Jazz

Oriental Jazz

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Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents’ desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he’d first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like “Tuareg African music is blues, just with no chord changes.” Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution.

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NA 5183LP

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35.00
Tracklist: 

Side 1
1. Gol-E Gandom
2. Njonja Mirah & Yona
3. Tanya
4. Guzel Gozler Or Amber Eyes
5. Natanie
Side 2
1. Hue Wail
2. Njonja Mirah & Yona (Second version)
3. Impression Of Bhairava Raga
4. Prelude To The Iranian Mode Shur
5. Pentalogic
6. Sahar-E Meh-Alude Or Early Morning Mist

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Oriental Groove

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In the summer of 1986, inspired by gypsies from Turkey and the Balkan region, a Kurdish immigrant and six Austrians locked themselves in a small rehearsal room in Vienna's 5th district. What came out of these sessions sounded rather unusual for the local music scene.Using songs from the Eastern Mediterranean and Middle East as a vehicle for improvisations based on odd scales and rhythms, and looking for ways to adapt them to their instruments and European feel, the band gave birth to its own sound signature. Delivering some of the tightest oriental jazz fusion recorded that decade.Submitted by soundman Michael Fitsch as his end of the year project at audio engineering school, the album was ultimately released on his teacher Hans Hartel's Ha Ha Soundwave label. Mostly sold in venues during legendary performances, Oriental Groove fatally faded from memory since the group disbanded a few months after its release.To conclude a year of investigation and continuous efforts to put the band members back in touch 30 years later, Hot Mule Records is proud to bring this groundbreaking record back to life with an official reissue, carefully remastered from the original source.Limited Deluxe Edition of 500 copies in tip-on sleeve, including extensive liner notes by Donna Leake, with exclusive photos handpicked in the band's archives.

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HTML 004

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28.00
Tracklist: 

Side 1
1. Nazmiye
2. Plajda - On The Beach
3. Deli Horoz - The Crazy Cock
Side 2
1. Ahtarma Meni - Don't Search Me
2. Ayrilik - Seperation
3. Cano Cano - Darling Darling
4. Kervan - Caravan

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Flavor

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This is cool jazz album all the way around. From the black and white hand drawn to the fact that it came out of Fresno, California (not exactly a hotbed for jazz) to the handful of styles present (straight ahead, funky, free, and even a raga), this record’s got it going on. 500 copies pressHigh quality musicianship and some far out stoner tracks make this album stand head and shoulders above most of its private peers. Original very limited issue (rumor has it that only 300 were pressed). This album was a very limited press that was handed out at their shows and sold to local record stores. Only together for nine months, Mike Selesia (who plays Sax and Flute) and band recorded this album in one day presented this fascinating hybrid of early 60s Coltrane, early 70s Miles Davis.

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MAR 017

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36.00
Tracklist: 

Side 1
1. Mr PC
2. Brute Strength
3. Yusefs Way
4. Silver's Serenade
5. Castle Spook (part 1)
Side 2
1. Eastern Raga
2. Flavor
3. Castle Spook (part 2)

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Spiritual Jazz

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'Esoteric, modal and deep jazz from the undergound, 1968-77'Jazzman Records presents the sound of the unsung musicians who – in the midst of the Vietnam War and the fallout of the Civil Rights struggle – created some of the most beautiful Spiritual and meditative music of the era.Sometimes funky, sometimes mellow, but always trying to say something about the world in which we live.Existing completely under the critical radar and largely ignored or unknown by music fans and critics alike, most of the musicians featured in this album won't be familiar to even the most seasoned aficionado. Their records, frequently turned down by distributors and record stores, saw little attention when first released - and have seen even less since. But in this era of musical apathy, where so many music junkies look to the past for their musical fix, we have re-discovered hidden, obscure and esoteric jazz musicians who looked to the four corners of the earth - and beyond - for inspiration. Here we evaluate Spiritual Jazz€“ music that is a snapshot of the era after Coltrane, a time which saw the evolution of an underground jazz that spoke about the reform of the soul, the reform of the spirit, and the reform of society: a music which was local and international at once, which was a personal journey and a political statement, and which was religious and secular in one non-contradictory breath.The music on this album reflects the social and historical forces at work during the closedown of the '60s dream; music made by close-knit collectives and individual visionaries, by prisoners and eccentrics, by mystics and political radicals. It includes music by acknowledged masters, and moments of brilliance by unsung figures known to us from just one or two recordings. It is the jazz music of America in the age of civil rights, brutal repression, political assassination and war; a music that would guarantee the survival of the spiritual dimension in a society that was angry and traumatized, but nevertheless had seen hope of better days to come. Soul jazz; Black jazz; Spiritual jazz.Remastered limited 2019 repress due to overwhelming demand that has seen the price of the original issue from 2008 tip the scales to over £100 on the secondhand vinyl market

