{"title":"Jazz","description":"","products":[{"product_id":"professor-longhair-mardi-gras-in-new-orleans-new-lp","title":"Professor Longhair - Mardi Gras in New Orleans (1949 - 1957) - New LP","description":"\u003cp\u003e\u003cspan\u003eReissue of an anthology originally issued in 1981, housing cuts from 1949 - 1957.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=ffffff\/linkcol=0687f5\/artwork=none\/track=294424529\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=1007488534\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1838725381\/size=small\/bgcol=333333\/linkcol=0f91ff\/artwork=none\/track=4091929440\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/professorlonghair.bandcamp.com\/album\/the-bach-of-rock\"\u003eThe Bach of Rock by Professor Longhair\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"Plenty of rarities are featured on\u003cem\u003e \u003c\/em\u003e\u003c\/span\u003e\u003cem\u003eMardi Gras in New Orleans\u003c\/em\u003e\u003cspan\u003e, making it a valuable cross-section of \u003c\/span\u003eProfessor Longhair\u003cspan\u003e's early releases. Both sides of the pianist's first two 78s for Star Talent Records are aboard, as well as sides he cut for Mercury, Federal (\"Curly Haired Baby,\" \"Gone So Long\"), Wasco (\"East St. Louis Baby\"), Atlantic, and Ebb.\" -- \u003c\/span\u003eBill Dahl\u003c\/p\u003e\n\u003cp\u003e\"Justly worshipped as a founding father of New Orleans R\u0026amp;B,\u003cspan\u003e \u003c\/span\u003eRoy \"Professor Longhair\" Byrd\u003cspan\u003e \u003c\/span\u003ewas nevertheless so down-and-out at one point in his long career that he was reduced to sweeping the floors in a record shop that once could have moved his platters by the boxful. That\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003emade such a marvelous comeback testifies to the resiliency of this late legend, whose Latin-tinged rhumba-rocking piano style and croaking, yodeling vocals were as singular and spicy as the second-line beats that power his hometown's musical heartbeat.\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebrought an irresistible Caribbean feel to his playing, full of rolling flourishes that every Crescent City ivories man had to learn inside out (Fats Domino,\u003cspan\u003e \u003c\/span\u003eHuey Smith, and\u003cspan\u003e \u003c\/span\u003eAllen Toussaint\u003cspan\u003e \u003c\/span\u003eall paid homage early and often).  Longhair\u003cspan\u003e \u003c\/span\u003egrew up on the streets of the Big Easy, tap dancing for tips on Bourbon Street with his running partners. Local 88s aces Sullivan Rock, Kid Stormy Weather, and\u003cspan\u003e \u003c\/span\u003eTuts Washington\u003cspan\u003e \u003c\/span\u003eall left their marks on the youngster, but he brought his own conception to the stool. A natural-born card shark and gambler,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ebegan to take his playing seriously in 1948, earning a gig at the Caldonia Club. Owner Mike Tessitore bestowed\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ewith his professorial nickname (due to\u003cspan\u003e \u003c\/span\u003eByrd's shaggy coiffure).  Longhair\u003cspan\u003e \u003c\/span\u003edebuted on wax in 1949, laying down four tracks (including the first version of his signature \"Mardi Gras in New Orleans,\" complete with whistled intro) for the Dallas-based Star Talent label. His band was called the Shuffling Hungarians, for reasons lost to time! Union problems forced those sides off the market, but\u003cspan\u003e \u003c\/span\u003eLonghair's next date for Mercury the same year was strictly on the up-and-up. It produced his first and only national R\u0026amp;B hit in 1950, the hilarious \"Bald Head\" (credited to\u003cspan\u003e \u003c\/span\u003eRoy Byrd \u0026amp; His Blues Jumpers).  The pianist made great records for Atlantic in 1949, Federal in 1951, Wasco in 1952, and Atlantic again in 1953 (producing the immortal \"Tipitina,\" a romping \"In the Night,\" and the lyrically impenetrable boogie \"Ball the Wall\"). After recuperating from a minor stroke,\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003ecame back on Lee Rupe's Ebb logo in 1957 with a storming \"No Buts - No Maybes.