• 1979’s The Aegean Sea is somewhat of a companion piece to the previous year’s Pacific. A beautiful piece of Japanese smooth fusion-jazz with elements of traditional Greek music and Balearic grooves, it’s one of Hosono’s cleanest and most focused works to date. Long sought after by collectors this record is nearly impossible to find in original pressings outside of Japan and this is a welcome reissue of one of the greatest titles in Hosono’s seemingly infinite catalog. Essential Japanese jazz fusion. (Victory ‎– V25AH506)
  • Crossings is the second album in the experimental sextet trilogy Herbie Hancock released early 1970s. His electronic movements are further explored and the whole sound comes alive in the three long tracks this album consists about. The album opens with some African drums before moving on the to some of the unearthed sounds the sextet created for this album. Centerpiece Sleeping Giant is nearly 25 minutes long and is divided into five funky and groovy parts. A transcendent experience that has grown over time into one of the most moving, powerful and innovative artistic statements of the modern era. Over forty years later this album still sounds incredibly ahead of its time. LP - 180 Gram Vinyl housed in Gatefold Sleeve with Insert. (Antarctica Starts Here/2019)
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    Classic Hancock from 1964. From soul-jazz cuts to avant-garde explorations, ‘Empyrean Isles’ revealed that Herbie Hancock was a jazz icon in the making.Empyrean Isles is the best of Hancock's Blue Note albums and an outstanding example of modal jazz. But beyond that, it's simply one of the finest pure jazz albums ever made, right up there with Kind of Blue and Love Supreme. What helps makes it so great is not just the phenomenal musicians and the flawless performance, but a composer/arranger (Hancock) who really has no equal in the jazz world. The 1950s were about forming the groundwork for jazz. Its maturation came in the post-bop 1960s, and this album was conceived at arguably the very peak of that movement. the favourites here are the "Oliloqui Valley" and the immortal "Cantaloupe Island." Ultra Clear 180G Heavyweight vinyl Limited Edition 500 copies (Future Shock/2021)
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    Chicago-born pianist/composer Herbie Hancock had already made his mark when, in 1962, he recorded ‘Takin’ Off’ for the Blue Note label; it was his first under his own name. At only twenty-two years of age, the company offered him a solo contract which would allow him to record a number of rightly revered albums throughout the Sixties. The release of ‘Takin’ Off’ almost immediately singled out Hancock as one to watch, the hard-bop message delivered in striking fashion by the leader and his sidemen. Incidentally, trumpeter Freddie Hubbard, only a couple of years Hancock’s senior, already had a couple of albums under his belt for Blue Note, and these were as well received as the pianist’s own debut disc would be. LP - 180 Gram Vinyl. (Not Now Music/2019)
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    Blue Train is a studio album by John Coltrane which was released in January 1958 through Blue Note Records. It was recorded at the Van Gelder Studio in Hackensack, New Jersey. It is the only Blue Note recording by Coltrane as session leader, and has been certified a gold record by the RIAA. Label: Second Records Barcode: 9003829977066
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    One of Coltrane's most popular, influential recitals, 'Impressions' derives its two extended blowing tracks from the saxophonist's famous November 5, 1961 gig at New York's Village Vanguard. The brief, charming blues and ballad were recorded in the fall of 1962 and the spring of 1963, respectively. On 'Impressions' Coltrane acknowledged his roots, while striking out in new directions. 'Impressions' is an affectionate uptempo nod to his earlier modal flights with Miles Davis, and it is clear from Jimmy Garrison's comanding pulse on this tune that 'trane had found his bassist. Coltrane's new conception freed up rhythm sections from their metronomic duties of the past, so Garrison and Elvin respond to 'trane's string of short phrases and torrid cries with a loose, counterpunching brand of conversational 4/4. Garrison's ability to move seamlessly between vamp and swing beats, his innate sense of form on non-metric materials, allowed the quartet to abandon strict timekeeping in favour of a freely breathing pulse. Jazz would never be the same. (Ermitage – VNL 12532)
  • During the late 1950s, the iconic tenor saxophonist John Coltrane was exploring different milieus with various associates, most notably reconnecting with Miles Davis during a time when the latter was working with pianist Red Garland, bassist Paul Chambers, and drummers Jimmy Cobb and Art Taylor. These players are featured on the 1958 session that would yield Stardust, released by Prestige four years later, and although comprised of four standard cover tunes, Trane’s playing is so supremely emotive and the hard-bop arrangements so subtle and engaging that the LP becomes another deep audio dive that sounds better with every listen. TRACKLIST A1 Stardust A2 Time After Time B1 Love Thy Neighbor B2 Then I'll Be Tired Of You Label: Destination Moon Barcode: 8055515234206
