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SCMU-INN-1004xArt Ensemble Of Chicago
Certain Blacks1. Do What They Wanna
2. One For Jarman
3. Bye Bye Baby$14.99Vinyl LP Reissue - Sealed Buy Now
BoscoeThe private issue answer to Chicago's
afrocentric giants Earth Wind & Fire,
The Pharaohs, and the Art Ensemble,
boasting an unholy conflagration of soul,
funk, spiritual jazz, African rhythms, and
the politics of Black Power. Come witness
the invocation of death, a war for peace
that black America must fight, Malcolm
X's violent passing, brains already in the
grave, God's damning of us all, and a glib
parody of "The Star Spangled Banner,"
all delivered by a crawling funk fusion as
eager to blast us awake with harsh words as
with insistent horns.1. Introduction
2. Writin' on the Wall
3. He Keeps You
4. We Ain't Free
5. If I Had My Way
6. I'm What You Need
7. Money Won't Save You
8. Now and Den$21.99Vinyl LP - Sealed Buy Now
SCMU-BYG-28HxArt Ensemble of Chicago
Message To Our FolksOld Time Religion
A Brain For The Seine$14.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
SCMU-BYG-29HxArt Ensemble of Chicago
Reese And The Smooth OnesReese/ The Smooth Ones Pt. 1
Reese/ The Smooth Ones Pt. 2$14.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Black Fire! New Spirit!Soul Jazz Records' new release Black Fire! New Spirits! Explores deep, radical and spiritual jazz in the USA in the period between 1957-75. In the 1960s and into the 1970s, jazz music in the USA was in an almost constant state of revolution, with the music and lives of African-American artists radicalised by the advent of the civil rights movement, Black Power, and a new spiritual awakening. For over 20 years now Soul Jazz Records have been exploring this rich area of deep and spiritual jazz music with an array of albums such as Freedom, Rhythm and Sound, Universal Sounds of America, New Thing, Soul Jazz Love Strata East and more. Soul Jazz Records have also released a steady stream of reissues of lost and classic deep jazz releases over the years from artists such as Art Ensemble of Chicago, Steve Reid, Pharaoh Sanders and others. This new album features groundbreaking and revolutionary artists such as Don Cherry, Archie Shepp, The Last Poets and Yusef Lateef as well as many rare and deep lost tracks from lesser known artists such as Creative Artists Ensemble, Granchan Moncur, Lloyd McNeill, Tyrone Washington and others.1. Yusef Lateef - Chang, Chang, Chang
2. The Last Poets - It's A Trip
3. Don Cherry - Utopia And Visions
4. Richard Davis - Dealin'
5. Archie Shepp And Jeanne Lee - Blase
6. Harold McKinney And The Creative Profile - In The Moog
7. Grachan Moncur III And The Jazz Composers Orchestra - Angela's Angel
8. Creative Arts Ensemble - Flashback Of Time
9. David Lee Jr - Second Line March
10. Lloyd McNeill And Marshall Hawkins - The Banjo Lesson
11. Tyrone Washington - Universal Spiritual Revolt
12. Pheeroan Ak Laff - Tzaddi Vau (Part 1)
13. Joe Henderson - Black Narcissus
14. Doug Hammond - Spaces And Things$31.99Vinyl LP - 3 LPs Sealed Buy Now
$21.99 $15.39 Save $6.60 (30%)
Entourage (On Sale)Formed in Baltimore, MD in the early 70s, The Entourage Music and Theatre Ensemble played a kind of experimental, ambient, new age, proto-world music, made to accompany multimedia performance art pieces. Entourage is the first of two albums they released on Folkways, reissued lovingly on vinyl here in an exact replica of the original jacket and booklet.1. Piece for E-Flat Soprano Saxophone, Guitar and Thumb Piano
2. Jattle Boxes...
3. Composition for Viola, Electric Keyboard and Percussion
4. Michael's Song
5. Solo for Electric Viola
7. Percussion Dance
9. Silver Drum$21.99 $15.39 Save $6.60 (30%)Vinyl LP - Sealed Buy Now
Music For Bang, Baaroom, And HarpAnalogue Productions and Quality Record Pressings bring you this remastered and improved pressing so that a whole new generation of audiophiles and even casual music lovers can discover for themselves the wizardry, wit and wonder that is Music for Bang, Baaroom and Harp!
Remastering and lacquer cutting by Ryan Smith at Sterling Sound from the original 3-track tapes
200-gram pressing by Quality Record Pressings!
Little did any of us who were involved in the planning and recording of Music for Bang, Baaroom and Harp know, back in 1958, what an impact this album would have on the record industry and how it would effect my career, writes Dick Schory, about the audiophile instrumental classic, the first stereophonic recording in the industry to be classified a Best Seller.
Now, revel in the enhanced clarity and sonic richness of a 200-gram pressing by Quality Record Pressings, and remastering and lacquer cutting by Ryan Smith at Sterling Sound, giving this classic a fresh, vibrant appeal. The superb remastering from the original 3-track master tapes brings out subtleties of the instruments, arrangements, performance and ambiance of Chicago's Orchestra Hall lacking from the original pressing and subsequent versions.
The concept for this album is simple: Dozens of standard and exotic percussive instruments (re: manifold from a 1946 Chevrolet) were employed in original and standard tunes arranged by Schory, Bobby Christian, Mike Simpson, Willis Charkovsky and Skitch Henderson, who at the time was musical director for NBC's Tonight Show. Three tracks are of particular note: the quirky Tiddley Winks and the exotic Baia and Typee. The jacket, depicting Schory poking out from a pile of instruments, is a classic of LP art.
The recording, utilizing RCA Victor Record's Red Seal Classical Division's equipment - the same used to record the Chicago, Philadelphia and Boston Symphony orchestras at the time - was recorded in Chicago's Orchestra Hall on June 2 and 3, 1958. Two custom Ampex 300-3 half-inch 3-track tape recorders, running at 15 and 30 inches a second, captured the performances by eight percussionists together with other performers from the Chicago Symphony on piano, string bass, guitar, banjo and harp.