\" He revived his \"Go to the Mardi Gras\" for\u003cspan\u003e \u003c\/span\u003eJoe Ruffino's Ron imprint in 1959; this is the version that surfaces every year at Mardi Gras in New Orleans. \u003cspan\u003eOther than the ambitiously arranged \"Big Chief\" in 1964 for Watch Records, the '60s held little charm for \u003c\/span\u003eLonghair\u003cspan\u003e. He hit the skids, abandoning his piano playing until a booking at the fledgling 1971 Jazz \u0026amp; Heritage Festival put him on the comeback trail. He made a slew of albums in the last decade of his life, topped off by a terrific set for Alligator, \u003c\/span\u003eCrawfish Fiesta\u003cspan\u003e.  \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003etriumphantly appeared on the PBS-TV concert series Soundstage, co-starred in the documentary Piano Players Rarely Ever Play Together (which became a memorial tribute when\u003cspan\u003e \u003c\/span\u003eLonghair\u003cspan\u003e \u003c\/span\u003edied in the middle of its filming; funeral footage was included), and saw a group of his admirers buy a local watering hole in 1977 and rechristen it Tipitina's after his famous song. He played there regularly when he wasn't on the road; it remains a thriving operation.  Longhair\u003cspan\u003e \u003c\/span\u003ewent to bed on January 30, 1980, and never woke up. A heart attack in the night stilled one of New Orleans' seminal R\u0026amp;B stars, but his music is played in his hometown so often and so reverently you'd swear he was still around.\"  -- \u003cspan\u003eBill Dahl\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eTracks A1 to A7 rec. 1949\u003cbr\u003eTracks A8 to B2 rec. 1951\u003cbr\u003eTrack B3 rec. circa 1952\u003cbr\u003eTrack B4 rec. 1952\u003cbr\u003eTrack B5 rec. 1954\u003cbr\u003eTracks B6 to B8 rec. 1958\u003c\/span\u003e\u003c\/p\u003e","brand":"Nighthawk Records","offers":[{"title":"Default Title","offer_id":29351654195270,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/R-11071420-1509306497-8540.jpg?v=1724883511"},{"product_id":"billie-holiday-stay-with-me-new-lp","title":"Holiday, Billie  - Stay with Me - New LP","description":"\u003cp\u003eEuropean reissue of 1958 album, recorded in 1955, this reissue with a bonus track recorded in 1957--\"Say It Isn't So\" (Irving Berlin).  Includes original liner notes and new liner notes.  Produced by Norman Granz.\u003c\/p\u003e\n\u003cp\u003eCozy Cole, drums; Billy Bauer, guitar; Billy Taylor, piano...at least that's what the sleeve claims (Ron Wynn's review below calls out other players).  Both call out Charlie Shavers.\u003c\/p\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003e\"Featuring recordings from February 1955 and released in 1958,\u003cspan\u003e \u003c\/span\u003eStay with Me\u003cspan\u003e \u003c\/span\u003eis a late entry in\u003cspan\u003e \u003c\/span\u003eBillie Holiday's career. She was fading, but hadn't lost the dramatic quality in her delivery, nor her ability to project and tell a shattering story. She's backed by trumpeter\u003cspan\u003e \u003c\/span\u003eCharlie Shavers, pianist\u003cspan\u003e \u003c\/span\u003eOscar Peterson, guitarist\u003cspan\u003e \u003c\/span\u003eHerb Ellis, bassist\u003cspan\u003e \u003c\/span\u003eRay Brown, and drummer\u003cspan\u003e \u003c\/span\u003eEd Shaughnessy.\" Ron Wynn\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"\u003cem\u003eStay With Me\u003c\/em\u003e may not be as well known as \u003cem\u003eLady Sings the Blues\u003c\/em\u003e or \u003cem\u003eLady in Satin\u003c\/em\u003e, but it is arguably the most underrated of Billie Holiday's final series of LP's. As on those other records, Holiday's voice is worn out by years of abuse and ill health, but she retains her skill from timing, rhythm, and her signature flair for melancholic drama. Meanwhile, she is backed by an absolutely stellar band, most notably trumpeter Charlie Shavers, who punctuates every track with wonderful improvisation without overpowering the singer's fragile voice. The best track here, for my money, is \"I've Got My Love to Keep Me Warm,\" but \"I Wished on the Moon\" and \"Ain't Misbehavin'\" are also among the most enjoyable tracks Lady Day recorded during her time at Verve.