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    Reissue of this classic produced by Rick Rubin on 180 gram vinyl incl. download code. Tracklist Delia's Gone 2:17 Let The Train Blow The Whistle 2:15 The Beast In Me 2:45 Drive On 2:23 Why Me Lord 2:21 Thirteen 2:29 Oh Bury Me Not 3:52 Bird On A Wire 4:00 Tennessee Stud 2:54 Down There By The Train 5:35 Redemption 3:01 Like A Soldier 2:49 The Man Who Couldn't Cry 4:59 (American Recordings – 0600753441695)
  • Kamasi Washington composed and produced the original score for Becoming, the four time Emmy-nominated film that provided an intimate glimpse into the life of Michelle Obama. Produced by Netflix Originals, Becoming documented a moment of profound change for the former First Lady, not only for her personally but for the country she and her husband served over eight impactful years in the White House. Washington, who joined the project in its embryonic stages, provides the powerful musical backdrop. Young Turks Recordings will be releasing Vinyl and CD of this Emmy nominated score on 11th December 2020. (Young Turks Recordings/2020)
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    2018 repress. Originally released in 1998. Gatefold double LP with a CD copy of the album. "The first solo album released by the former frontman of Mano Negra, Clandestino is an enchanting trip through Latin-flavored worldbeat rock, reliant on a potpourri of musical styles from traditional Latin and salsa to dub to rock 'n' roll to French pop to experimental rock to techno... Just about every track has odd sampled bits from what sound like pirate radio-station broadcasts (a possible link to the title). There are so many great ideas on this record that it's difficult to digest in one listen, but multiple plays reveal the great depth of Manu Chao's artistry." (Because Music/Radio Bemba)
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    Marika "Politissa" Frantzeskopoulou was a Greek singer from Constantinople, reknowned for her precise, fluid and graceful performances and depth of feeling. Backed by some of the best musicians of the era on lyra, violin, oud, kanonaki and guitar, Marika’s repertoire and techniques drew from Byzantine and Ottoman musical traditions. She possessed an ability to devastate her audience through her expressions of grief, exile, and tragic love, running the gamut of cafe aman, torch songs, lilting and fragile odes to heartache, heavy Piraeus style rebetika, and ecstatic Near-Eastern climaxes, all with a visceral sense of atmosphere, emotion, and fatalism. Marika’s voice is complimented beautifully by her backing musicians, creating a pulsing acoustic foundation over which her voice soars with clarity and purpose. LP version includes a 12 page color booklet with rare photographs, full lyrics, and extensive notes (Bandcamp version includes booklet in PDF format). Produced in collaboration with Tony Klein (Greek Rhapsody, Mortika) and Stavros Kourousis (From Tambouras to Bouzouki) and co-released by Olvido Records (A. Kostis, Alexis Zoumbas). (Mississippi Records – MRI-124, Olvido Records – OLV-009)
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    MARTHA HIGH | singing for the good times | LP

    Original price was: €18.00.Current price is: €13.00. incl. tax
    Martha High, who sang on stage with James Brown for 30 years and was his longest-running female vocalist, is stepping back into the spotlight for a new solo album. Martha HighSinging For The Good Times will be released on 22 April June on Blind Faith Records. The lead track from the album is 'Lovelight,' for which the radio impact date is 10 March. It's a welcome solo flight for High, now 71, who tours the world regularly as the lead singer with the band of Maceo Parker, another longtime acolyte of the Godfather of Soul. High's credentials as one of Brown's most trusted allies, and as part of his historic contribution to the history of soul music are unimpeachable. She was with him and the JBs at their celebrated concert at the Boston Garden in April 1968 james-brown-boston-1968on the night after Martin Luther King's assassination, when Brown prevented further rioting with his sheer stage presence and positive message. Martha was also by JB's side at such famous occasions as his courageous trip to Vietnam to entertain the American troops, and at the Rumble In The Jungle concert in Zaire, attended by 60,000 people, ahead of the George Foreman – Muhammad Ali fight of the same name in Kinshasa. james-brown-payback-label-45-masterBrown rarely used other solo voices in his prolific recorded output, with the exception of Bobby Byrd, but High sings on the 1968 live recording of 'There Was A Time' featured on the Star Time box set. She's the striking vocalist at the beginning of his 1974 US R&B No. 1 'The Payback,' and appears on the 1976 hit 'Body Heat.' Singing For The Good Times, recorded completely in analog for added authenticity, contains 11 original tracks, written, produced and arranged by Italian soul man Luca Sapio and his crew. (Blind Faith Records – BF 01002 LP, Goodfellas – BF 01002 LP)