This title is not eligible for discount.1. National Emblem March
2. B aía
3. Way Down Yonder In New Orleans
4. Ding Dong Polka
5. April In Paris
6. Holiday In A Hurry
7. Buck Dance
8. Duel On The Skins
9. September In The Rain
10. Tiddley Winks
11. The Sheik Of Araby
12. Typee$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Good EarthAnother piece of topical hard rock from Manfred Mann's Earth Band and, as before, listenable even to those without a serious bone in their bodies, by virtue of the playing. Moving between hard rock and British blues influences (with a special debt to Cream on the opening cut, Give Me the Good Earth) and progressive rock, the quartet cuts a mean swathe across the sonic landscape, between Mick Rogers' soaring guitar solos and Manfred Mann's inimitable synthesizer work. When these guys start reaching, as on Earth Hymn, that's when their best musical instincts take hold, and the results are always worth hearing. There's stuff here that King Crimson or Be Bop Deluxe wouldn't have been ashamed to have had on any of their albums; indeed, the instrumental Sky High is worth the price of admission by itself as a showcase for the talents of all four players as both hard rock musicians and an art rock ensemble. They even manage to work in elements of folk-rock, and its attendant lyricism, on the album, by way of the Christopher Logue-based Be Not Too Hard (which was also recorded, in a different adaptation, by Joan Baez about seven years earlier). And Earth Hymn, Pt. 2 closes out the album in grand style, once again pushing the band to the edge of their unique brand of progressive/hard rock.1. Give Me the Good Earth
2. Launching Place
3. I'll Be Gone
4. Earth Hymn
5. Sky High
6. Be Not Too Hard
7. Earth Hymn, Pt. 2$24.99Vinyl LP - Sealed Buy Now
Club MedsAfter a two year hiatus, an induction into fatherhood, and some time to regroup, two-time JUNO Award-winner Dan Mangan has returned under a new moniker, Dan Mangan + Blacksmith. The new name encompasses the spirit of the project's longstanding ensemble members joining the band from Vancouver's experimental music community, Kenton Loewen, Gordon Grdina, John Walsh (and often Jesse Zubot, JP carter and Tyson Naylor) with a communal sensibility that merits the marquee amendment.
Produced by Colin Stewart and Dan Mangan, Club Meds at times evokes images of subtler American-underground innovators like Blonde Redhead or Steve Reich. At other moments, it hits emotional pay dirt reminiscent of British scene-survivors like Peter Gabriel or Radiohead. Blacksmith brings an unmistakable character to Club Meds; a stark glassy edge that swells and sways like a roaring ocean. Through a fog of analog feedback loops and synths, the band's performances breathe deeply and steadily like a dragon at rest.1. Offred
4. A Doll's House / Pavlovia
7. War Spoils
9. Club Meds
10. Pretty Good Joke
11. New Skies$22.99Vinyl LP - Sealed Buy Now
180 Gram Audiophile Pressing Includes Art Print
Last Ex is the new instrumental rock ensemble led by Simon Trottier and
Olivier Fairfield, long active in Quebec's experimental/punk scene, though
perhaps best known as core members of Timber Timbre, which spawned the
Last Ex project.
Last Ex is the new instrumental rock ensemble led by Simon Trottier and
Olivier Fairfield, long active in Quebec's experimental/punk scene, though
perhaps best known as core members of Timber Timbre, which spawned the
Last Ex project.
Constellation knew nothing of this back story when the label received the
Last Ex demos in spring 2014; we just heard a compelling, compact, coherent,
highly evocative instrumental album that kept worming its way into our ears.
By the tenth time someone in the office said Let's play that Last Ex stuff
again - and everyone enthusiastically agreed - it was time to contact the
band. This music belonged in the Constellation catalogue: an instrumental
rock album of superb compositional and melodic sensibility, balancing
minimalism and restraint with atmosphere and tone, bound by a refreshingly
original approach to production.
Last Ex makes ample use of the electric guitar as both lead instrument and
textural sound source, structuring most of the pieces around deliberate
melodic and contrapuntal deployments of Spaghetti Western twang, while
distressing, degrading and redeploying those sonics through Fairfield's analog
tape-based manipulations. Trottier takes on most of the guitar duties, with
Timbre Timber's Taylor Kirk contributing on a couple of tunes as well. Tight
bursts of trap set rhythms played by Fairfield, and usually captured with just a
couple of microphones, along with consistently excellent basslines laid down
by both Simon and Olivier, propel the album and make this anything but an
ambient listen. Strings appear on several pieces, courtesy Mika Posen (also of
Timber Timbre), in a wide range of textures and treatments.
With its combination of assured lyricism, cinematic guitars, dusky analog
atmospherics and taut percussion, this is a vivid, concise and expressive
instrumental album that sits snugly between fellow label acts Do Make Say
Think and Exhaust on the one hand, Hrsta, Tindersticks and Evangelista on the
other. Fans of early Trans Am, early/mid Tortoise, Calexico and (obviously)
Timbre Timber should appreciate this as a very satisfying grower of an album
as well. Thanks for listening.1. Hotel Blues
2. Girl Seizure
3. Flûte magique
4. It's Not Chris
5. Resurrection Drive Part I
6. Nell's Theme
7. Trop tard
8. Cape Fear
9. CitÉ d'or
10. Hotel Blues Returns
11. Hotel Kiss$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-ART-5116xBroken Social Scene
Hug Of Thunder"I don't want to go out there being presumptuous," Kevin Drew says, "because, I've worn those presumptuous shoes before, and you don't want it to feel like, 'Oh, what a let-down.'" That's the fear when you bring back one of music's most beloved names seven years after their last album. But with Hug of Thunder, the fifth Broken Social Scene album, Drew and his bandmates have a right to feel presumptuous.