\" - \u003c\/span\u003eKenneth Bridgham\u003c\/p\u003e\n\u003c\/div\u003e","brand":"Pan Am Records","offers":[{"title":"Default Title","offer_id":29411260727366,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/billie_Holiday.jpg?v=1563323280"},{"product_id":"thad-jones-mel-lewis-live-on-tour-switzerland-new-lp","title":"Jones, Thad \/ Mel Lewis - Live on Tour [1969] Switzerland [MARKED DOWN] - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eThis was first released as a CD in 1995 as \u003cem\u003eBasle, 1969,\u003c\/em\u003e and then reissued by Sonny Lester and his Groove Merchant label.  \u003c\/span\u003e\u003cspan\u003eThe arrangements are credited to trumpeter Thad Jones, and most of the compositions too, and even when they are doing Ellington's \"Come Sunday,\" Jones is clearly leading the proceedings.  Of course, I don't know Jones' voice well enough to recognize it, and the horn in the spotlight might belong to one of the other players.  The closer is credited to saxophonist Jerome Richardson and especially comes across to be a wonderful group effort focusing on both the groove and the individuals, as if perhaps Thad said, \u003cem\u003ehey I've got the arrangements and our horn charts will punch it home, but this is the band's chance to group up and show your stuff\u003c\/em\u003e. While this album contains the song \"Groove Merchant\" not all Groove Merchant offerings were really what one thinks of as 1960s' groove, as this releases shows.  This is big band.  Of course the band was formed in the 1960s so groove informs, and bop clearly comes to the front when the orchestra drops to the back.  The closer \"Groove Merchant\" is still big band, but it's also pure groove.  In fact, this helps provide a history lesson: the 1960s and 1950s influenced this music, and when those influences show, you're also (and perhaps mainly) seeing how this big band style laid down the foundations of the jazz of the 1950s and 1960s--bop and groove.  Since drummer Lewis was co-leader of the band, the rhythm section plays a big part and drives the music forward, but Lewis made the wonderful decision to avoid solos so the spotlight remains on the other players and we don't have to sit through any of those awkward drum solos.  (This may seem rather forward thinking but it actually might be respect for the past.  The idea of clipping the solos and focusing on rhythm might be remembered as a 1970s response to all the excess in progressive rock and jazz fusion, a lesson that was especially important with punk and funk and influenced nearly all musicians since the 1970s, but we must remember that focusing on rhythm and making everything part of everything was a strive to return to the fun music of the early 1960s, and it's important to recognize that all that music of the 1960s came from black music of the previous decades, from Bo Diddley back to New Orleans jazz.)  Anyway, getting back to this record: big band ain't my bag, but if it is yours, this is worth grabbing, nearly changed my mind about big band and certainly provided an appreciation for this team of musicians, has all that big-band punch and plenty of room for individual players to speak up and let their voice be heard.  Thad Jones and all the other horn players, \u003c\/span\u003epianist Roland Hanna, even bassist Richard Davis get plenty of space to showcase their solos while still staying grounded in the groove.  - winch \u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e(This album is missing a few cuts that were included on the 1995 CD, but apparently this features all the best cuts because the following review is for the 1995 CD and all the \"highlights\" called out in the review are included on this vinyl release from 2008.)