemitsu, The Spiders, and The Rangers.
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LP
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LPNUY 012LP
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Redux, an ambient-folk album from Portland, Oregon musician, poet, and multimedia artist Dao Strom, is a collection of nine resurrected pieces. Reimagining songs she initially composed as a member of the Austin, Texas alt-country and singer-songwriter scenes of the early 2000s, Strom reworks these lost songs into ambient-folk mini-epics -- part grounded and earthly, part ethereal and otherworldly. Drawing on an intimate yet spacious palette of folk, ambient, and experimental textures, woven through with a poetics of vulnerability and quiet emotion, Redux explores song as gently reverberant fields of layered vocals over finger-picked guitars with touches of electronics and sampling. Strom's musical journey initially began in a roots and acoustic vein, simultaneously with her career as a fiction writer. In the years since, she has moved from Austin, Texas to Juneau, Alaska to Portland, Oregon; her work too has expanded across genres into more experimental formats of poetry, music, and multidisciplinary art. In returning to these earlier songs, Strom reclaims and revives them, exploring her relationships to time, voice, and the continuances of emotion and memory. The word redux means "brought back; revived"; a sense of something restored -- earlier renditions of some of the Redux songs were recorded with Austin-based collaborators and producers; some songs were written in that time period but never recorded. Produced, performed, and recorded by Strom alone in her home studio, Redux is a return and reemergence of the artist to her own most personal, intuitive structures and atmospheres of voice, sound, and song.
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LP
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DOC 144LP
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2026 repress. Akira Ifukube's mighty score to the legendary monster movie that started it all, Godzilla! Ifukube's visionary music is super dark reflecting the horror of Ishiro Honda's film. This incredible score music alternates between brass and strings as we witness the death and destruction that comes in Godzilla's wake.
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CD
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GB 1542CD
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Dedicated to innovation, informed by a love of the past, Butcher Brown's sound is a modernist fusion, fizzing with explosive energy, rich in jazz licks and astonishing with raw musicality. Gearbox Records presents this, their first ever multi format global release. It's a hometown gig (Richmond, Virginia) and the electrifying energy reminds listeners how vital a live album should be. The players were all born after the mid-'70s, fusion's golden age, but their modern, hiphop inflected funk has rich echoes of Return To Forever and early Earth Wind and Fire. This is the sound of a band on the verge of a brilliant future.
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CD
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GB 1545CD
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Originally released in 2018. Following on from previous release Live At The Vagabond (2017) and AfroKuti: A Tribute To Fela (2018), Camden Session is a snapshot of the band's explosive energy, groove-heavy sequences, and unrivalled togetherness. Their playing is modern and innovative, yet contains rich echoes of Weather Report, Return to Forever, early Earth Wind and Fire, and Zappa. DJ Harrison is broadly seen as the visionary in an albeit egalitarian band. His keys provide the harmonic colors around which drummer Corey Fonville's (Christian Scott, Nicholas Payton) muscular delivery and bassist Andrew Randazzo's effortless cool pulsate. Multi-instrumentalist Marcus Tenney on saxophone/trumpet and Morgan Burr's guitar complete the quintet. Recorded at Mark Ronson's Zelig Studios and cut live to disc at Gearbox Records in London using an all-analogue signal path. Mixed and engineered by the legendary Tony Platt. No edits, no overdubs.
"A quintet that plays funky, frisky music equally influenced by jam bands, hip-hop D.J.s and 1970s fusion. Their star is on the rise." --New York Times
"Masters of full-on, soul-kissed, garage punk-funk and jazz grooves -- progressive rappers should be queuing out the door for their blessing." --Mojo
"The band settles into nuanced grooves with an innate respect for the past, a reverence for the Headhunters, Stevie Wonder, the Meters and the voodoo of the tape machine." --Huffington Post
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CD
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GB 1545CDOBI
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Japanese edition. Originally released in 2018. Following on from previous release Live At The Vagabond (2017) and AfroKuti: A Tribute To Fela (2018), Camden Session is a snapshot of the band's explosive energy, groove-heavy sequences, and unrivalled togetherness. Their playing is modern and innovative, yet contains rich echoes of Weather Report, Return to Forever, early Earth Wind and Fire, and Zappa. DJ Harrison is broadly seen as the visionary in an albeit egalitarian band. His keys provide the harmonic colors around which drummer Corey Fonville's (Christian Scott, Nicholas Payton) muscular delivery and bassist Andrew Randazzo's effortless cool pulsate. Multi-instrumentalist Marcus Tenney on saxophone/trumpet and Morgan Burr's guitar complete the quintet. Recorded at Mark Ronson's Zelig Studios and cut live to disc at Gearbox Records in London using an all-analogue signal path. Mixed and engineered by the legendary Tony Platt. No edits, no overdubs.