They have that right because they have created one of 2017's most sparkling, multi-faceted albums. On Hug of Thunder the 15 members of Broken Social Scene - well, the 15 who play on the record, including returnees Leslie Feist and Emily Haines - refract their varying emotions, methods, and techniques into something that doesn't just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year - a song that will become as beloved as "Anthems For a Seventeen-Year-Old Girl" from their breakthrough album, You Forgot It In People.
Its title, Drew says, captured what he wanted people to feel about the group's comeback, and how they sound playing together again: "It's just such a wonderful sentiment about us, coming in like a hug of thunder."
Broken Social Scene had reconvened, in varying forms, several times over the past four years - the odd festival show here and there, preferably ones that involved the least possible traveling. But the idea that they might turn their hand to something more than greatest-hits sets had been stirring since November 2014, when producer Joe Chiccarelli told Drew the group needed to make a new album.
"He started showing up at our label, asking if we were going to make an album," Drew recalls. "He just didn't give up; he just kept saying, 'You've got to strike, you've got to do this, the time is now,' and so finally we agreed."
As might be expected to be the case with a many-headed hydra of a group, getting all the principals to agree wasn't easy. Drew's co-founder Brendan Canning was keen, but Drew and fellow BSS lifer Charles Spearin took more persuading. A turning point for Drew came with the Paris terror attacks of November 2015, which made him feel the world needed an injection of positivity: "It just sort of made us want to go out there and play. Because I think we've always been a band that's been a celebration."
Canning picks up the story: "By autumn of 2015 we had started getting together and trying some ideas out, just getting back in that jam space, in Charles' garage. Then we set up shop in my living room and we were starting to come together in a very familiar kind of way, jamming in the living room, eating meals in the kitchen together, because that's what the band is about: 'Hey, let's all get on the same page and get the energies flowing in the same direction.'"
Recording finally began in April 2016 at The Bathouse studio on the shores of Lake Ontario, with later sessions in Toronto and Montreal, before the group went right back to basics. "It was very beautiful the way that it ended in Charlie's little rehearsal garage space," Drew says, "after going to all these studios. We just worked there, doing backup vocals and handclaps and all the shit we used to do when we were younger." And then it was to Los Angeles, where the album was mixed.
The result is a panoramic, expansive album, 53 minutes that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: "Stay Happy" lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. "Gonna Get Better" makes a promise that the album is determined to deliver. That's not to say it's an escapist record: Broken Social Scene is completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring "There was a military base across the street," the listener is caught in the division between the national security provided by national defense, and the menace of the same thing.
The gestation of Hug of Thunder was no idyll. When You Forgot It in People made their name, Broken Social Scene were young men and women. Fifteen years on, they were adults in or on the cusp of middle age, and - as Drew puts it - "all the adult problems in the world were happening around us individually, whether it was divorce or cancer". Three members of the band lost their fathers while the album was being recorded, "and it seemed like the days of going in the studio, getting stoned, drinking five beers and saying, 'Who gives a fuck?' were over".
Then there's the fact of the size of the ensemble, and the number of competing voices. "You don't always get the final say with Broken Social Scene," Canning says, with a certain degree of understatement. He compares the process of getting everyone to agree on a song to party politics: "It's like you're trying to get a bill passed through the House - you have to be really committed to wanting to win."
But, still, if they were to return, it had to be with everybody, no matter if that meant things might get unwieldy. "I'd like to believe that Broken Social Scene can be whatever it can be," Canning says, "but I think the fact we'd gone away for so long meant we really, we really couldn't have done the same thing without everyone involved, you know?" The story of Broken Social Scene, he insists, was built on the involvement of everyone, and so if the story was to be continued, those same people had to return.
"The thing that has changed is that the relationships between us are established," Drew suggests. "And in a family, you ebb and flow and you come and you go and you're in love and then you're annoyed - but it's established now, the relationships aren't going anywhere, you know? And I think through time, because we've been through so much together, personally and professionally, when we're all on stage, everybody knows what they're doing, everybody has a melody to back up someone else, you feel supported, you're a crew, there's nothing but protection all around you."
Canning picks up the theme: "Before we were making this record, I said to everyone: 'We all basically want the same thing, we might just have slightly different roadmaps on how to get there. So how do we stray off on certain country roads but get back onto the main thoroughfare?'"
That Broken Social Scene was a family again, driving along the same main road, became apparent to UK fans in September 2016, when the group - with Ariel Engle the latest woman to assume the role of co-lead vocalist - came over for less than a handful of festival shows, to test the waters. Their Sunday teatime appearance at End Of The Road - an ecstatic hour of maximalist music, physically and emotionally overwhelming - ended up being one of the biggest hits of the festival. It achieved what Drew has always felt music needed to do: it created transcendence, a pocket of time where everyone present was living only in the moment.
"My 11-year-old nephew asked me, 'Uncle Kev, why do adults get drunk?' and I looked at him and thought, 'OK, brilliant question, I'm going to give a brilliant answer,'" Drew recalls. "And I looked at him for about 10 seconds and I said, 'Because they want to feel like you. Because they want to feel like a kid again, they want to forget everything, they want to be innocent.' We are built in a way now where you can't do that because you're walking around with the anti-transcendence box in your pocket, and in your hand, and in your home, and on your bedside table: it's the anti-transcendence. It's called your phone! And we're getting killed, we're getting killed!"