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\"This live concert, broadcast over Swiss radio features the \u003c\/span\u003eThad Jones\u003cspan\u003e\/\u003c\/span\u003eMel Lewis\u003cspan\u003e Orchestra at its prime. The remarkable all-star group includes two first trumpeters (\u003c\/span\u003eSnooky Young\u003cspan\u003e and \u003c\/span\u003eAl Porcino\u003cspan\u003e) and such soloists as trumpeters Richard Williams, \u003c\/span\u003eDanny Moore\u003cspan\u003e and \u003c\/span\u003eThad Jones\u003cspan\u003e, trombonist \u003c\/span\u003eJimmy Knepper\u003cspan\u003e, \u003c\/span\u003eJerome Richardson\u003cspan\u003e on soprano, Jerry Dodgion on flute and alto, baritonist \u003c\/span\u003ePepper Adams\u003cspan\u003e, pianist \u003c\/span\u003eRoland Hanna\u003cspan\u003e, bassist \u003c\/span\u003eRichard Davis\u003cspan\u003e and tenor great \u003c\/span\u003eJoe Henderson\u003cspan\u003e whose short stint with the band was long enough to include this European tour. Highlights of the superior set include \"Second Race,\" \"The Waltz You Swang For Me,\" \"Don't Get Sassy\" and \"Groove Merchant.\" Highly recommended to fans of the band, this Swiss CD can be found with a bit of a search.\" - \u003c\/span\u003eScott Yanow\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Groove Merchant","offers":[{"title":"Default Title","offer_id":29414333153350,"sku":"","price":6.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/thad_and_lewis.jpg?v=1563383820"},{"product_id":"damon-lochs-black-monument-ensemble-where-future-unfolds-new-lp","title":"Locks, Damon Black Monument Ensemble - Where Future Unfolds - New LP","description":"\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3239489699\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/intlanthem.bandcamp.com\/album\/where-future-unfolds\"\u003eWhere Future Unfolds by Damon Locks - Black Monument Ensemble\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eWhere Future Unfolds is a new work spirited by Chicago-based sound \u0026amp; visual artist Damon Locks. Starting as a solo sound collage piece (where Locks pulled samples from Civil Rights era speeches and recordings to create an improvisational pallet for performance on his drum machine), over 4 years the project has blossomed into his 15-piece Black Monument Ensemble – featuring musicians (including Angel Bat Dawid on clarinets and Dana Hall on drums), singers (alumni of the Chicago Children's Choir), and dancers (members of Chicago youth dance company Move Me Soul). Where Future Unfolds is a live capture of the ensemble's epic debut at the Garfield Park Botanical Conservatory on the West Side of Chicago. Recalling the spirits of Phil Cohran's Artistic Heritage Ensemble, Eddie Gale's Black Rhythm Happening, Archie Shepp's Attica Blues, and Public Enemy's It Takes a Nation of Millions to Hold Us Back, the album presents an inspired, innovative \u0026amp; immediate intersection of gospel, jazz, activism \u0026amp; 808 breaks.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\"The music moves easily between Afrofuturist gospel—typified by the spacy synths of “Which I Believe It Will” and the luminous electro beats of “Which I Believe I Am”—and hip-hop grime. “The Colors That You Bring” sets the choir’s soulful harmonies against wavering strings and murky boom-bap drums, like a civil rights protest movie scored the RZA. Upping the intensity, sampled fragments of archived speeches are embedded in the songs; on “Solar Power” a voice proclaims, “There's no black person on this planet that will disagree with freedom.” These spoken snippets give the album a militant edge, recalling interludes from the classic Public Enemy records, where speeches from social reformers like Frederick Douglass were fused with steely breaks.\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003e\u003cem\u003e\"Where Future Unfolds\u003c\/em\u003e began as a retelling of the Civil Rights movement of the ’50s and ’60s, but as the title suggests, it is also concerned with what is to come. At one point we hear the sweet, youthful voice of Rayna Golding—the daughter of Black Monument Ensemble singer Monique Golding—leading the choir in a vow: “I can rebuild a nation no longer working out.” The line comes to encapsulate the tenor of the album: gritty sentiments that radiate an optimistic glow. In the way that music from old eras can be sampled and repurposed into new forms, Locks’s majestic work strives to reach better days by looking back and learning from the past.\"\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eBlack LP in a heavyweight tip-on gatefold jacket *coated in metallic gold foil* with our standard dome-patterned inner-sleeve, and our Japanese-style obi strip. With 4 art prints.