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A furious 18-minute raid occupies the first side of this 1967 album, where Archie Shepp (tenor sax) is surrounded by Reginald Workman on double bass and five percussionists: Beaver Harris, Norman Connor, Eddie Blackwell, Frank Charles and Dennis Charles. Even if Shepp never loses the initial energy, the rest of the music on The Magic of Ju-Ju has slightly less frenetic atmospheres; it is a departure from the first track, gradually sitting in a more traditional realm, with the addition of Martin …
Live at BBC 1970 captures the raw energy and innovation of Nucleus in their formative year, presenting a selection of live sessions recorded for the BBC just as the group was redefining British jazz-rock. Founded by trumpeter Ian Carr, Nucleus emerged from London’s vibrant late-60s scene and quickly established themselves at the forefront of jazz fusion, inspired by the electric revolution of Miles Davis.
This LP features standout performances of key tracks from their groundbreaking debut Elasti…
Soul Of Africa stands as a cornerstone of the Afro-Parisian jazz scene of the 1970s and 1980s, uniting the expressive tenor sax of Hal Singer with the adventurous piano and arrangements of Jef Gilson. Recently reissued by Endless Happiness on 180g vinyl, this sought-after album brings back a key document in the fusion of African rhythms and Parisian jazz innovation. Recorded in Paris, the album features a stellar lineup: Jacky Samson (bass), Bernard Lubat (vibraphone, piano), and the “Malagasy R…
Tip! Science Fiction is an album by the American avant-garde jazz saxophonist and composer Ornette Coleman, released in February 1972. It is considered as Coleman's creative rebirth. A stunningly inventive and appropriately alien-sounding blast of manic energy, where Coleman combines his past and future, working with bassist Charlie Haden and drummers Billy Higgins and Ed Blackwell. The album is made up of spacy, long-toned melodies and rhythm, including two songs with Indian vocalist Asha Puthl…
Music Is the Healing Force of the Universe is a powerful and often ignored 1970 recording from the American avant-garde jazz saxophonist, singer and composer Albert Ayler. Apart from the posthumous album The Last Album, this was to be Ayler's last studio album, recorded and released before his death in November 1970. The album was initially judged as too difficult by Down Beat, then recognized by the most as “an important portrait of a man facing a life and death inner struggle beyond the bounda…
*2025 much needed repress!!!* Recorded in '69, Greek Variations & Other Aegean Exercises is irresistible on two counts. First, for its daringly conceived and brilliantly performed music, inspired by Greek folk songs and instrumental textures and deep enough to reveal all its treasures only after many repeated listenings. Second, for being recorded at the moment when the Don Rendell/Ian Carr Quintet, a major force in British straight-ahead jazz since '62, had broken up and Carr's equally influent…
*2025 reissue* Ralf and Florian (original German title: Ralf und Florian) is the third studio album by the German electronic band Kraftwerk. It was released in October 1973 and it saw the group moving toward their signature electronic sound. This work introduces greater cleanliness in the sounds and intensifies the use of electronic instrumentation, namely synths (Mini Moog, the EMS AKS and Farfisa), drum machines and, for the first time, a prototype vocoder. The formation thus approaches the st…
*2025 reissue* Chris McGregor's Brotherhood of Breath is the debut album by South African pianist and composer Chris McGregor and his English-South African big band established in the late-1960s called “The Brotherhood of Breath”. The music of this album reflects the influences of both jazz and traditional African music. Indeed, it has been recognized as one of the defining recordings of ethno-jazz.
*2025 reissue* This is the first full-length LP by the famous Brazilian musician and songwriter Sebastião "Tim" Rodrigues Maia, known for his iconoclastic, ironic, outspoken, and humorous musical style. This album includes the classics "Azul da Cor do Mar", "Coroné Antônio Bento", and "Primavera", which topped the charts for 24 weeks in Rio de Janeiro.