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    We Insist! Max Roach's Freedom Now Suite, co-authored by Max Roach and Oscar Brown, Jr., was a pivotal work in the early-'60s African-American protest movement, and continues to be relevant in its message and tenacity. It represents a lesson in living as to how the hundreds of years prior were an unnecessary example of how oppression kept slaves and immigrants in general in their place. Vocalist Abbey Lincoln expresses this oppression as effectively as anyone could with her thespian-based wordless vocals, and lyrics written by Brown that tell the grim story of the struggle of African-American for far too long. Musically, Roach assembled one of the greatest bands, from his own emerging ensemble with trombonist Julian Priester and trumpeter Booker Little, to the legendary Coleman Hawkins and lesser-known, underappreciated tenor saxophonist Walter Benton. Percussionists Ray Mantilla and Michael Olatunji gave the poetic pieces sung by Lincoln enough substance and spice to also refer to Afro-Cuban and South American prejudice and urgency for change. Hawkins is particularly impressive, as his emotional range during the deep and dour, 5/4 slave song "Driva' Man" clearly feeds off of Lincoln's blues singing about quittin' time. "Triptych; Prayer/Peace/Protest" is the magnum opus of the set, introduced by Roach's signature drum moves, an eerie operatic vocal or oppressed angst yelling from Lincoln, and a 5/4 beat from the percussionist against a calmer vocal component, all written for interpretive dance. Of the modern jazz that Roach is renowned for, the horns jump into furious hard bop with solos from Little, Benton, and Priester on "Freedom Day" after Lincoln quietly invites you to "whisper/listen," while the obscure bassist James Schenck leads in 6/8 and 5/4 ostinato over Lincoln's sustained tones on "Tears for Johannesburg," with the layered horns in and out of well-wrought harmonies, and another triad of instrumental solos. "All Africa" sports lyrics about being on the beach, or maybe the beach head in the battle for freedom, as chants of tribal names echo similar village beats. This is a pivotal work in the discography of Roach and African-American music in general, its importance growing in relevance and timely, postured, real emotional output. Every modern man, woman, and child could learn exponentially listening to this recording -- a hallmark for living life. (Wax Love Records)
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    Kind of Blue is a studio album by American jazz trumpeter, composer, and bandleader Miles Davis. It was recorded on March 2 and April 22, 1959. Edition On Red Vinyl Limited To 500 Numbered Copies Labael: Destination Moon ‎– DMOO003 Barcode: 634438441458
  • The last of the collaborative LPs Miles Davis recorded with Gil Evans for Columbia, Quiet Nights is easily the most controversial. Following the success of Sketches Of Spain, Davis and Evans aimed to further the Latin explorations, this time pointing to Brazil, as heard on the adaptation of Antonio Carlos Jobim's "Corcovado" and Joao Gilberto's "Aos Pés Da Cruz," with its stellar Ron Carter bass accompaniment, though some were surprised by the brevity of the proceedings, including Miles himself. Nevertheless, those who get to know the album will appreciate its intricacies, the product of the pair's unique creative chemistry. Label: Destination Moon Barcode: 8055515235364
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    NICO | chelsea girl | LP

    21.00 incl. tax
    She is beautiful. And in a world where so much can easily be possessed on a whim or for a promise, she is unpossessable. She has a clear, pure ring, a trueness, like an arrow that has hit an inner mark and can’t be wedged loose. Her voice and her manner, that stretch farther into the past than perhaps she realizes, may set the new style: an existential pop style that is as earthy as Mary Travers (Peter, Paul & Mary) yet more elegant, more solated. Her name is Nico. I don’t know where she was born, how old she is or anything about her life as a model in Paris, an actress in Rome, a beat in lbiza or a member of the Velvet Underground I could easily find out. But l’d rather not. All that was yesterday. Pat Patterson Label: Endless Happiness - HE67002 Format: Vinyl LP Barcode: 5060672888776
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    Nina Simone at Town Hall is a 1959 album by Nina Simone. It was recorded live at The Town Hall, New York, on 12 September 1959 and released as her second album for Colpix Records that same year. 180 gram gatefold (DOL/2021)
