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2LP
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AM 002LP
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2024 repress; double LP version, with the best tracks off the double CD version. The Danish producer had built his outstanding reputation on not only his huge dancefloor hits, but also the remix work he'd done for other artists. Trentemøller's work is an organic combination of hand-played instruments and electronic sounds. Layer after layer of instruments fall perfectly into place and contrasting large and vast echoes and sharp, in-your-face sound bites mix with a dangerous but successful incompatibility. Included on this 8 track vinyl edition: remixes of The Blacksmoke Organisation, Mathias Schaffhäuser, Jokke Ilsøe, Royksopp, The Knife, plus these 3 Trentemøller tracks: "The Forest", "Gush", "Kink".
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AWE 001LP
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2024 repress. LP version. Currently based in Los Angeles, Laurel Halo has spent over a decade stepping into different towns and cities for a moment or more, to the point where everywhere almost became nowhere. Atlas, the debut release on her new imprint Awe, is an attempt to put that feeling to music. Using both electronic and acoustic instrumentation, Halo has created a potent set of sensual ambient jazz collages, comprised of orchestral clouds, shades of modal harmony, hidden sonic details, and detuned, hallucinatory textures. The music functions as a series of maps, for places real and imaginary, and for expressing the unsaid. The process of writing Atlas began back in 2020 when she reacquainted herself with the piano. She relished the piano's physical feedback, as well as its capacity to express emotion and lightness. And when the legendary Ina-GRM Studios in Paris invited her to take up a residency the following year in 2021, she spared no time to dub, stretch and manipulate some of the simple piano sketches she'd recorded over the prior months; these subtle piano recordings and electronic manipulations would go on to become the heart of Atlas. In the remainder of 2021 and 2022, with time spent between Berlin and London, Halo recorded additional guitar, violin and vibraphone, as well as acoustic instrumentation from friends and collaborators including saxophonist Bendik Giske, violinist James Underwood, cellist Lucy Railton, and vocalist Coby Sey. All of these sounds were shaped, melted, and re-composed into the arrangements, their acoustic origins rendered uncanny. In short, Atlas is road trip music for the subconscious. With repeated listens, it is a record that can leave a deep sensorial impression on the listener, akin to walking at dusk in a dark forest. Its humor and sharp focus would dispel any notions of sentimentality. Completely distinct from the rest of Halo's catalog, Atlas is an album that thrives in the quietest places, rejecting bombast and embracing awe. Fitting that it's the debut release on her new recording label, whose slogan parallels the mood and atmosphere of the album: Awe is something you feel when confronted with forces beyond your control: nature, the cosmos, chaos human error, hallucinations.
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BW 046LP
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"Storia Notturna is a collection of music written, produced and recorded mainly in September 2021, but its origins go back in time. For one of the many extra-departmental courses that my study plan in Philosophy allowed, I chose Social History and found myself studying the seminal study by Carlo Ginzburg 'I Benandanti: Stregoneria e culti agrari tra Cinquecento e Seicento' (Einaudi, 1966). It was a revelation. Ginzburg started from the analysis of a curious and widely documented Friulian fertility cult to show, on the one hand, how the Catholic inquisition overturned the perspective of the suspects, turning them from enemies of the witches for the defense of the crops into worshippers of the devil and, on the on the other hand, how some of the distinctive aspects of this cult had very ancient origins and, above all, traits common to traditions traceable in an enormous variety of times and places all over the world. In the following years, for pure personal pleasure, I continued to deepen my studies on these topics, and a couple of years ago my bookseller friend (and author of a beautiful book published by Utet) Giovanni Spadaccini got me a copy of the first edition of Storia Notturna, an essay from 1989 in which Carlo Ginzburg deepened and expanded the investigation on the themes already treated in 'I Benandanti.' By the end of the book, something clicked in my head. Suddenly some of the many musical tracks that I continuously produce in my studio began to suggest a path that I hadn't guessed before. I felt the urgency to immediately write and record other songs that would complete the picture that had by now outlined. In a few weeks I had an album, 'a tale of Italian psychomagic in music,' as a friend defined it. I'd like to thank Giovanni Spadaccini not only for providing the book, but also for having been the very first listener and critic of my music, immediately followed by my bandmate and lifelong musical companion Nicola Caleffi. Their encouragement convinced me to overcome my chronic indecision, my well-founded self-criticism and to decide to publish this material. Pasquale Lomolino was equally encouraging and happy to release the album through his Backwards label." -Luca Giovanadri