"A quintet that plays funky, frisky music equally influenced by jam bands, hip-hop D.J.s and 1970s fusion. Their star is on the rise." --New York Times
"Masters of full-on, soul-kissed, garage punk-funk and jazz grooves -- progressive rappers should be queuing out the door for their blessing." --Mojo
"The band settles into nuanced grooves with an innate respect for the past, a reverence for the Headhunters, Stevie Wonder, the Meters and the voodoo of the tape machine." --Huffington Post
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LP
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GB 1545LPOBILP
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LP version. Japanese edition. Originally released in 2018. Following on from previous release Live At The Vagabond (2017) and AfroKuti: A Tribute To Fela (2018), Camden Session is a snapshot of the band's explosive energy, groove-heavy sequences, and unrivalled togetherness. Their playing is modern and innovative, yet contains rich echoes of Weather Report, Return to Forever, early Earth Wind and Fire, and Zappa. DJ Harrison is broadly seen as the visionary in an albeit egalitarian band. His keys provide the harmonic colors around which drummer Corey Fonville's (Christian Scott, Nicholas Payton) muscular delivery and bassist Andrew Randazzo's effortless cool pulsate. Multi-instrumentalist Marcus Tenney on saxophone/trumpet and Morgan Burr's guitar complete the quintet. Recorded at Mark Ronson's Zelig Studios and cut live to disc at Gearbox Records in London using an all-analogue signal path. Mixed and engineered by the legendary Tony Platt. No edits, no overdubs.
"A quintet that plays funky, frisky music equally influenced by jam bands, hip-hop D.J.s and 1970s fusion. Their star is on the rise." --New York Times
"Masters of full-on, soul-kissed, garage punk-funk and jazz grooves -- progressive rappers should be queuing out the door for their blessing." --Mojo
"The band settles into nuanced grooves with an innate respect for the past, a reverence for the Headhunters, Stevie Wonder, the Meters and the voodoo of the tape machine." --Huffington Post
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7"
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GB 1546EP
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To many people, this is the definitive Thelonious Monk Quartet line up, recorded at their peak, for a Danish radio broadcast in 1963. Featuring Charlie Rouse (sax) Frankie Dunlop (Drums) and John Ore (Bass) deliver a truly outstanding version of "Nutty." Monk has a lightness of touch in this recording that isn't often heard. Strong themes are interspersed with florid lines and embellishments. The result is an awe-inspiring piece that's dripping with cool.
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GB 1547CD
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Originally released in 2018. After their highly praised mega work Journey to the Mountain of Forever (Urban Album of the Year: MoJo Magazine), Binker and Moses return with a blistering assault on the senses. Their third album in as many years, Binker Golding and Moses Boyd are trailblazers in arguably the most exciting jazz explosion London has ever witnessed. 10 new tracks featuring a giant wealth of talent alongside Binker and Moses themselves, (including UK free jazz legend Evan Parker and one half of Yussef Kamaal), this album captures a moments 45 minutes when spontaneity and composition combine to magical effect. Recorded live at Total Refreshment Centre, East London, June 2017. Engineering and mixing by Gareth Finnegan. Mastered and cut by Darrel Sheinman and Caspar Sutton-Jones at Gearbox Records.
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GB 1547LP
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LP version. Originally released in 2018. After their highly praised mega work Journey to the Mountain of Forever (Urban Album of the Year: MoJo Magazine), Binker and Moses return with a blistering assault on the senses. Their third album in as many years, Binker Golding and Moses Boyd are trailblazers in arguably the most exciting jazz explosion London has ever witnessed. 10 new tracks featuring a giant wealth of talent alongside Binker and Moses themselves, (including UK free jazz legend Evan Parker and one half of Yussef Kamaal), this album captures a moments 45 minutes when spontaneity and composition combine to magical effect. Recorded live at Total Refreshment Centre, East London, June 2017. Engineering and mixing by Gareth Finnegan. Mastered and cut by Darrel Sheinman and Caspar Sutton-Jones at Gearbox Records.
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2CD
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GB 1549CD
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Off the back of Sarathy Korwar's much lauded Day To Day album comes the live album My East Is Your West -- a performance that takes the fusion of Indian classical music with the jazz tradition further than it's ever been before. Recorded live at London's Church Of Sound, the album is a homage to the great musicians of the '60s and '70s spiritual jazz movement, covering the likes of Alice Coltrane, Pharaoh Sanders, and Joe Henderson. Korwar plays alongside the UPAJ Collective, a group of highly-versatile musicians who share Sarathy's passion for jazz and Indian music and who have together managed to rebalance the cross-cultural relationship between "Western" and "Eastern" music. With every record Sarathy releases his music becomes more exploratory and insightful, delving into his personal influences, which also inspire much of the music in the jazz scene that surrounds him. At a time where UK jazz is being heralded for its progression, innovation and far-reaching appeal to people from varying backgrounds, My East Is Your West is an essential record that explores cultural and musical diversity in way that will continue to be relevant for years to come.