So what do Broken Social Scene want listeners to take from Hug of Thunder? Canning wants it to make them "pause for the cause and maybe just leave things in your life alone for 53 minutes". For Drew, it's about what it's always been about: making the connection. "I just hope they understand that there's others out there, that they're not alone," he says. "I know that's silly! But you'd be surprised how many times I've had to tell people, 'Hey, you're not alone on this, you're not alone thinking these things.' I mean, with the title Hug of Thunder, I want to hold people. I want to fucking hold them. And when we do shows, I'm not: 'Look at me, I'm elevated up on the stage,' It's: 'We're here with you, this is us together.' Broken Social Scene is about the people, and it's always been about the people."1. Sol Luna
2. Halfway Home
3. Protest Song
5. Stay Happy
6. Vanity Pail Kids
7. Hug of Thunder
8. Towers and Masons
9. Victim Lover
10. Please Take Me With You
11. Gonna Get Better
12. Mouth Guards of the Apocalypse$25.99Vinyl LP - Sealed Buy Now
Dalmak180g LP Audiophile Pressing Includes Art Poster
Fourth Album From Modern Contemporary / Instrumental Rock Ensemble Led By Percussionist Bruce Cawdron (Godspeed You! Black Emperor) & Cellest Rebecca Food (Silver Mr Zion, Saltland, Set Fire To Flames)
Partly Recorded In Istanbul With Four Turkish Guest Players
Mixed By Jace Lasek (The Besbard Lakes, Wolf Parade, Suuns)
When Esmerine surfaced with La Lechuza in 2011, the album signaled many things: the band's first new recordings in six years, an expanded line-up, and a song cycle inspired by and dedicated to the life and untimely death of a dear friend and fellow musician. What wasn't immediately clear was whether this acclaimed record would mark the opening of a new chapter for the band, or stand alone as a singular work of eulogy and homage driven by emotion and circumstance.
Esmerine's new album Dalmak emphatically confirms that the group has indeed continued writing, exploring and collaborating - definitively extending its horizons in this new iteration of the band's trajectory. Bruce Cawdron (marimba) resigned from his seat as drummer for Godspeed You! Black Emperor in 2012, allowing him to focus more fully on Esmerine alongside co-founder and cellist Rebecca Foon (Silver Mt. Zion, Set Fire To Flames); the two
principals also recruited percussionist Jamie Thompson (Unicorns, Islands) and multi-instrumentalist Brian Sanderson as full-time members to solidify the group as a writing and performing quartet.
European tours in 2011-2012 brought Esmerine to Istanbul, where the group's enthusiastic reception led to an invitation for an artist residency in the city. Dalmak is the fruit of that visit: the majority of the album was recorded in Istanbul, where compositions by the band's four Canadian musicians were augmented by a number of Turkish guest players.
Dalmak is a Turkish verb with many connotations: to be absorbed in, to dive into, to bathe in, to contemplate, to plummet. As a title for Esmerine's new album, "dalmak refers in a literal sense to immersion in the culture and music of Istanbul but also appropriately evokes the range of music that emerged from this immersion: a collection of songs that shift between meditative pulsing and enveloping restraint to headlong flights into rhythm and groove. With Dalmak, Esmerine presents some of its most richly minimal and intimate music alongside what is surely its most explosive, energized and ornate. The album is a tour-de-force of cross-cultural music-making, emotive but unsentimental,
deeply textured and detailed but never precious or pedantic, superbly guided throughout by a balance of DIY rock, new folk and modern classical/contemporary sensibilities.
With initial recording by Barkin Engin and Metin Bozkurt in Istanbul, Esmerine laid down the
live bed tracks for the up-tempo rhythmic songs at the album's core: Lost River Blues, Barn Board Fire and Translator's Clos. Marimba, cello, drums, tenor banjo, bass and trumpet are joined by bendir, darbuka, erbane, meh, barama, saz and electric guitar from local players for these centerpiece tracks, where extended melodic themes and short solos are passed around and woven through staccato grooves and polyrhythmic vamps in deeply
satisfying fashion. The sessions continued back in MontrÉal at Breakglass, where Cawdron and Foon tracked the more studied cello and marimba songs Learning To Crawl and White Pine, and where the album's gorgeously saturated warmth, depth and propulsive grit was achieved courtesy of Breakglass head engineer Jace Lasek (The Besnard Lakes,
Wolf Parade, Suuns) and Ian Ilavsky, who mixed the album alongside Rebecca and Bruce.
We're thrilled to present this new album from Esmerine and to document the continued evolution of Bruce Cawdron and Rebecca Foon, two musicians with whom Constellation has enjoyed a decade-long relationship spanning multiple projects. Dalmak is a distinct and exciting highlight in their diverse and adventurous discographies.1. Learning To Crawl
2. Lost River Blues I
3. Lost River Blues II
4. Barn Board Fire
5. Hayale Dalmak
6. Translator's Clos I
7. Translator's Clos II
8. White Pine
9. Yavri Yavri$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
CaravanIncludes 1 Bonus Track
By the time that jazz icon/bandleader/percussionist Art Blakey and his Jazz Messengers began recording for Riverside in the fall of 1962, Blakey had already been the spiritual center of the group for nearly 15 years. The unprecedented caliber of performers who had already passed through the revolving-door personnel reads like a who's who of 20th century jazz. On Caravan -- his first of several notable sides for the venerable label -- he is joined by a quintet of concurrent and future all-stars. Likewise, it could be argued that each has never again been presented in such a fresh or inspired setting as on these recordings. In order to establish with any authority just how heavy (even for purveyors of hard bop) the players in this band are, they need only to be named: Curtis Fuller (trombone), Freddie Hubbard (trumpet), Wayne Shorter (tenor sax), Cedar Walton (piano), and Reggie Workman (bass). With Blakey (drums) firmly at the helm, these Jazz Messengers deliver a scintillating synergy that doesn't sacrifice intensity for the sake of cadence. The trademark give-and-take that graces the laid-back and sophisticated pop and jazz standards Skylark and In the Wee Small Hours of the Morning likewise is responsible for the palpable energy brought to the sizeable contributions from Shorter and Hubbard -- which make up half of the album's material. The title and leadoff track liquefies Duke Ellington's original arrangement and ignites it, fueling this extended fiery interpretation. Hubbard's first solo harks back to his own recording of Caravan, which can be heard on the Impulse release Artistry of Freddie Hubbard and was recorded earlier the same year. Coincidentally, that disc also features Curtis Fuller as well as a rare non-Sun Ra-related appearance from John Gilmore (tenor sax). Blow for blow, however, this reading has more than just an edge -- it possesses the entire blade. The melody snakes in and out of Blakey's strident flurry of syncopation. Another highlight is Shorter's interjectory solo, recalling his ability to succeed John Coltrane in Miles Davis' coterie. Among the original compositions, Shorter's upbeat Sweet 'n' Sour stands out as the most cohesive and ensemble-driven, although the singular group dynamic is well applied to the lively This Is for Albert as well. By contrast, Hubbard's Thermo is more angular -- taking full advantage of the musicians' aggressive chops. The 2001 20-bit remaster from Fantasy contains two bonus tracks: take four of Sweet 'n' Sour and take two of Thermo. This release can be considered definitive Blakey, bop, and Jazz Messengers.