\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e2019\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eMusicians:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAngel Bat Dawid (clarinets), Dana Hall (drums, percussion), Damon Locks (electronics, bells, voice), Arif Smith (percussion).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eSingers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhillip Armstrong, Monique Golding, Rayna Golding (on \"Rebuild A Nation\"), Eric McCarter, Tramaine Parker, Lauren Robinson.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eDancers:\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eAnna Martine Whitehead, Raven Lewis (Move Me Soul), Cheyenne Spencer (Move Me Soul), Mary Thomas (Move Me Soul), Bryonna Young (Move Me Soul), Tiarra Young (Move Me Soul).\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eLyrics \u0026amp; Compositions by: Damon Locks.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded \u0026amp; Mixed by: Charlie Mammoser.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eMastered by: Casey Rice \u0026amp; David Allen.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eCostumes Designed by: Jamie Hayes at Production Mode.\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003ePhotography by: Daris Jasper \u0026amp; Chris Hershman\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eAlbum Art by: Damon Locks\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003eLayout \u0026amp; Liner Design by: Craig Hansen\u003cspan\u003e \u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eRecorded Live at Garfield Park Conservatory, as part of Red Bull Music Festival, Chicago, November 15th, 2018.\u003c\/div\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":29519863808070,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Locks_Damon_Black_Monument_Ensemble_-_Where_Future_Unfolds.jpg?v=1631495671"},{"product_id":"gay-ben-lamar-downtown-castles-can-never-block-out-the-sun-new-lp","title":"Gay, Ben LaMar - Downtown Castles Can Never Block the Sun [DELUXE EDITION] - New LP","description":"2025 edition: With obi strip, printed inner and 4-page 11\" insert.\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2780930414\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/intlanthem.bandcamp.com\/album\/downtown-castles-can-never-block-the-sun\"\u003eDowntown Castles Can Never Block The Sun by Ben LaMar Gay\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\"Downtown Castles Can Never Block The Sun\" is as much a 'greatest hits' as it is a 'debut album' for Ben LaMar Gay. It's a collection of music composed, performed \u0026amp; produced by the anomalous Southside Chicago-born, sometimes Brazil-residing artist, compiled from 7 albums he made over the last 7 years but never made the effort to actually release.\u003cbr\u003e\u003cbr\u003eWith its title taken from the mantra Ben repeats across several tracks on \"Grapes\" (1 of the 7 aforementioned albums), \"Downtown Castles Can Never Block The Sun\" is our effort to channel the rainbow of sonic expressions, art \u0026amp; poetry beaming from the ark of his unreleased catalogue into a cohesive \u0026amp; communicable compilation. It's as good of an introduction to Ben LaMar Gay as we could fit onto a single LP. To call it \"eclectic\" would only scratch the surface. This music is everything. \u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003ecredits\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 4, 2018\u003cbr\u003e\u003cbr\u003eCompiled \u0026amp; Sequenced by Scott McNiece \u0026amp; Ben LaMar Gay.\u003cbr\u003e\u003cbr\u003eMastered by David Allen.\u003cbr\u003e\u003cbr\u003eCover Art \u0026amp; Photos by Maren Celest.\u003c\/div\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":30234538213513,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Gay_Ben_LaMar_-_Downtown_Castles_Can_Never_Block_Out_the_Sun.jpg?v=1569056495"},{"product_id":"sauter-jim-kid-millions-safe-sane-new-lp","title":"Sauter, Jim \u0026 Kid Millions - Safe \u0026 Sane [MARKED DOWN] - New LP","description":"\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=499191779\/size=small\/bgcol=333333\/linkcol=2ebd35\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/kidmillionsjimsauter.bandcamp.com\/album\/safe-and-sane\"\u003eSafe and Sane by Kid Millions \u0026amp; Jim Sauter\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"trackInfo\" class=\"leftColumn\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eOutrageous. Rabid. Explosive. #WTF? Whatever words you throw at Borbetomagus saxophonist Jim Sauter and Oneida \/ Man Forever drummer Kid Millions, they’ll chomp ‘em up and respond with a gargantuan roar to expunge all notions of what a horn and skins can do.