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BEWITH 094LP
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2024 repress. Be With Records present a reissue of Jay Richford and Gary Stevan's Feelings, originally released in 1974. Since its original release on Italian label Carosello in 1974, Richford and Stevan's Feelings has been described as the greatest library record ever released more than once. It's a tough funk, street jazz masterpiece coveted for many years by collectors of all musical genres. As the story goes, these were the pseudonyms adopted by Stefano Torossi and Giancarlo Gazzani who wrote the album but couldn't use their real names on the original release for legal reasons. But Torossi himself later both clarified and confused the tale further by explaining that fellow composers and musicians Sandro Brugnolini and Puccio Roelens also worked on Feelings. Infectiously funky, deliciously melodic and with impeccable, elegant production, Feelings record is the showcase for a stunning set of compositions and arrangements and with performances that are nothing short of virtuoso. The record's first side lifts off with "Flying High", soaring brilliant and shimmering with funk licks, menacing strings, and swaggering horns. The string-drenched cop-funk of "Going Home" raises the tempo with quick-fire bass lines and killer electric guitar. "Walking In The Dark" positively drips in blaxploitation-funk drama strings and horn struts, all laced with delicate drums, velvet piano, and more filthy wah-wah. "Fighting For Life" is another funk-fueled workout built around an effortlessly relentless drum track. The loping, open drum break that guides the much-loved "Feeling Tense" is filled out by heavy bass gloss, swirling strings, and ominous horns. "Running Fast" is a fine rollicking chase theme underpinned by frenetic (yet funky) Fender Rhodes and skipping bass and drums. "Loving Tenderly" envelops you in warm, velvety night-time vibes with easy listening horns and slinky strings. The pace picks up on the electrifying "Fearing Much" where strings dart around deep bass, buzzing guitars, and another funky drum break. The lush, melancholic "Being Friendly" is another easy beauty, all warm Rhodes and strings. The climactic "Having Fun" rides a pulsating, bass-heavy drum break with snatches of a funky guitar refrain, some luxurious keys, sweeping strings, and triumphant horns. Groove-laden bass, irrepressible horns, sweet flute lines, warm Rhodes, lush string arrangements, blaxploitation-styled wah-wah guitars and more make Feelings one of the finest instrumental soul LPs of the '70s, if not of all time. Remastered for vinyl by Simon Francis and cut by Pete Norman. Remastered from the original tapes.
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BEWITH 158LP
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2024 repress. Known principally as a smooth titan of blue-eyed soul, Bobby Caldwell transcended genre tags with consummate ease; he was a musical icon of real class and versatility, cherished the world over. His double platinum self-titled album from 1978 is a timeless masterpiece of sophisticated jazzy soul brilliance and is strictly canonical. Whilst Ned Doheny is known in Japan as "Mr California", native New Yorker Bobby Caldwell has always been "Mr AOR" to his Far-Eastern friends. His distinct charm is an irresistible blend of soul, jazz, and pop influences. He possessed phenomenal songwriting prowess, smooth vocal performances, was both a great soul guitarist and dextrous keyboard player and known for genius chord progressions. It all added up to a multi-layered brilliance entering the studio, and the singular sound he landed on was laced with soulful, sweeping strings and funky horns, touching lightly on disco, while allowing his supple voice to carry the stunning tracks he'd crafted. Bobby sadly passed away on 23rd March 2023, after a long struggle with mitochondrial damage and oxidative stress, due to an adverse effect from a fluoroquinolone antibiotic. The reissue of his eponymous album will be available on vinyl across the globe, ensuring that fans -- and soul music enthusiasts worldwide -- can radiate in the deep beauty of this seminal album. Meticulously remastered and cut by both Simon Francis and Cicely Balston respectively, it has been pressed to the highest quality at Record Industry in Holland.