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    Change of the Century is the fourth album by jazz saxophonist Ornette Coleman, released on Atlantic Records in May 1960. It sold very well from soon after its release. Recording sessions for the album took place on October 8 and 9, 1959, in New York City. In the liner notes, Coleman stressed that the album was "a group effort," and wrote: "When our group plays, before we start out to play, we do not have any idea what the end result will be. Each player is free to contribute what he feels in the music at any given moment... our final results depend entirely on the musicianship, emotional make-up and taste of the individual member." Label: Destination Moon Barcode: 8055515234220
  • Free Jazz was originally released in 1961, it's 6th album by jazz saxophonist and compose Ornette Coleman. The masterpiece was so important that in little established the name of the then-nascent 'free jazz" movement. Limited reissue on color vinyl. Label: Now Or Newer Recordings Barcode: 3701037701508
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    "Roza Eskenazi was a giant of rembetika, the urban Greek music of Ottoman origin associated with the poor underclass. Eskenazi's life was extraordinary: born Sarah Spinazi to a poor Sephardic Jewish family in Constantinople, probably in the mid-1890s, after an itinerant childhood, she began dancing at the Grand Hotel Theatre in Thessaloniki. She eloped with the wealthy Yiannis Zardinidis around 1913, with whom she bore a son, but after his untimely death in 1917, she placed the son in the care of an orphanage and moved to Athens, where she danced with Armenian cabaret artists. Eventually, the composer Panagiotis Toundas discovered her singing and arranged her first recordings for Columbia Records in 1929, which catapulted her to fame. Cutting over 500 songs in the 1930s, she became the leading exponent of the Smyrna school of rembetika. Running a nightclub in Athens during the German occupation of World War II, she hid resistance fighters and British spies and helped many Jewish families flee the country. She finally toured the USA in the 1950s, and though her career subsequently waned, a 1970s revival led to further work. The longevity of her output is such that her song Misirlu was included on the soundtrack of Pulp Fiction; the 21 gems collected here were recorded between 1931 and 1947." (Fantôme Phonographique)
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    Esteemed soul crooner Sam Cooke achieved much in a short space of time, notching 29 top-40 singles in his seven-year solo career. On Night Beat, released in 1963, Rene Hall’s tasteful arrangements allow Cooke’s voice to shine, most notably on ‘Lost And Lookin’; jump blues standards ‘Shake Rattle And Roll’ and ‘Little Red Rooster’ are playfully rendered, with Billy Preston’s organ on the latter. Originals ‘Mean Old World’ and ‘Laughin’ And Clownin’ remind of his strong song-writing ability and his spirited take of ‘Nobody Knows The Trouble I’ve Seen’ recalled his days with the Soul Stirrers. A prime album for all Cooke fans! Label: Destination Moon - DMOO021 Barcode: 8055515234077
  • It's still out there, the spirit of the working class. Maybe not necessarily where Marx had placed it. Today, the saturated middle class with their own home, double garage and annual vacation in Thailand stands on the assembly lines of Ford or BMW. The new working class delivers food under precarious conditions in the service of turbo-capitalism, drives bus night shifts, does the dirty work of a professor on a temporary assistant contract or wipes the butts of dementia sufferers for a little applause from the balconies of the higher earners. So new times, which of course are still the same as they always were. There are “those up there”. And there are the people who keep the store running, who straighten their backs and grit their teeth. And who urgently need a beer in the evening. Because the best place is still at the bar. Somewhere between Birth, School, Work, Death there are blues, sweat and beer. Fits pub rock. Pubrock is the grassroots movement of rock'n'roll. Born in the late 1960s and early 1970s, it brought music back from the oversized stages to the basement clubs and pubs, especially in the English industrial districts, where “workers” were actually still crowding around. Where people drank, laughed and argued. Where the motto was “pub fights, pub gets along” and huge keyboard towers, Mussorgsky adaptations and delicately blown fairy hair were laughed at in never politically correct expressions. Against the then omnipresent mantra of higher!, more complex!, more delicate! Pub rockers used the simplicity of the blues, gut feeling rhythm rumbling, cleaver riffs, brutally fast hooklines and clenched fists raised in the air. If you want, you can interpret pub rock as the anti-thesis to capitalism. Because although essentially “apolitical”, the lack of ambition for “bigger things” alone means the refusal of permanent growth. And what was forced by the oil crisis in the 1970s - the practical end of the suddenly unaffordable touring throughout the country - also meant, conversely, a return to one's own strengths and resources. “Act local” also meant “in the local pub in your neighborhood”. (A rogue who draws parallels to the current crisis of rock musicians, who are losing