- Lindsay Planer (All Music)1. Caravan
2. Sweet 'n' Sour
3. In The Wee Small Hours Of The Morning
4. Sweet 'n' Sour [Alternate Take] *
5. This Is For Albert
*Bonus Track (From The Same Sessions. Not On The Original LP)$27.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
UNIM-FAN-9222xCannonball Adderley & Milt Jackson
Things Are Getting BetterIf you ever needed proof that altoist Cannonball Adderley deserves to be considered one of the absolute masters of the jazz idiom, look no further than
Things Are Getting Better, which provides ample evidence for his canonical stature. On this date, Adderley teams up with Modern Jazz Quartet cofounder
and vibraphonist extraordinaire Milt Jackson to create a lively, varied set of sonic atmospheres. They are backed by the all-star ensemble of
Wynton Kelly on piano, Percy Heath on bass, and the legendary Art Blakey on drums. The standout track, Sounds for Sid, finds Adderley grooving hard
with an R&B flavor, flashing his virtuosic instrumental chops, and demonstrating in the process why this cut stands as one of the very best representations
of Adderley's early work. Essential listening for all manner of jazz enthusiasts, Things Are Getting Better has something for everyone and deserves a
place in every self-respecting jazz fan's vinyl collection.1. Blues Oriental
2. Things Are Getting Better
3. Serves Me Right
4. Groovin' High
5. The Sidewalks of New York
6. Sounds for Sid
7. Just One of Those Things$21.99Vinyl LP Reissue - Sealed Buy Now
Psychic Temple IIIt may seem hard to imagine a place where indie rock visionaries like Sufjan Stevens and Castanets' Ray Raposa could meld minds with the genius of Brian Wilson, where death metal pioneer Paul Masvidal might wield his legendary six-string chops on a blissed-out soul ballad, where adventurous young jazz players like Kris Tiner and Devin Hoff share credit with Mars Volta keyboardist Ikey Owens and singer/songwriter Aaron Roche.
Long Beach composer, producer and multi-instrumentalist (not to mention truck driver) Chris Schlarb has not only imagined such a place but has now made it manifest for a second time. Released by Asthmatic Kitty, Psychic Temple II is a labor of love, envisioned by Schlarb to bring his most far-ranging inspirations to life - as he puts it, "a dream ensemble that could never actually exist." The ensemble's sophomore release was painstakingly constructed over more than a year with the cooperation of some of the most progressive musical minds from a staggering variety of genres.
"I love interesting juxtapositions, where you bring together people from different communities," Schlarb says. He cites iconoclastic predecessors like Bill Laswell's ever-changing group Material, which once brought together a young Whitney Houston with jazz legend Archie Shepp and future Soundgarden and Red Hot Chili Peppers producer Michael Beinhorn to cover a song by Hugh Hopper of English prog-rock pioneers Soft Machine. On 2010's Psychic Temple, Schlarb assembled a 29-member ensemble that included Minutemen bassist Mike Watt, vocalist Julianna Barwick, and pianist Mick Rossi of the Philip Glass Ensemble.
"It seems like a crazy combination of people," Schlarb says, "but they're all just musicians. Why not bring them all together? It may not always work, but it's always worth reaching further."
Psychic Temple II reaches beyond the long-form experiments of its predecessor for a more tightly focused yet conceptually dense collection whose songs are no less exploratory for their briefer durations. "I never see the point in continuing to regurgitate," Schlarb says of the new album's unique direction. "What was natural at that time would now feel contrived. I have to keep moving forward."
Schlarb also includes three cover songs by composers who share his boundary-demolishing mindset: Joe Jackson's "Steppin' Out," Frank Zappa's "Sofa No. 2," and Brian Wilson's "'Til I Die," a gorgeous, lesser-known Beach Boys song that features vocals by Sufjan Stevens, Castanets' Ray Raposa, and Cryptacize's Nedelle Torrisi.
Psychic Temple had its origins in Create (!), a large improvising ensemble with which Schlarb used to perform. The free-form group would often incorporate multiple drummers, a concept that Schlarb decided to pursue in a more composition-oriented setting. No matter how much Psychic Temple mutates from track to track, the rhythmic possibilities of its two drummers (in this case, Tabor Allen and Andrew Pompey) remain intact.
Schlarb's imaginative leaps are evidenced from the outset of Psychic Temple II, on the intoxicating opening track, "Seventh House." Featuring the sinuous vocals of Sarah Negahdari, who recently served as touring bassist for Silversun Pickups, the song weaves together lyrical and musical references to Neil Young's "Will To Love," to the Art Blakey & the Jazz Messengers album Pisces, and to Sheena Easton's notorious Prince-penned pop hit "Sugar Walls."