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LPF 097LP
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"Almost 20 years ago I was a cinema producer overloaded with engagements. A very adventurous period of my life, always taking off for a different cinematic set, leaving behind a trail of adrenaline which was giving me a lot, but the time for a pause came. I needed some time for myself and music, as it happened many times in my life, helped me. In that moment of great introspection, I had the idea of this album dedicated to the songs which faithfully accompanied me, for all my life, a tribute to my favorite cues performed through my emotional filter. Tenco, Gaber, Armstrong, Baglioni, De André, Paoli, Brel, Battisti, and Guido & Maurizio. I spent many nights in studio in order to give life to this selection to which now I'm really fond of, through it I relive a life of musical emotions with a first-person interpretation. I still remember the sound of silence, nighttime when going back home from the studio, full of emotions. My emotions, nothing more than feelings, for a dreamer." --Guido De Angelis
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BJR 094LP
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Limited repress; LP version. First reissue of these cult 1974 recordings of a Mayan brass band playing funeral dirges and popular songs in its distinctive extended harmonic and rhythmic style. The members of the San Lucas Band lived in the mountain village of San Lucas Tolimán, Guatemala, playing local events of both religious and social nature. The pride of their town since 1922, the band represented a fast-disappearing musical tradition when these recordings were originally released in 1975. Their unique sound derived from an unusual combination of instruments, a repertoire including pieces dating from more than fifty years before the recordings were made to more recent ones, and above all from the highland Maya style of their playing, which is characterized by a preference for freer rhythmic structures and a wider variety of pitches than Western scales allow. One of Jon Hassell and Charlie Haden's favorite records, it was nominated for a Grammy Award upon first release and has remained much beloved by a small community of enthusiasts for decades. A profound and rewarding musical experience for all adventurous listeners, notably fans of Albert Ayler, microtonal and raw cosmic music.
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BJR 104LP
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2024 restock; LP version. Orchestre Tout Puissant Marcel Duchamp's latest album, Ventre Unique, is a dynamic exploration that seamlessly blends folk, krautrock, post-punk, and African rhythms, delivering an emotionally charged yet exuberant listening experience. Helmed by Geneva-based Vincent Bertholet, the orchestra's ever-evolving lineup and distinctive sound pay homage to both African music traditions and avant-garde artist Marcel Duchamp, while pushing the boundaries of contemporary music. Recorded over ten days in the outskirts of Paris at Studio Midilive, the album features an eclectic international cast of 12 musicians. The result is a beautifully organic sound that balances Bertholet's simple, loop-based compositions with intricate arrangements of marimba, horns, strings, and angular guitars. Ventre Unique is the group's sixth album and follows their acclaimed 2021 release, We're Ok But We're Lost Anyway (BJR 073LP). While their previous work captured the disarray of the world during the pandemic, Ventre Unique reflects on shared human experiences, inviting listeners to find common ground through music.
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BB 023LP
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2024 restock; LP version; includes all the original album tracks. Composer/poet Hans-Joachim Roedelius (Kluster, Cluster, Harmonia) is one of the most prolific musicians of the German avant-garde and a key figure in the birth of Krautrock, synthesizer pop and ambient music. Jardin Au Fou is his second solo album, originally issued in 1979 on France's Egg label, and produced by former Tangerine Dream member Peter Baumann. This record was all the more noteworthy as it bore no resemblance whatsoever to what was expected of avant-garde electronica and displayed none of the typical Krautrock characteristics. A rhythm machine, sequencer and abstract sounds are conspicuously absent, and listeners at the time were stunned by one of the most beautiful, charming, ethereal and peaceful albums in the history of German rock music. None other than Asmus Tietchens, friend and artistic companion to Roedelius, has written the following in the liner notes for the reissue: "Jardin Au Fou (Fool's Garden) is a thoroughly romantic album, bursting with joie de vivre and unadulterated joy. With the greatest of pleasure, Roedelius cranks up a carousel of fairground organs, popping corks, waltzes and sweet melodies. Musical ideas come thick and fast. If you listen carefully and immerse yourself in Jardin Au Fou, you might hear traces of the baroque in this romantic music." Roedelius concentrates here on keyboards, and, in particular, the acoustic grand piano. He played most of the tracks by hand, exploiting his virtuosity to the full. The sweet disposition of the album as a whole borders on the naive, bearing none of the Krautrock hallmarks one might expect. Sweetness and light it may be, yet the music of Roedelius is more complex than it first appears. It carries a certain gentle gravitas borne of maturity, reflecting the ongoing quest of a musician for new paths and forms. Jardin Au Fou confronts the listener with an unfiltered, open perspective -- today, some 30 years after it was created, this music has lost none of its shine or charm.