\u003cbr\u003e\u003cbr\u003eThe duo’s prior albums were built of tightly, clustered bursts and barbed assaults. On Safe \u0026amp; Sane, Sauter and Millions eschew brevity for ultra-endurance. The opening “Chrysanthemum,” clocks in at 32 minutes and continues on Side B before a final 12-minute avalanche that is “Falling Spiders.”\u003cbr\u003e\u003cbr\u003eSauter’s blowhole is jacked straight into a battery of electronics and amplification. He summons the reedy, shifting drones of the hurdy-gurdy or Hendrix’s scree, and spits forth monstrous overtones. Those sheets-of-sound Coltrane chased after -- it’s here.\u003cbr\u003e\u003cbr\u003eMillions doesn’t even attempt to nail down the flow. He’s egging it on with rapid rolls and polyrhythmic propulsion that smears the line of fire\/energy music -- think classics like Black Beings -- and primitive\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003epunk fury. At times, it’s as if Millions is outrunning Sauter’s tornado of multi-channel horns but he never gets sucked in. Rather, he pounds holes and slices cracks across the landscape for the reed\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003estreams to slip inside.\u003cbr\u003e\u003cbr\u003eSafe \u0026amp; Sane is the first split release between Astral Spirits and Family Vineyard -- each previously issued Sauter\/Millions albums: Bloom (2015) and Fountain (2014), respectively. The LP comes dressed in fab Dan Schechter cover art in an edition of 500 copies worldwide.\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 3, 2019\u003cbr\u003e\u003cbr\u003eJIM SAUTER - tenor saxophone, electronics\u003cbr\u003eKID MILLIONS - drums\u003cbr\u003e\u003cbr\u003eAll compositions by Sauter\/Colpitts BMI\u003cbr\u003eRecorded by Andrew Barker, December 4, 2016.\u003cbr\u003eMixed by Colin Marston at Menegroth Studios, July 11, 2017.\u003cbr\u003eMastered by Josh Bonati.\u003cbr\u003e\u003cbr\u003eAlbum designed by Dan Schechter.\u003cbr\u003e\u003cbr\u003eSpecial thanks to Andrew Barker, Josh Bonati, Nate Cross, Colin Marston, Dan Schechter, Matthew Wascovich, and Eric Weddle.\u003cbr\u003e\u003cbr\u003eCo-release with the absolutely brilliant Family Vineyard label, so you know this one is outrageous.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Family Vineyard \/ Astral Spirits Records","offers":[{"title":"Default Title","offer_id":30341123014793,"sku":"","price":8.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Sauter_Jim_Kid_Millions_-_Safe_Sane.jpg?v=1570082846"},{"product_id":"stewart-jimmy-the-touch-used","title":"Stewart, Jimmy – The Touch – Used","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp class=\"review-author headline\"\u003eSleeve: VG+\u003cbr\u003eVinyl: VG\u003c\/p\u003e\n\u003cp class=\"review-author headline\"\u003e \u003c\/p\u003e\n\u003cp class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eScott Yanow: \u003c\/span\u003eStewart's long out of print 1985-1986 Black Hawk album The Touch. A brilliant studio guitarist who had earlier in his career been a member of\u003cspan\u003e \u003c\/span\u003eGabor Szabo's Quartet,\u003cspan\u003e \u003c\/span\u003eStewart\u003cspan\u003e \u003c\/span\u003eis able to play credibly in practically any style. His versatility is on display here, sounding a little like\u003cspan\u003e \u003c\/span\u003eJimmy Raney\u003cspan\u003e \u003c\/span\u003eon \"A Tune for Bill and Jim,\" paying tribute to\u003cspan\u003e \u003c\/span\u003eSzabo\u003cspan\u003e \u003c\/span\u003eon \"Gypsy 86,\" playing \"Wes\" for\u003cspan\u003e \u003c\/span\u003eWes Montgomery, and sometimes adopting a more fusion style. Among his sidemen are pianist\u003cspan\u003e \u003c\/span\u003eDavid Benoit\u003cspan\u003e \u003c\/span\u003e(whom\u003cspan\u003e \u003c\/span\u003eStewart\u003cspan\u003e \u003c\/span\u003ehelped discover), keyboardist\u003cspan\u003e \u003c\/span\u003eDon Grusin, drummer\u003cspan\u003e \u003c\/span\u003e\u003cstrong\u003eEarl Palmer\u003c\/strong\u003e, tenorman\u003cspan\u003e \u003c\/span\u003eDon Manza\u003cspan\u003e \u003c\/span\u003e(on \"Jim's Tune\"), and a variety of top studio veterans. An interesting all-around set by a guitarist who is long overdue to head another record date.