Then there's "The Starry King Hears Laughter" and "She Is the Golden World," two songs that pay simultaneous homage to poet William Blake and jazz legend Bill Evans; or "Solo in Place," Schlarb's attempt to filter classic soul through his own "weird prism," a missing link between the Isley Brothers and the Alan Parsons Project that features guitar wizard Paul Masvidal of the death metal bands Death and Cynic.
Despite such a mind-blowing array of talent from the farthest reaches of the musical spectrum, Psychic Temple II is a surprisingly cohesive album, a testament to Schlarb's clear controlling vision. "One of the fundamental flaws of modern music is the idea of the record as a pastiche," he says. "With hip-hop and R&R records starting in the '90s, you had ten tracks with ten different producers so every track sounded completely different. There was no aesthetic where you could just put on a record and listen to it beginning to end. I admire people who are control freaks."
Schlarb has wielded control over a number of vastly different projects himself. The New York Observer called his debut solo album, Twilight & Ghost Stories, "40 minutes of avant-garde bliss," while Interoceans, recorded with experimental jazz duo I Heart Lung, was chosen by NPR as one of the top five jazz albums of 2008. He composed the score for Nicklas "Nifflas" Nygren's video game Nightsky and has received grants from the Canada Council for the Arts and Meet the Composer. In 2001, Schlarb founded the eclectic Sounds Are Active record label, which has released music by the likes of Nels Cline, Mike Watt, and Castanets.1. Seventh House
2. The Starry King Hears Laughter
3. Solo In Place
4. Bird In The Garden
5. 'Til I Die
6. She Is The Golden World
7. Steppin' Out
8. All I Want Is Time
9. Sofa No. 2
10. NO TSURAI
11. Hyacinth Thrash Quarter$19.99Vinyl LP - Sealed Buy Now
Hot Rod Dance PartyLimited Edition
As one of the busiest and most versatile session guitarists of the 60s, Jerry Cole recorded with a litany of legends, including Phil Spector, the Beach Boys and the Byrds. But to those in the know, hes renowned for his own incredible surf and hot rod instrumentals, which he delivered on a series of vintage albums with his band the Spacemen. Coles modernistic recordings, however, sound completely different from other surf-and-drag releases of the period, with expansive arrangements that often featured elements of jazz and exotica, the better to showcase the guitarists inventive, assertive playing.
One of Coles best-loved LPs is this amazing 1964 release, which includes contributions from many of the same L.A.-based musicians who played alongside Cole in the now-legendary session ensemble known as the Wrecking Crew. Coles powerful guitar work powers such turbo-charged numbers as Night Rumble, Border Run, Stinger and Hot Rod Queen, which live up to the albums title and then some!
Sundazed has lovingly remastered this masterful guitar extravaganza from the original analog tapes, carefully reproduced its complete original cover art and pressed it on high-quality 180 gram vinylall the better to keep this party humming!1. Night Rumble
2. Border Run
3. Mr. Wobble Wheels
4. Hot Rod Queen
6. Roadster Run
7. Boss Dance
8. T. Roadster Rock
9. Dancing Mags
10. Driving Little?Deuce
11. Night Drag$24.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Things Are Getting BetterThis title provides ample evidence why Cannonball Adderley (alto sax) is considered one of the masters of his craft. Here he joins forces with Modern Jazz Quartet co-founder Milt Jackson (vibes) to create a variety of sonic atmospheres. They are backed by the all-star ensemble of Wynton Kelly (piano), Percy Heath (bass), and the one and only Art Blakey (drums).
The moody Blues Oriental opens the set with Jackson immediately diving in with his trademark fluid runs and shimmering intonation. Adderley counters with a light and lively line that weaves between the rhythm section. The optimistic Things Are Getting Better is a good-natured romp as the co-leads trade and cajole each other into some downright rollicking exchanges. This directly contrasts with the sultry Serves Me Right, which allows the combo members to demonstrate their collective musical malleability. The interaction between Adderley and Jackson sparkles as they entwine their respective playing with an uncanny singularity of spirit. The cover of Dizzy Gillespie's Groovin' High contains another spirited performance with some thoroughly engaging improvisation, especially during Adderley's voracious solos. Sidewalks of New York bops freely as Jackson unleashes some sublime licks against a hearty and equally boisterous sax. Adderley's Sounds for Sid demonstrates his uncanny ability to swing with a strong R&B vibe. With drop-dead timing and profound instrumental chops, this cut is undoubtedly one of the best from Adderley's earliest canon. The album concludes with a jumping reading of Cole Porter's Just One of Those Things.
-AllMusic.com1. Blues Oriental
2. Things Are Getting Better
3. Serves Me Right
4. Groovin' High
5. The Sidewalks of New York
6. Sounds for Sid
7. Just One of Those Things$22.99Vinyl LP Reissue - Sealed Buy Now
Hero BrotherPressed On 180 Gram Virgin Vinyl At Optimal (Germany)
Comes In Heavyweight Jacket With Black Poly-Lined Audiophile Dust Sleeve, Credit Insert, And Pull-Out Art Poster
Sarah Neufeld is a violinist and composer based in MontrÉal, Canada. Best known as a member of Arcade Fire, she is also a founding member of the acclaimed contemporary instrumental ensemble Bell Orchestre and has performed and recorded with many other groups, including The Luyas, Esmerine and Little Scream.
Neufeld began developing pieces for solo violin in a more formal and focused sense in 2011, though she has made improvisation and solo composition part of her process and practice since first picking up the instrument at a young age. Neufeld counts Bela Bartok, Steve Reich, Iva Bittova and Arthur Russell among the formative influences for her solo work, in tandem with an ear for the textures and sensibilities of contemporary electro-acoustic, avant-folk and indie rock music.