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BB 472CD
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Cités Analogues was the first album released by Lightwave's core duo Christoph Harbonnier and Christian Wittman. Recorded between April and May 1988, and edited and produced in July 1988, Cités Analogues was then distributed through the alternative scene as a cassette. After the experiments and improvisations of their first tape, "Modular Experiments," recorded with Serge Leroy, Lightwave opted for a concept album, comprising of a series of discrete compositions and atmospheres assembled into two continuous tracks. The album was both recorded and mixed live, using a Revox B77 and an Allen & Heath 12/2 mixer. As such the different passages of this album captured the experience of Lightwave's performances, in which Harbonnier and Wittman played off each other with sympathetic improvisations. The instrumentation consists mainly of analog synthesizers, including several modular systems (RSF, ARP, Roland, Oberheim), while the sequences and rhythms are driven by two Roland sequencers. Digital effects help to create an expansive stereo field, in which recordings of urban environments and tape processing form rich experimental punctuations. Cités Analogues is thus a seminal album for the Harbonnier-Wittman duo, laying the foundations for a musical collaboration that continues thirty-five years on, thanks to their complementary skills and sonic universes. Long overdue, this remastered reissue of Cités Analogues, produced by Christoph Harbonnier, documents an important stage in Lightwave's trajectory and reflects the kaleidoscope of their influences at the end of the '80s, encompassing the Berlin School, Brian Eno's ambient work, and a particularly French-style of electro-acoustic experimentation. All tracks composed and performed by Christoph Harbonnier and Christian Wittman at Malibu Studio, Parmain, France (1988). Remix and mastering: Christoph Harbonnie.
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BB 472LP
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LP version. Cités Analogues was the first album released by Lightwave's core duo Christoph Harbonnier and Christian Wittman. Recorded between April and May 1988, and edited and produced in July 1988, Cités Analogues was then distributed through the alternative scene as a cassette. After the experiments and improvisations of their first tape, "Modular Experiments," recorded with Serge Leroy, Lightwave opted for a concept album, comprising of a series of discrete compositions and atmospheres assembled into two continuous tracks. The album was both recorded and mixed live, using a Revox B77 and an Allen & Heath 12/2 mixer. As such the different passages of this album captured the experience of Lightwave's performances, in which Harbonnier and Wittman played off each other with sympathetic improvisations. The instrumentation consists mainly of analog synthesizers, including several modular systems (RSF, ARP, Roland, Oberheim), while the sequences and rhythms are driven by two Roland sequencers. Digital effects help to create an expansive stereo field, in which recordings of urban environments and tape processing form rich experimental punctuations. Cités Analogues is thus a seminal album for the Harbonnier-Wittman duo, laying the foundations for a musical collaboration that continues thirty-five years on, thanks to their complementary skills and sonic universes. Long overdue, this remastered reissue of Cités Analogues, produced by Christoph Harbonnier, documents an important stage in Lightwave's trajectory and reflects the kaleidoscope of their influences at the end of the '80s, encompassing the Berlin School, Brian Eno's ambient work, and a particularly French-style of electro-acoustic experimentation. All tracks composed and performed by Christoph Harbonnier and Christian Wittman at Malibu Studio, Parmain, France (1988). Remix and mastering: Christoph Harbonnie.
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BYG 333LP
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2024 restock Originally issued in the historic BYG Actuel series, around 1970. Title translated: "One Morning I Waked Up Very Early." "One of the first trombonists to explore free jazz, Grachan Moncur III recorded this album at the Studio Saravah in Paris on September 10th and November 4th, 1969. Featuring Fernando Martins (piano), Beb Guerin (bass) and Nelson Serra De Castro (drums). 4 tracks."
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4LP
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CPT 582LP
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2024 repress; four LP version. Cool, calm, collected: chapter 15 of this superlative series, compiled by Compost's head honcho Michael Reinboth. 21 tracks, eight exclusive, previously unreleased tracks. The exclusives by Aera (who has released the brilliant Innervisions), Arnau Obiols & KAYYAK (recently featured by Gilles Peterson in his "watch out for 2021" top five list), Ron Deacon (officially belongs to the Workshop-Crew together with other artists like Move D, Even Tuell and Kassem Mosse), Class Compliance (which are Manuel Tur with his Clavis partner Adrian Hoffmann, also known as Paskal & Urban Absolutes or Amberoom), Mille & Hirsch (operators of the fine Polish Records), All Is Well (Fred Everything), Ben Sturm (watch out talent of Leipzig's viral underground scene), and Oliver Kieser (best known as Kieser & Velten with their releases on G-Stone). This wonderful Esa Williams remix of Bantu Clan Vs Sarabi is also previously unreleased. Several magazines voted the Future Sounds Of Jazz as one of the best compilation series of all time. With this series, starting in 1995, the term Future Jazz became a genre landmark. Also features Typesun, DJ Nature, Brandi Ifgray, Maurice Fulton, Lucas Croon, Johanna Jaeremo, Marni, Kevin Yost, Toshio Matsuura Group, Esa & Nonku Phiri Kaap, Don Carlos, Shina Williams & His African Percussionists, Cotonete, DJ Deep & Romain Poncet, Rudoulpho, Martin Buttrich, and James Holden & The Animal Spirits.