"The classical musicians have a foot in improv; the jazz players get Indian music." --The Guardian, Contemporary Album Of The Month
"A truly enriching listen." --Songlines
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2CD
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GB 1549CDOBI
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Japanese edition. Off the back of Sarathy Korwar's much lauded Day To Day album comes the live album My East Is Your West -- a performance that takes the fusion of Indian classical music with the jazz tradition further than it's ever been before. Recorded live at London's Church Of Sound, the album is a homage to the great musicians of the '60s and '70s spiritual jazz movement, covering the likes of Alice Coltrane, Pharaoh Sanders, and Joe Henderson. Korwar plays alongside the UPAJ Collective, a group of highly-versatile musicians who share Sarathy's passion for jazz and Indian music and who have together managed to rebalance the cross-cultural relationship between "Western" and "Eastern" music. With every record Sarathy releases his music becomes more exploratory and insightful, delving into his personal influences, which also inspire much of the music in the jazz scene that surrounds him. At a time where UK jazz is being heralded for its progression, innovation and far-reaching appeal to people from varying backgrounds, My East Is Your West is an essential record that explores cultural and musical diversity in way that will continue to be relevant for years to come.
"The classical musicians have a foot in improv; the jazz players get Indian music." --The Guardian, Contemporary Album Of The Month
"A truly enriching listen." --Songlines
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3LP
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GB 1549OBILP
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LP version. Japanese edition. Off the back of Sarathy Korwar's much lauded Day To Day album comes the live album My East Is Your West -- a performance that takes the fusion of Indian classical music with the jazz tradition further than it's ever been before. Recorded live at London's Church Of Sound, the album is a homage to the great musicians of the '60s and '70s spiritual jazz movement, covering the likes of Alice Coltrane, Pharaoh Sanders, and Joe Henderson. Korwar plays alongside the UPAJ Collective, a group of highly-versatile musicians who share Sarathy's passion for jazz and Indian music and who have together managed to rebalance the cross-cultural relationship between "Western" and "Eastern" music. With every record Sarathy releases his music becomes more exploratory and insightful, delving into his personal influences, which also inspire much of the music in the jazz scene that surrounds him. At a time where UK jazz is being heralded for its progression, innovation and far-reaching appeal to people from varying backgrounds, My East Is Your West is an essential record that explores cultural and musical diversity in way that will continue to be relevant for years to come.
"The classical musicians have a foot in improv; the jazz players get Indian music." --The Guardian, Contemporary Album Of The Month
"A truly enriching listen." --Songlines
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GB 1550CD
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Originally released in 2019. As one of the key players of the London jazz scene, Theon Cross has been dominating airwaves and stages recently. He's part of a thriving family network of young London-based musicians who have regularly supported one another in stretching and re-shaping the boundaries of the jazz genre. Additional side-projects include performing and recording with individuals such as Makaya Mcraven, Sons of Kemet, and featuring on Gilles Peterson's compilation album We Out Here. Within all this noise, Cross has also been leading his own trio project with Nubya Garcia and Moses Boyd. Cross makes the tuba his own, mixing together early New Orleans bass line influences as well as the synth soundscapes and rhythms from modern grime and trap. His innovative style brings a new dynamic to the scene as he paves the gap between more traditional jazz styles and dance music.
"With Fyah, Theon Cross Makes An Electric Statement From London's Jazz Underground." --NPR
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GB 1550CDOBI
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Japanese edition. Originally released in 2019. As one of the key players of the London jazz scene, Theon Cross has been dominating airwaves and stages recently. He's part of a thriving family network of young London-based musicians who have regularly supported one another in stretching and re-shaping the boundaries of the jazz genre. Additional side-projects include performing and recording with individuals such as Makaya Mcraven, Sons of Kemet, and featuring on Gilles Peterson's compilation album We Out Here. Within all this noise, Cross has also been leading his own trio project with Nubya Garcia and Moses Boyd. Cross makes the tuba his own, mixing together early New Orleans bass line influences as well as the synth soundscapes and rhythms from modern grime and trap. His innovative style brings a new dynamic to the scene as he paves the gap between more traditional jazz styles and dance music.
"With Fyah, Theon Cross Makes An Electric Statement From London's Jazz Underground." --NPR
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