Neufeld's debut solo album Hero Brother indeed channels all of the above, flowing through shifting atmospheres and oscillating between restrained, stately ambience, emotive Études, and raw kinetic energy. Small touches of wordless vocalisation, harmonium and piano supplant the violin in a few places. The album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld's performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR.1. Tower
2. Hero Brother
4. You Are The Field
5. Breathing Black Ground
6. They Live On
7. Wrong Thought
8. Right Thought
9. Sprinter Fire
11. Below$25.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Ryonen[Kid Millions] plays with a momentum and velocity that few can match and...a huge amount of soul. - The Quietus
"Through a mix of consummate skill and quirky charm, [So Percussion] has helped to ignite an explosive new enthusiasm for percussion music old and new." - The New York Times
Man Forever is an exploratory percussion project helmed by John Colpitts (aka Kid Millions), one of New York's most versitile and critically lauded collaborators and a founding member of Oneida. Since its inception in 2010, Man Forever has hosted an impressive list of guest performers, but few have been as specially qualified to perform Colpitts' technically challenging meditative workouts as So Percussion, the United States' premiere contemporary percussion ensemble. So Percussion has commissioned and premiered new compositions by Steve Reich and their interpretations of John Cage have revolutionized the legendary composer's cannon. Following a collaborative performance at the Metropolitan Museum of Art in New York in June of 2013, So and Colpitts entered the studio together to record Ryonen, two pieces that combine the former's precision and ingenuity with the latter's restless punk spirit. While previous Man Forever records were inspired by blissful, overwhelming confusion, Ryonen derives its power from its clarity and immediacy.
The two pieces on Ryonen are rhythmically seductive and instantly exciting while retaining the experimental legacy that Man Forever has cultivated over several albums and relentless touring. "The Clear Realization" is an exploration in polyrhythm performed on two drums sets, two sets of bongos (an instrument Colpitts rediscovered while performing with Yo La Tengo on Late Night with Jimmy Fallon), a concert bass drum, snares, crash cymbals, and vocals. Each instrument is performing in a different time signature at the same tempo, creating a beat that is both propulsive and nonpredictive. "Ryonen" is more chaotic on the surface, but repetitions and rhythms hidden beneath the surface emerge with close listening. The drums are tuned to resonate with each other, creating a series of overtones that hover over the music and provide a baseline drone for the ensemble to harmonize with during the piece's dramatic climax.
Colpitts continues to be one of the most in-demand drummers in New York. Throughout 2013 he toured as a member of Spiritualized, performed in duos with Greg Fox and Jim Sauter, recorded a record with Akron/Family, released an album with People of the North on Thrill Jockey, and performed with Rhys Chatham as a member of Oneida. So far in 2014 he has recorded an album with Rick Moody and is performing with William Basinski at the Ecstatic Music Festival in March. Man Forever will tour the US and Europe performing Ryonen.1. The Clear Realization
2. Ryonen$18.99Vinyl LP - Sealed Buy Now
Winds Of War & Peace (200 Gram Vinyl)200-Gram Vinyl Plated And Pressed At Quality Record Pressings
Mastered By Kevin Gray At Cohearent Audio
On Winds of War and Peace, conductor Lowell Graham takes the National Symphonic Winds ensemble through a program of stirring orchestrations and marches. Liberty Fanfare was composed for the centennial celebration of the Statue of Liberty in 1986. The fanfare set the stage for one of the most spectacular celebrations in America's history. Samuel Barber's Commando March composed in 1943, represents Barber's first band work. Written in a quadruple meter, this work utilizes the constant contrast of dotted and triplet rhythms. Roger Nixon's Festival Fanfare March, was recognized for superb composition by the American Bandmasters Association in 1973. It is a work that's technical, bright in color and effervescent in spirit. The album also includes Victory at Sea, El Camino Real, A Santa Cecilla and Symphonic Dance No. 3.
Graham, a native of Greeley, Colorado, has earned recognition as one of America's most talented young conductors. He graduated from the University of Northern Colorado with both his Bachelor of Arts and Master of Arts degrees. He was also the first person to be awarded the Doctor of Musical Arts Degree in Orchestral Conducting from the Catholic University of America.
Graham has led orchestras and bands on record and in performance throughout the world. He is the current conductor and commander of the United States Air Force Tactical Air Command Band.
This title is not eligible for discount.1. Liberty Fanfare
2. Commando March
3. Festival Fanfare March
4. Victory as Sea (arr. R.R. Bennett for wind ensemble)
5. El Camino Real
6. A Santa Cecilia
7. Symphonic Dances - No.3 Fiesta$34.99200 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
The Percussion RecordThe O-Zone Percussion Group consists of selected percussionists at Indiana University of Pennsylvania. Their conductor, Dr. Gary J. Olmstead, has been Director of Percussion studies at IUP since 1966. He received a Bachelor of Music degree from the University of Michigan, Master of Fine Arts degree from Ohio University and Doctor of Musical Arts degree from the Cleveland Institute of Music. He is recognized nationally as a leading percussion educator and is active as a performer, conductor, and clinician.
Carl Adams has been a professor at Indiana University of Pennsylvania since 1979 teaching flute, jazz Improvisation and is a member of the IUP Faculty Woodwind Quintet. Active on both the classical and jazz scene, Adams has performed with the U.S. Military Academy Band, the Keystone Wind Ensemble and the Akron and Johnstown Symphonies. Solo recital appearances include the Kennedy Center, Wolf Trap, Carnegie Recital Hall and the Chautauqua Institution. He performs in a tri-state area with the Carl Adams Jazz Quartet and has appeared at the Pittsburgh Jazz Society, Nemacolin in Woodlands, Three Rivers Arts Festival, the Westin-William Penn (Pittsburgh) and in benefit concerts for the Westmoreland Symphony.
James Rupp is a veteran of the great 'big bands' of Woody Herman, Maynard Ferguson and Glenn Miller, including tours of the United States and Europe. Jim has recorded television specials with the Woody Herman Orchestra and the Bobby Floyd Trio and live albums with the Woody Herman and Glenn Miller Orchestras.