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CVSD 112CD
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Corbett vs. Dempsey presents And Yeah So (1981-1985), the first ever compilation by Splat! Emerging amid the primo froth of the British post-punk era, Splat!'s lineup included vocalist Dave Parsons, the mastermind behind Ron Johnson Records. The band released its only 7-inch single as the label's maiden record, going on to follow up with a 12-inch EP. These (plus one track on a compilation) were the sum total official output, but the band was active and made loads of fantastic, high-octane, often hilarious and off-kilter recordings, the best of which are collected here, together with their full discography, and made available on CD for the first time. Nineteen tracks that give truth to the title "Jugular Blowjob," a heavy heap of blessed mess that kicks the whole comp off. Dave Parsons tells the full Splat! story: "Splat! were four, sometimes five, misfits from a small town halfway between Nottingham and Derby in the middle of England. Influenced by the likes of the Pop Group, PiL, The Fall, and the Birthday Party but also by all the punk stuff that they had experienced when they were fifteen years old or so. The band played mainly in the local area and got a good reputation for messy live shows that often ended in blood and tears (and some sweat). The band was around in 1982 -- after some pre-incarnations in 1980 and 1981 -- Paul Walker, drums (17 years old), Dave Parsons, voice (19 years old), John Allsopp, guitar (19 years old), Mark Grebby (bass, 20 years old) was the main lineup. A single was recorded at Cargo Studios. The first Splat! single did okay -- it sold most of its pressing of 1000 -- there was an interview in Sounds and John Peel played it a couple of times and plans went ahead for the second release. The 12" EP (RON2) came out in 1984 and did much the same. Soon after that the band split up, with some recorded but unreleased material (some of which is here for the first time in physical form). Dave continued Ron Johnson and the label had considerable artistic/critical success from 1984 to 1988 with Big Flame, A Witness, Stump, the Shrubs, MacKenzies, The Ex, etc. gaining the label a reputation for angular post-Beefheartian guitar noise-pop.
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CVSD 115CD
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It's a miracle that some records ever get made. Right in the middle of Ceausescu's ultra-repressive dictatorship, composer Iancu Dumitrescu managed to arrange for his first LP, a compilation of radical new music by Dumitrescu and three of his Romanian colleagues, all older than him: Ocavian Nemescu, Stefan Niculescu, and Corneliu Cezar. Dumitrescu was -- and remains -- one of the most iconoclastic figures in contemporary music. Often referred to as a spectralist (though he distances himself from the approach taken by the French spectralists) and self-described as an adherent of "acousmatic" music (though again he situates himself at a remove from the French electroacoustic composers) and highly influenced by deep studies in phenomenology, Dumitrescu's music often focuses intensely on one sonorous object, penetrating it until it is entirely blown open. He formed Ansamblul Hyperion, a chamber group featuring adventurous young musicians, in 1976. Four years later, against all odds, in a radio studio in Bucharest, they recorded this groundbreaking compilation for Electrecord, the state record company. The program starts with one of Dumitrescu's most important works, the breathtaking, string-centric "Movemur et Sumus" (1978), translated from the Latin as "move and exist." Nemescu's "Combinatii In Cercuri" (1965) was composed for the ensemble together with an electronic component that was added to the piece in 1980. Composed in 1979, Niculescu's "Sincronie" features Dumitrescu himself on piano, as well as conducting, as he does on all the works; written for an indeterminate number of performers between two and twelve (here featuring nine) it utilizes fixed elements in the score together with openly improvised elements, expanding from a core vibraphone part to encompass an almost ecstatic meditation on stasis and motion. Cezar's work "Rota" (1976) combines Romanian, Balkan, and other Eastern melodic resonances with electronics (some of them startlingly video-game-like) and preparations on various instruments, lending an ear to the natural sounds of wind, waves, and seagull calls. This historically charged document, released in 1981 in Romania and available for the most part only there, has never been reissued in any form. Gorgeously remastered from the original tapes, it appears here with its original cover design.