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JMANLP 020

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30.00
Tracklist: 

Side 1
1. James Tatum Trio Plus - Introduction
2. Lloyd Miller - Gol-E Gandom
3. Morris Wilson Beau Bailey Qunitet - Paul's Ark
4. Mor Thiam - Ayo Ayo Nene
Side 2
1. Ndikho Xaba & The Natives - Nomusa
2. The Positive Force - The Afrikan In Winter (with Ade Olatunji)
3. Salah Ragab & The Cairo Jazz Band - Neveen
Side 3
1. The Frank Derrick Total Experience - No Jive
2. Hastings Street Jazz Experience - Ja Mil
3. Ronnie Boykins - The Will, Is Now
Side 4
1. Leon Gardner - Be There
2. Ohio Penitentiary 511 Jazz Ensemble - Pysch City

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Spiritual Jazz 10: Prestige

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'Esoteric, modal and deep jazz from Prestige Records, 1961-73'The tenth edition of our Spiritual Jazz series takes a closer look at the music Prestige was recording at the start of the 1960s. This was the period when the modal jazz sound pioneered by Miles and Coltrane was starting to percolate through the jazz underground.In its heyday, Prestige was the only jazz label that could hold a candle to Blue Note. Prestige was always quick off the mark to record new artists, and in the years after Kind of Blue the label was quick to release some of the most innovative early explorers of the new style.Founded as New Jazz in 1949 by 20-year old jazz fan and entrepreneur Bob Weinstock, Prestige was the only other imprint besides Blue Note to capture the iconic jazz sounds of the 1950s, and like its rival it grew to be an icon itself.If Blue Note documented the sound of hard bop in its most carefully crafted and beautifully presented form, the low-key, jam-session approach that Weinstock preferred meant that the music captured by Prestige has a tough, unfiltered energy that was a lot closer to way it was being played live, night after night, by New York's most prominent jazz musicians.Featuring Afro-Eastern visions from Yusef Lateef and Ahmed Abdul-Malik, deep modal excursions from Mal Waldron and Walt Dickerson, and essential spiritual jazz grooves from Gary Bartz and Idris Muhammed, Spiritual Jazz vol. 10 documents the sound of modal jazz in full flight, unabashed and authentic from the pioneers!2LP gatefold with comprehensive liner notes & pics

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JMANLP 117

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25.00
Tracklist: 

Side 1
1. Ahmed Abdul-Malik - Song Of Delilah
2. Roy Haynes - Dorian
3. Latin Jazz Quintet - Rip A Dip
4. Roy Haynes - Modette
5. Walt Dickerson - Death & Taxes
6. Yusef Lateef - Love Theme From Spartacus
7. Moondog - Organ Rounds
8. Ahmed Adul-Malik - Summertime
9. Mal Waldron - Warm Canto
10. Idris Muhammad - Peace (edit)
11. Gary Bartz - I've Known Rivers

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Original
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Seriously Deep