\u003c\/p\u003e","brand":"Black Hawk Records","offers":[{"title":"Default Title","offer_id":31203332030601,"sku":"","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/jim.jpg?v=1573188765"},{"product_id":"nrbq-interstellar-live-1970-10-new-lp","title":"NRBQ - Interstellar [Live 1970 MARKED DOWN] - New 10\"","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e 10\" record.  NRBQ does Sun Ra!\u003c\/p\u003e\n\u003cp\u003eJanuary 24, 1970 \u0026amp; October 11, 1970\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eDestination Out! A mindblowing ten-inch 33 1\/3 RPM slab of wax by NRBQ that finds the revered fivesome latching onto the out-there New Thing jazz pioneered by intergalactic heroes Sun Ra \u0026amp; His Arkestra--and riding the music to universes beyond the beyond. Cut live in 1970 at Cincinnati's Ludlow Garage and Clinton Hollow in upstate New York, these revolutionary sounds, says NRBQ mainman Terry Adams \"opened up new possibilities in rock 'n' roll. We had a thousand teenagers chanting along with us to 'Rocket #9.\" That stunning Sun Ra classic and his equally wonderful \"Next Stop Mars\"--extended experimental workouts that incorporate Adams' stellar originals \"Venusian Sunset\" and \"Approach The Planet\"--are guaranteed to send you clear out of this world!\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"tracklist\" class=\"section tracklist\" data-toggle=\"tracklist\"\u003e\n\u003cdiv class=\"section_content\"\u003e\n\u003ctable class=\"playlist\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"first tracklist_track track\" data-track-position=\"A1.a\"\u003e\n\u003ctd class=\"track tracklist_track_title \"\u003e\n\u003cspan class=\"tracklist_track_title\"\u003eRocket #9\u003c\/span\u003e\n\u003cblockquote\u003e\u003cspan class=\"tracklist_extra_artist_span\"\u003eWritten-By –\u003cspan\u003e \u003c\/span\u003eRa*\u003c\/span\u003e\u003c\/blockquote\u003e\n\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e12:46\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\" tracklist_track track\" data-track-position=\"A1.b\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA1.b\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title \"\u003e\n\u003cspan class=\"tracklist_track_title\"\u003eVenusian Sunset\u003c\/span\u003e\n\u003cblockquote\u003e\u003cspan class=\"tracklist_extra_artist_span\"\u003eWritten-By –\u003cspan\u003e \u003c\/span\u003eAdams*\u003c\/span\u003e\u003c\/blockquote\u003e\n\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\" tracklist_track track\" data-track-position=\"B1.a\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB1.a\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title \"\u003e\n\u003cspan class=\"tracklist_track_title\"\u003eNext Stop Mars\u003c\/span\u003e\n\u003cblockquote\u003e\u003cspan class=\"tracklist_extra_artist_span\"\u003eWritten-By –\u003cspan\u003e \u003c\/span\u003eRa*\u003c\/span\u003e\u003c\/blockquote\u003e\n\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e11:32\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\" tracklist_track track\" data-track-position=\"B1.b\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB1.b\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title \"\u003e\n\u003cspan class=\"tracklist_track_title\"\u003eApproach The Planet\u003c\/span\u003e\n\u003cblockquote\u003e\u003cspan class=\"tracklist_extra_artist_span\"\u003eWritten-By –\u003cspan\u003e \u003c\/span\u003eAdams*\u003c\/span\u003e\u003c\/blockquote\u003e\n\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eBass Guitar, Vocals\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJoey Spampinato\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eDrums\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eTom