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FL 003LP
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"Originally released in 2011, Julianna Barwick's debut full length The Magic Place is a nine-piece full-length album of magic and solace, bursting joy, and healing tones. Julianna's mostly acapella music is built from her multi-tracked and looped voice, with backing instrumentation, but it's the vocals -- soaring high in reverb-drenched, wordless harmonies -- that matter most here. Layered fragments and pieces become an intricate pattern through electronics; it's the sound of a rising thing, a big group harmony as a splash of sunlight through a car window, a sound that feels like hope and ascendance and patience and intimacy. Out of print for years, this 2024 version has been fully remastered by Heba Kadry, and is available through Julianna's Florid Recordings, the imprint she started in 2006 to self-release her earliest recordings. There's a very particular joy in listening to Barwick's music. Free of the constraints of narrative and traceable language, it's the same joy in giving yourself over to opera in a foreign language, of letting go of your pesky rational mind and allowing the feeling to come through in the voices and performance. The title track is next, a reverb-y beauty queen that soars to Promethean heights and builds its own kind of safe haven in the clouds. Even the gaps between songs are essential to the album's listening experience -- a sigh between stories or silence-as-drone, each second important. The New York Times called the pauses between Julianna's songs, 'the small pleasure of a chance to breathe between the greater pleasures of not wanting to have to.' Meet The Magic Place."
"The Magic Place is music for a specific constellation of feelings. They are real, many people share them, and this album owns them completely." --Pitchfork Best New Music 2011
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HOS 035LP
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2024 restock, reduced price, last copies... Live set from Aretha Franklin never before heard on a commercial release. And it is with pride that History of Soul can say that the recordings, made in a TV studio in Cologne during her first European tour in 1968, are smack in the middle of soul's Golden Age. The musical quality -- the great artist at her peak -- is so high that this issue can only enhance her reputation. This is prime Aretha Franklin -- and soul music doesn't get much better than this.
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2CD
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HORA 007-2211CD
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HORA Records presents the release of Unscientific Italians' Play The Music of Bill Frisell Vol. 2. This new chapter follows the acclaimed Volume 1 (HORA 2105LP), which was released in 2021 and received praise world-wide both from music critics and the community of Frisell fans, leading the band to be awarded as "Band of the Year 2021" by Italian jazz critics pool Top Jazz. The ensemble Unscientific Italians, led by pianist, arranger and composer Alfonso Santimone, features some of the most gifted performers and bandleaders on the Italian scene: Fulvio Sigurtà and Mirco Rubegni on trumpet and flughelhorn, Filippo Vignato and Federico Pierantoni on trombone, Cristiano Arcelli, Piero Bittolo Bon, Francesco Bigoni, and Rossano Emilli on reeds, Danilo Gallo on bass, and Zeno De Rossi on drums. The new volume is presented on vinyl, digitally, and in a special LTD edition Double CD together with Volume 1, with the blessing of Bill Frisell himself, who generously offered some of his sketches for the cover's artwork. Bill Frisell is undoubtedly one of the most influential masters in today's jazz landscape. However, his compositions remain unexplored, perhaps because of a lack of critical distance, perhaps because their apparent simplicity hides impenetrable folds to those who lack the right perspective. Musically speaking, Unscientific Italians is not a tribute or an orchestral rendition of Frisell's music, but rather an idiosyncratic rewriting and orchestration that borrows his compositional and instrumental language. The first four tunes are a reinterpretation of the entire "Some Song and Dance" suite from 1989 Frisell masterpiece album Before We Were Born.
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HORA 008-2211LP
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LP version. HORA Records presents the release of Unscientific Italians' Play The Music of Bill Frisell Vol. 2. This new chapter follows the acclaimed Volume 1 (HORA 2105LP), which was released in 2021 and received praise world-wide both from music critics and the community of Frisell fans, leading the band to be awarded as "Band of the Year 2021" by Italian jazz critics pool Top Jazz. The ensemble Unscientific Italians, led by pianist, arranger and composer Alfonso Santimone, features some of the most gifted performers and bandleaders on the Italian scene: Fulvio Sigurtà and Mirco Rubegni on trumpet and flughelhorn, Filippo Vignato and Federico Pierantoni on trombone, Cristiano Arcelli, Piero Bittolo Bon, Francesco Bigoni, and Rossano Emilli on reeds, Danilo Gallo on bass, and Zeno De Rossi on drums. The new volume is presented on vinyl, digitally, and in a special LTD edition Double CD together with Volume 1, with the blessing of Bill Frisell himself, who generously offered some of his sketches for the cover's artwork. Bill Frisell is undoubtedly one of the most influential masters in today's jazz landscape. However, his compositions remain unexplored, perhaps because of a lack of critical distance, perhaps because their apparent simplicity hides impenetrable folds to those who lack the right perspective. Musically speaking, Unscientific Italians is not a tribute or an orchestral rendition of Frisell's music, but rather an idiosyncratic rewriting and orchestration that borrows his compositional and instrumental language. The first four tunes are a reinterpretation of the entire "Some Song and Dance" suite from 1989 Frisell masterpiece album Before We Were Born.