Jerry Tachoir is acclaimed by critics for his talent, versatality, and his studious grasp of the jazz idiom and brings an exciting and engaging dimension to his performances. He has been an active member of the Ludwig/Musser clinic staff since 1972. His most requested clinic features include improvisational techniques, harmonic awareness, and vibe technique.
The connection of the percussion ensemble with jazz/rock/popular music seems a logical one given the inclusion of various percussion instruments as integral parts of this music. The drumset, of course, was present from the beginning of jazz and rock. The vibraphon has long been a favorite jazz instrument and the xylophone was a favorite ragtime solo instrument in the early part of the 20th century. Ethnic percussion instruments from Latin America, Africa and other cultures have long been used in the jazz/rock/pop Idiom.
Dr. Gary J. Olmstead, conductor
Carl Adams, percussion
James Rupp, percussion
Jerry Tachoir, percussion1. Jazz Variants
2. A Time for Jazz
5. Suite for Drumset
6. Conflict of Interest
7. Rondo Barock
8. La Bamba$49.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
I Am A Bird NowThis second full-length features contributions from both Antony's peers (Rufus Wainwright, Devendra Banhart) and heroes (Lou Reed, Boy George). Their involvement reflects both their admiration for Antony and his unique place in the contemporary arts community. Reed asked Antony to perform as part of the small ensemble on Reed's American and European tours, and he gave Antony a solo turn on the Velvet Underground classic Candy Says, an homage to another one of Antony's inspirations, Andy Warhol. In fact, the image adorning the cover of this album is Peter Hujar's striking 1974 photo, Candy Darling On Her Deathbed. Like some unsettling ghost relative of Jeff Buckley and Billie Holiday singing for all the fallen, this is tough, honest, uncompromising beauty and the next great voice in music - Mojo. If a great voice is often said to be an instrument, Antony's is a near orchestra, carrying extremes of emotion, great waves of suffering, tragedy, redemption, and joy - Metro. Look for a full US tour this fall.1. Hope There's Someone
2. My Lady Story
3. For Today I Am A Boy
4. Man is the Baby
5. You Are My Sister
6. What Can I Do?
7. Fistfull of Love
9. Free at Last
10. Bird Girl$17.99Vinyl LP - Sealed Buy Now
DakarDakar (1957) presents half-a-dozen numbers recorded April 20, 1957 by an ensemble credited as the Prestige All-Stars. On the bandstand for this date are John Coltrane (tenor sax), Cecil Payne (baritone sax), Pepper Adams (baritone sax), Mal Waldron (piano), Doug Watkins (bass), and Art Taylor (drums). Although at the time these were considered leaderless units, upon hearing the interaction of the participants, modern ears might desire to qualify that statement.
The Latin-flavored title track Dakar finds Coltrane adapting his solo to faultlessly conform to Payne and Adams' comparatively fuller-bodied involvement. The brooding chord progressions take on dark overtones with Coltrane joining Waldron as they burst forth fuelled by the soulful brass section. Mary's Blues is a treat for sax lovers as Adams -- who penned the number -- almost immediately raises the musical stakes for Coltrane. The differences in their respective presentations offer a contrast that complements the cool refinement of Adams and Pepper when juxtaposed with Coltrane's frenetic flurries. Particularly engaging are the sequence of four-bar blasts from the horn players, just prior to Coltrane pushing the combo through their paces. On Route Four the strongest elements of each player surface, creating one of the platter's brightest moments. Right out of the box, Waldron unleashes line upon line of masterful lyricism. The driving tempo keeps the instrumentalists on their toes as Coltrane is sandwiched between the undeniably and equally inspired Payne and Adams. Here, the urgency of Coltrane's tenor sax clearly tests the boundaries of the Taylor/Watkins rhythm section. The moody and sublime ballad Velvet Scene is a Waldron composition containing some of the author's strongest individual involvement as he interjects his expressive keyboarding directly into the melody.
- Lindsay Planer (All Music Guide)1. Dakar (Teddy Charles)
2. Mary's Blues (Pepper Adams)
3. Route 4 (Charles)
4. Velvet Scene (Waldron)
5. Witches Pit (Adams)
6. Catwalk (Charles)$21.99Vinyl LP - Sealed Buy Now
Live From Austin, TX (David Byrne)David Byrne is a modern renaissance man - and that's not just a clichÉ. From the heady days as co-founder of the celebrated art new wave group Talking Heads (1976-88) through his own constantly evolving and innovative solo music career, he has pursued his muse on many different artistic fronts. He's been the driving force behind a body of work that has been both intellectually daring and commercially successful...and he shows no signs of slowing down decades later. This show, captured on November 28, 2001, came on the heels of his hit single, "Like Humans Do" and the release of the album Look Into The Eyeball, which was another typically eclectic musical stew reflecting a variety of styles and influences, from Philly soul to a D.C. Go-Go inspired groove and his first-ever Spanish composition, "Desconocido Soy." Critics at the time called it his best work in years, and his performance on the Austin City Limits stage shows why. Joined by Austin's own eclectic tango ensemble Tosca, Byrne takes us down many different musical roads in his ACL debut. Of course, besides the brilliant songwriter and performer that he is, he's also an accomplished performance artist, photographer, web journalist, film writer/director, composer of motion picture soundtracks, and founder of his own world music label, Luaka Bop Records. He also has a collection of Grammys, Oscars and Golden Globes on his mantel. His music may be complex and poetic, but he makes no bones about his ultimate intent: "I want to move people to dance and cry at the same time.
- Terry Lickona (producer Austin City Limits)LP 1
1. (Nothing But) Flowers
2. God's Child
3. And She Was
4. Once In A Lifetime
5. The Great Intoxication
6. Marching Through The Wilderness
7. The Revolution
1. This Must Be The Place (Naïve Melody)
2. What A Day That Was
3. Desconocido Soy
4. Like Humans Do
5. Life During Wartime
6. I Wanna Dance With Somebody$30.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now