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The rediscovery of the music of David Axelrod in the 1990s was a revelation to the scores of hip-hop and breakbeat DJs that sampled him, but his composition genius was on display as early as the 1960s. After producing and arranging major critical and commercial hits for Lou Rawls, The Electric Prunes, David McCallum, and Julian "Cannonball" Adderley, he was encouraged by Capitol Records to record and produce solo material. Coming right on the heels of The Beatles' revolutionary 1967 album Sgt. Pepper's Lonely Heart's Club Band, Axelrod would produce a slew of instrumental baroque pop records, which were intricately orchestrated, fused elements of jazz, psychedelic rock, chamber music, and neo-classical, and tackled issues of mental enlightenment, environmental impact, and would be hailed by critics as highly ambitious pieces of conceptual art. The albums Song Of Innocence (1968), Songs Of Experience (1969), and Earth Rot (1970) are most often hailed as David Axelrod's finest moments, but little is mentioned of the producer's 1970s material. Among these records is Seriously Deep, his lone album recorded for Polydor, and an unheralded gem of jazz-rock fusion. On Seriously Deep, Axelrod dispenses with the heavily orchestrated measures of previous works to conduct a powerhouse crew of session musicians, including Leon Ndugu Chancler of Santana on drums, Mailto Correa on percussion, Jim Hughart on bass, Joe Sample on electric keys, and many others, with production from frequent Axelrod collaborators Cannonball Adderley and Jimmy Bowen. Seriously Deep is an obscure release, but also one of David Axlerod's tightest, and most exploratory ones. Across six tracks, Axelrod and his collective of players dip in and out of bounding jazz-funk, Afro-Latin grooves, cinematic flourishes, psychedelic synth washes, and blaring big band horns. It's a singularly insular curiosity of musical impressionism that's equal parts brooding and joyous, a definitive part of Axelrod's discography, and a well of sample material for tracks by Mobb Deep, Large Professor, The Black Eyed Peas, and Beanie Siegel, among others.

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GET 54100LP

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36.00
Tracklist: 

Side 1
1. Miles Away
2. One
3. 1000 Rads
Side 2
1. Ken Russell
2. Go For It
3. Reverie

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Earth Rot

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Earth Rot is visionary composer/arranger/producer David Axelrod’s third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it features choral vocals and marks a departure for Axelrod’s signature sound, which would take on a jazzier feel in the 1970s. This definitive version of Earth Rot, overseen by Now-Again’s Eothen Alapatt in conjunction with Axelrod’s estate is an audiophile reissue, with the vocal version lacquered directly from Axelrod’s original master tapes at Capitol Records by Ron McMaster. The master was approved by Axelrod’s son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father.Contains a 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview. “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” – T-RayCOMES PACKAGED IN A GATEFOLD JACKET WITH A 28-PAGE BOOKLET!

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NA 5186

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33.00
Tracklist: 

Side 1
1. The Warnings (part I)
2. The Warnings (part II)
3. The Warnings (part III)
4. The Warnings (part IV)
Side 2
1. The Signs (part I)
2. The Signs (part II)
3. The Signs (part III)

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Oneness

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Matthew Halsall to release Oneness. A triple vinyl set of archive recordings featuring three sessions of deep meditative spiritual-jazz in a deluxe edition, designed by Ian Anderson of The Designer's Republic.

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GONDLP 033

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38.00
Tracklist: 

Side 1
1. Life
Side 2
1. Oneness
Side 3
1. Stan's Harp
2. Loving Kindness
Side 4
1. Distant Land
Side 5
1. Stories From India
Side 6
1. The Traveller

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Original
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Dilijans

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Limited to 1000 copies 180 Gram Vinyl with Obi. Comes in Japanese Paste On Sleeve

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SRLP 033

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30.00
Tracklist: 

Side 1
1. Deblozay
2. Pwoblem
Side 2
1. Dilijans
2. Tribilasyon
3. Tem

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Don't Buy Ivory Anymore! The Music Of Henri Texier

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Lyon-based psychedelic jazz outfit Palm Unit follow up their recent tribute to Jef Gilson on the Supersonic Jazz label by highlighting the revolutionary side of French Jazz figurehead Henri Texier and his fascination with different folkloric traditions from around the world. The session stands as something of an ecological manifesto, recycling Henri’s original com- positions with new settings and arrangements, preserving Henri’s worldview but adding a dense textural base that pushes the session into more cosmic territory.Don’t Buy Ivory Anymore!

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KOS 003

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21.00
Tracklist: 

Side 1
1. Amir
2. Homme Rouge
3. Les La Bas
4. Simone Signoret
Side 2
1. Le Piroguier
2. Mad Nomad
3. Don't Buy Ivory Anymore!
4. La Companera

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Non
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Original
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