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HORA 010-2310CD
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Zenophilia is a shapeshifting ensemble, able to suggest a small New Orleans brass band, the '90s era New York loft scene, or a blues band from Chicago. Despite an abundance of overseas influences, the band is entirely Italian, counting members among the most creative in the contemporary scene, with vast and varied performing experience throughout Europe and the globe. Zeno De Rossi, drummer and bandleader has spent his entire adult life on stage, working with luminaries like Vinicio Capossela, Guano Padano, and Mike Patton, but also accompanying Italian jazz legends Franco D'Andrea and Enrico Rava. Piero Bittolo Bon, on (almost all) saxophones, can always be counted on for musically daring contributions, and is known as one of Italy's most forward-thinking improvisers. Thirty-something trombonist Filippo Vignato is at the forefront of a generation of emerging soloists and improvisers, active in avant-jazz sextet Ghost Horse and collective quartet Pipe Dream. Glauco Benedetti, on tuba, euphonium and pocket trumpet shares space with Vignato in Ghost Horse and is equally at home everywhere from pop to classical music. While originally active as a quartet, the new record Come On Down (And Follow Us) and subsequent tour dates have seen the ensemble expand into a sextet, featuring contributions by legendary vocalist Dean Bowman and percussionist Simone Padovani. Described by the press as a "Tone Poet" and "Avant-garde Gospel Singer," Bowman has performed and recorded with John Scofield, Don Byron, Lester Bowie, and Steven Bernstein. Completing the lineup is Simone Padovani on percussion, with an extraordinary ear for color, whose collaborations include Amiri Baraka, Gianluca Petrella Cosmic Renaissance, and many others.
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HORA 010-2310LP
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LP version. Zenophilia is a shapeshifting ensemble, able to suggest a small New Orleans brass band, the '90s era New York loft scene, or a blues band from Chicago. Despite an abundance of overseas influences, the band is entirely Italian, counting members among the most creative in the contemporary scene, with vast and varied performing experience throughout Europe and the globe. Zeno De Rossi, drummer and bandleader has spent his entire adult life on stage, working with luminaries like Vinicio Capossela, Guano Padano, and Mike Patton, but also accompanying Italian jazz legends Franco D'Andrea and Enrico Rava. Piero Bittolo Bon, on (almost all) saxophones, can always be counted on for musically daring contributions, and is known as one of Italy's most forward-thinking improvisers. Thirty-something trombonist Filippo Vignato is at the forefront of a generation of emerging soloists and improvisers, active in avant-jazz sextet Ghost Horse and collective quartet Pipe Dream. Glauco Benedetti, on tuba, euphonium and pocket trumpet shares space with Vignato in Ghost Horse and is equally at home everywhere from pop to classical music. While originally active as a quartet, the new record Come On Down (And Follow Us) and subsequent tour dates have seen the ensemble expand into a sextet, featuring contributions by legendary vocalist Dean Bowman and percussionist Simone Padovani. Described by the press as a "Tone Poet" and "Avant-garde Gospel Singer," Bowman has performed and recorded with John Scofield, Don Byron, Lester Bowie, and Steven Bernstein. Completing the lineup is Simone Padovani on percussion, with an extraordinary ear for color, whose collaborations include Amiri Baraka, Gianluca Petrella Cosmic Renaissance, and many others.
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ID 005LP
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Dance and drama began for Paulo Alvarado in 1992 when Sabrina Castillo, Bettina Barckhausen, Joam Solo, Xavier Pacheco, and Alfredo Porras invited him to create the music for their choreographic and theatrical productions as an ethereal actor who is not seen but heard; a sound that is not merely an occasion to "musicalize" the stage production; music that does not merely adorn or incidentally accompany the movement and text, but that acts. This is how he soon had the opportunity to work on the stage production of Sophocles' Oedipus Rex (Edipo Rey), the first of several plays for which Alvarado composed music at the request of Luis Tuchán one of the revered theatrical directors from Guatemala. Later, as an example of another area of action, and at the request of Dennis Leder one of Guatemala's leading artists from the past three decades and Ana Asturias who had worked with the Guatemalan Dance Company, he created the music for a dance-installation called, fittingly, Lederana mixing both words from their name. Around that time, he also began composing and presenting music for productions by Guatemalan authors, such as the drama by Rubén Nájera, Sacra Conversación, directed by Joam Solo. These pieces, contained on Side A of the album, represent only a very brief sample of an era immersed in theatre and other performative projects where more than forty theatrical and choreographic pieces were created in a span of three decades, and consist of his valuable contribution to the soundtrack of dramatic theater and contemporary dance in Guatemala. Separately, the title piece of this album, "Antigua," found on Side B, was designed for the exhibition of engravings, lithographs, and digital prints by Roberto Godoy, Antigua Estampa de la Vida Mía. It gathers musical extemporizations for the dance we invented at the moment of inaugurating the photographic exhibition by Rocío Villanueva, Los Mutantes de los Apegos; the fifth movement of String Quartet No. 5 (version for six cellos); Exiliados en Tierra Propia; and Las 56 (from the film Después del Fuego), dedicated to the young women wounded and killed on March 8, 2018, in a so-called "safe home" in Guatemala City. This LP unites many of Paulo's most experimental works and serve as a small tribute to his life, trajectory and to all those who, without reservation, dedicated and invested resources in his music catalogued by himself as one of the main ways to celebrate human life: art.
