Jazz

Live In Paris 1975: Lost ORTF Recordings

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Transversales Disques proudly presents Pharoah Sanders - Live in Paris (1975).A never-before released ORTF recording performed live at studio 104, Maison de la Radio, Paris. First official release with the full permission and cooperation of the National Audiovisual Institute.Deluxe edition, Classic Tip-On Gatefold jacket, including exclusive liner notes and pictures. Mastered from the original master tapes.

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TRS 15

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26.00
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Side 1
1. Love Is Here (part 1)
2. Love Is Here (part 2)
3. Farrell Tune
Side 2
1. The Creator Has A Master Plan
2. I Want To Talk About You
3. Love Is Everywhere

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Original
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Biologic Music

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1973, in the south of the Netherlands, the city of Heerlen and its surroundings nurtured a strong musical heritage and culture. A number of young musicians were developing their skills in one of the many music schools established in a 30 km radius. This new blood would join fanfares, symphonic orchestras, choirs, and later have a strong influence on dutch pop and jazz music.Founded by Jelmo “Pio” Piovesana, teacher and key musical figure in the region of south Limburg, Heerlens Percussie Ensemble had some of the most inventive musicians of their generation in its ranks. Having gained valuable experience and new musical perspectives in conservatories and workshops with all time greats like Steve Reich, Bob Becker, Nippy Noya or Han Bennink, Jelmo’s alumni would eventually emancipate themselves from their mentor’s traditional approach to percussive music.Recorded in a school over two days, 1986’s Biologic Music sees masters of their craft exploring uncharted territories using vibraphones, bells, marimbas, electronic drums, balafons and tibetan prayer wheels, among others. Mixing Jazz, Latin, African, Brazilian, Modern, and Minimal music, the ensemble's penchant for fusion, improvisation and program music, lead them to create a deeply mesmerizing and timeless album.We are proud to present this official reissue, including extensive liner notes and exclusive photos handpicked from the band’s archives.

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HTML 005

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22.00
Tracklist: 

Side 1
1. Kpanlogo
2. Biologic Music
3. Back To Factory
Side 2
1. Adowa
2. Black Africa
3. Spektakel

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Straight Ahead

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SOLID 1026

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60.00
Tracklist: 

Side 1
1. White Fire
2. Mysterious Jump
3. Fancy Free
Side 2
1. Afro Blue
2. Invitation
3. Samba To Kiki

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Matrix

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Limited Edition Reissue

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HRLP 011

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60.00
Tracklist: 

Side 1
1. Matrix
2. Little Aby
3. On Green Dolphin Street
Side 2
1. If I Said The Sky Was Falling
2. In Fourth Way
3. Black Orpheus

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Innocent Canon

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Including a miniposter insert and an obiRecorded on February 21, 1971. Originally released in 1971.https://www.youtube.com/watch?v=FJ0rpaO2p3k

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NAS 2029

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60.00
Tracklist: 

Side 1
1. Introduction
2. The Death Of Janis
3. Go For Nothing
Side 2
1. Child & I
2. Blue
3. Alone
4. Epilog

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Directstep

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Repress of Hancocks 1979 Japanese only album, check the killer (15 minute long) disco jam ''I Thought It Was You''.. , Butterfly starts of very mellow and then turns into a bangin fusion / disco jam.. Slowly taking it back into the mellow again! Great record really.Throughout the mid-to-late 1970s, legendary jazz pianist and composer Herbie Hancock engaged in a prolonged period of experimentation across sounds and recording formats, over the course of several CBS/Sony albums, made only available in Japan. 1979's Directstep was one such album, one that made use of a new form of recording technology called "Direct-To-Disc." This method recorded masters in real time to acetate discs, rendering incredibly high fidelity LP pressings, but sacrificing the ability to edit or overdub. A distinct challenge, but one that Hancock accepted, entering Tokyo's CBS/Sony Studios in mid-October of 1978 with a stacked backing band including session veterans Bennie Maupin on saxophone, Ray Obiedo on guitar, Webster Lewis on keys and synths, Paul Jackson on bass, Alphonse Mouzon on drums, and Bill Summers on percussion. This group of seasoned pros were intent on having a record in one take.Directstep marked a lot of firsts for Hancock, chief among them was that it was one of his earliest recordings to feature a second synthesizer player (Webster Lewis), which was necessary to produce the electronic textures he'd been previously experimenting with on albums like 1974's Dedication. It was also the first one in Hancock's catalogue to make extensive use of the Sennheiser Vocoder, which would become a key part of his arsenal during his electro-funk period during the 1980s. The album also stands out as one of the earliest analog recordings to be converted into digital format and released on compact disc.

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GET 51332LP

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24.00
Tracklist: 

Side 1
1. Butterfly
2. Shiftless Shuffle
Side 2
1. I Tought It Was You

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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
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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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