How Many Clouds Can You See? is the second album by English saxophonist John Surman featuring Alto Saxophone – Mike Osborne; Baritone Saxophone, Flute – John Warren; Baritone Saxophone, Soprano Saxophone, Bass Clarinet – John Surman; Bass – Barre Phillips, Harry Miller; Drums – Alan Jackson, Tony Oxley; Piano – John Taylor; Tenor Saxophone, Flute – Alan Skidmore; Trombone – Chris Pyne, Malcolm Griffiths; Trumpet – Dave Holdsworth; Trumpet, Flugelhorn – Harold Beckett; Tuba – George Smith. John …
This psychedelic nugget wrapped within a lovely hippie album covers offers to an interested listener both conventional San Francisco psych pop rock, and also experimental material, proving that they were among the rock artists searching the boundaries of their art and style. The composition is interesting and quite innovative within the 1960's American garage scene.
The Outsiders' final LP is one of the finer unsung psychedelic records of the late '60s. Heavy echoes of Syd Barrett-era Pink Floyd, Hendrix, and psychedelic-era Pretty Things, with adroit shifts from crunching rock and soft, almost folky passages to spacy phase shift bits and just plain dementia. The album has an ominous and creepy, but rocking, ambience that still cuts deep.
The reissue of Tatsuro Yamashita's Add Some Music To Your Day marks a significant moment in music history, resurrecting a rare gem from 1972 for contemporary audiences to enjoy. With only 100 copies originally produced, this analog LP offers a unique opportunity to experience Yamashita's early musical journey.
Construção (Portuguese for 'Construction') is the eighth studio album by Brazilian singer-songwriter Chico Buarque, released in December 1971. It was composed in periods between Buarque's exile in Italy and his return to Brazil. Lyrically, the album is loaded with criticisms of the Brazilian military dictatorship, especially with regard to the censorship imposed by the government at the time. It is widely regarded by music critics as one of the greatest Brazilian albums of all time.
Secos & Molhados is the debut album of the group of the same name, released in August 1973. The album includes poetry works of authors such as Vinícius de Moraes, Manuel Bandeira and João Apolinário, and dances and songs from Portuguese folklore and Brazilian traditions. The album, as well as the band itself, emerged in the midst of a time of censorship and military dictatorship in Brazil, inspiring the band to portray themes such as freedom of expression, racism and war as a form of protest. It…
Blow-Up is a soundtrack album by Herbie Hancock featuring music composed for Michelangelo Antonioni's cult film Blow-Up, released in 1966. Musically the songs evoke the ambience of swinging Sixties' London with grooves that create effective bluesy Jazz moods on the slow pieces, and funky ones on the up-tempo tracks. The album features performances by Hancock on keys, Freddie Hubbard and Joe Newman on trumpet, Phil Woods and Joe Henderson on sax, Ron Carter on bass and Jack DeJohnette on drums. R…
Clube da Esquina is a 1972 double album by the Brazilian music artists collective Clube da Esquina, credited to Milton Nascimento and Lô Borges. Considered one of the greatest Brazilian albums and an important record in the history of Brazilian music, it features arrangements by Eumir Deodato and Wagner Tiso, and conductions by Paulo Moura. The album garnered high attention for its engaged compositions and miscellany of sounds. Indeed, the LP was considered in the list of the Brazilian version o…
Big tip! Sing Me a Song of Songmy is an album-length composition by avant-garde Turkish composer İlhan Mimaroğlu, released in 1971. Principal performers include jazz trumpeter Freddie Hubbard and Mimaroğlu himself. The piece includes a chorus, strings, recitations of poems by Fazil Husnu Daglarca and other texts, organists and tape-based musique concrète, as well as Hubbard's jazz quintet. It is considered as one of Hubbard's most experimental albums.
The Bill Evans Trio's 1973 concert in Tokyo was his first recording for Fantasy and it produced yet another Grammy-nomination for the presentation. With bassist Eddie Gomez and drummer Marty Morell, this LP mixes offbeat songs with overlooked gems, familiar standards, and surprisingly, only one Evans composition, the demanding "T.T.T.T. (Twelve Tone Tune Two)”. The Tokyo concert reveals the trio functioning at a high level, with each member by this time able to anticipate whatever direction the …