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JRLP 038LP
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2024 repress. LP version, 2010 release. King Tubby and producer Bunny "Striker" Lee are intertwined in the birth of dub music. After discovering a mistake that was made into a "serious joke" they went on to release the first pressings of this new musical genre, named "Dub Music." Tubby's vast knowledge of electronics and Bunny's vast catalog of rhythms would lay the foundations of what today is taken as a standard... the remix/version cuts to an existing vocal tune. "Tubby did three original dub albums, Dub from the Roots, The Roots of Dub and Brass Rockers with Tommy McCook 'pon the flying cymbals. Where he mixed it with the horn going in and out in a dub way and one named Shalom Dub, you can call Tubby's, too, because he mixed the versions as they were off 45s.'' --Bunny "Striker" Lee
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GG 460CD
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"Scattered Order were formed in 1979 in Sydney, Australia, by Mitch Jones on vocals, guitar and bass guitar, Michael Tee on guitar, and Simon Vidale on drums. Jones worked as a live sound engineer for the Birthday Party and Pel Mel. The band formed their own record label, M Squared. They were joined in Scattered Order by Patrick Gibson on guitar and synthesizer in January of the following year. According to Australian musicologist, Ian McFarlane, their 'aim was to combine all manner of 'found sounds' and loose song structures with a perverse absurdist sense of humor (in the Snakefinger/Residents vein) and set them to a rock backing.' Career of the Silly Thing appeared in September 1985, and represented something of a breakthrough release, revealing a shift towards a more conventional and melodic yet still challenging sound. It was then described as being 'their most interesting and accessible record so far, with a more harmonious synthesis of noise and beat than they had previously achieved; it reveals an obsession with the grotesque on the part of major songwriters.' Mitch Jones said 'Dru and I got married. This is our honeymoon album. A lot of the lyrics were written on our honeymoon. I'm fascinated with the grotesque.' They toured with fellow Sydney-based label mates, Severed Heads, and supported United States group, the Residents, on their Australian tour. As a bonus to the original album comes the whole Selling The Axe To Buy The Wood EP."
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GG 477CD
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"Un Drame Musical Instantané were founded in 1976, featuring Jean-Jacques Birgé, Bernard Vitet, and Francis Gorgé. Their aim was to promote collective musical creation, co-signing their albums, which they consider as artworks in themselves, or their live shows which they tried to renew every time they played. Their sound was created with many influences: They borrowed their sources from rock (synthesizer player Birgé and guitarist Gorgé, both authors of the album, Défense de); jazz (trumpeter Vitet who founded the first free jazz band in France, together with François Tusques, as well as Michel Portal who played with many American and European jazzmen); classical modern music; as well as movies or world news; they were the first in France to give a new impetus to live music on silent movies. After having improvised freely for many years, they led a fifteen-piece orchestra from 1981 to 1986, and from 1989 onwards they produced multimedia shows (live video remix on a giant screen, fireworks, choreographies). Still their music was the most important technique, they called their recordings 'blind cinema.' The Drame used to mix acoustic and electronic instruments in real time as well as original instruments built by Vitet (a reed trumpet, a multiphonic French horn, a variable tension double-bass, a giant balafon with frying pans and flower pots keyboard, a fire organ, plexiglas flutes, etc.). After Francis Gorgé left the band in 1992, Birgé and Vitet went on recording and producing with other musicians close to the 'family' such as percussionist, Gérard Siracusa, or multi-instrumentalist, Hélène Sage. Un Drame Musical Instantané always remained independent (they always owned their own recording studio and record label GRRR) and stopped its activities in 2008, with 2022 seeing the return of the group with a new album. Tchak! presents the group's last recordings with Bernard Vitet."
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