their tours in droves and who can hardly call themselves professionals anymore, because that would mean that they could somehow make a living from their music.) Back then, pub rock triggered the reboot of rock music, was the necessary initial spark and the stepping stone for punk and everything that came after. Sometimes later eaten by one's own children or swept under the carpet of history and largely forgotten - Kursaal Flyers, Dr. Feelgood, Eddie & The Hotrods, Brinsley Schwarz - but sometimes also matured into a central actor or mentor - Nick Lowe, Joe Strummer, Ian Dury, Elvis Costello. And despite the limited resources, pub rock was anything but provincial, it unhesitatingly usurped and "appropriated" what works in every pub in the world, whether in Connewitz/Saxony or Bozeman/Montana: country casualness, heavy rock depth , tinkling honky-tonk pianos, the fearless musical freedom of a Wurlitzer speaker. Since then, the only thing that has been important is that it has to work. And the people there, on this mini stage with their mini equipment, have to fit. To dirty toilets full of stickers and stupid graffiti, to puddles of beer, unwashed hair, worn out clothes. Even with Schneckenkönich everything seems a bit dirty and greasy; Hair, denim jackets, and anyway the music, which revolves around a few blues patterns and would inevitably be denounced as "authentic", "honest" and "handmade" in the three-part announcements that might be left in the local press. A friend of the band once called it “the finest working-class hippie shit” and that pretty much says it all. The rest is available at the counter in the evening. Label: Sound of Subterrania
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    SEÑOR SOUL | plays funky favorites | LP

    Original price was: €18.00.Current price is: €12.00. incl. tax
    Before there was War there was Señor Soul, which saxophonist/flutist Charles Miller formed in Long Beach, California; he played on Brenton Wood sessions for Double Shot, who released their loose interpretation of Miriam Makeba’s ‘Pata Pata,’ the hit that led to this blinding debut LP. Blending funk, Latin jazz and psychedelic soul, the group makes a range of material their own, led by Miller and vibraphonist Edwin Stevenson; everything from Heard It Through The Grapevine to Psychotic Reaction gets the Señor Soul treatment, rendered with equal doses of sensitivity, humour and funky flavour. Long before Miller recruited members of Nightshift to morph Señor Soul into War, this top-notch debut is a stone-cold winner from first note to last, a must-have for all funk and Latin jazz aficionados. (Survival Research ‎– SVVRCH032 )
  • SIREN | same title | LP

    20.00 incl. tax
    SIREN was the debut album by Kevin Coyne with Siren, the band he founded with former Bonzo Dog Band bassist Dave Clague and pianist/guitarist Nick Cudworth. The album was originally issued on John Peel’s Dandelion label in 1969. An artist who would later inspire John Lydon, Sting, Ben Watt and Will Oldham and would collaborate with Robert Wyatt, Andy Summers, Dagmar Krause, Brendan Croker, Gary Lucas and The Mekons’ Jon Langford, Kevin Coyne deserves a royal place between the likes of Syd Barrett, Peter Hammill and Daevid Allen. Standing on the verge of british blues, folk and rawk’n’roll Siren could have been easily labeled as the british answer to Canned Heat, but there’s even more. ‘And I Wonder’ is clearly an anticipation of what would happen next, with the solo career of Coyne, more focused on acid folk songwriting. Fully remastered and licensed ltd to 500 copies, 180 gr. “Most of the album is good time rock-on-out-music a la the Flamin’ Groovies… one of those (albums) you keep coming back to when the night gets cold and the wine is almost out. I play it a lot, and that’s the nicest thing I can say about an album.” Ed Ward – Rolling Stone “Siren just came as a breath of fresh air really, in the same way that like a generation later The Ramones did. When you just thought ‘Thank God for that!’ You hadn’t realised how bored you’d become…” John Peel Label: Bonfire Records Barcode: 0655729196215
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    SOLOMON BURKE | don’t give up on me | 2xLP/Gatefold

    Original price was: €32.00.Current price is: €25.00. incl. tax
    20th Anniversary Edition of the Grammy Award Winning album by the King of Rock 'n' Soul - the great Solomon Burke Newly mastered and includes the bonus track "I Need A Holiday"The newly packaged booklet includes exclusive photos from the recording session and new liner notes. Recorded live in the studio in a raw, organic style by Joe Henry, the album features new compositions by writers and artists including Bob Dylan, Van Morrison, Tom Waits, Elvis Costello, Barry Mann & Cynthia Weil, Nick Lowe, Brian Wilson, Joe Henry and Dan Penn, all of whom credit Solomon with deeply influencing their work. None of these songs have ever been released commercially before now, and Solomon makes each of them his own with his dynamic delivery. (Anti- – 0358-3)
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