Staley\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eGuitar, Vocals\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eSteve Ferguson\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eKeyboards, Vocals\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eTerry Adams (2)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eLiner Notes\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eTerry Adams (2)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eMastered By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eBob Irwin,\u003cspan\u003e \u003c\/span\u003eJayme Pieruzzi,\u003cspan\u003e \u003c\/span\u003eTerry Adams (2)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eRecorded By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eRick Lemker\u003cspan\u003e \u003c\/span\u003e(tracks: A1.a, A1.b)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eSleeve [Sleeve Design]\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJeff Smith (17)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTenor Saxophone\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eKeith Spring\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrombone\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eDonn Adams\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eVocals, Cowbell\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eFrank Gadler\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section notes toggle_section    toggle_section_remember\" data-toggle-section-id=\"notes\" id=\"notes\"\u003e\n\u003ch3 class=\"toggle_section_control float_fix\" data-for=\".notes\"\u003eNotes\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eNotes from the back cover:\u003cbr\u003eSide One recorded January 24, 1970 at Ludlow Garage, Cincinnati, Ohio by Rick Lemker. Side Two recorded October 11, 1970 at Folly Farm, Clinton Hollow, New York.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Sundazed","offers":[{"title":"Default Title","offer_id":31283092062345,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-2799084-1301766169_jpeg.jpg?v=1574661054"},{"product_id":"tyner-mccoy-blue-bossa-new-cd","title":"Tyner, McCoy – Blue Bossa – New CD","description":"\u003ch2\u003eCD • COMPACT DISC • \u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eCD • COMPACT DISC • \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan data-mce-fragment=\"1\"\u003eCD \u003c\/span\u003e\n\u003c\/h2\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWonderful mix of improvisation and planned execution...the trumpet used mostly to add to the more reflective moments...the latin percussion used to help fuel the flame.\u003c\/span\u003e\u003c\/p\u003e","brand":"LRC Ltd. (Groove Merchants)","offers":[{"title":"Default Title","offer_id":33060746002569,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-9018020-1473351635-4560_jpeg.jpg?v=1585412266"},{"product_id":"liz-durette-four-improvisations-on-electric-piano-new-lp","title":"Durette, Liz – Four Improvisations on Electric Piano – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003e\"Ehse Records is pleased to announce the debut LP titled Four Improvisations by Liz Durette. \u003c\/span\u003e\u003cspan\u003e\u003cspan\u003eMs. Durette is a talented keyboardist and improviser living in Baltimore, Maryland. With this new release, she presents us with a new vision of what an album of solo keyboard music can be. Her music is dually rooted in both the Western, Romantic Classical tradition, and in contemporary improvisation and spontaneous composition. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2951557974\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=436277077\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/ehserecords.bandcamp.com\/album\/four-improvisations\"\u003eFour Improvisations by Liz Durette\u003c\/a\u003e\u003c\/iframe\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eWhat emerges is a gorgeous album that is as intelligent and novelas much as it is also lovely to listen to. Ms. Durette has taken on the Rhodes electric piano as her primary instrument, and with this album she fully exploits the unique and beautiful qualities of this instrument. The music is gestural and free, and mingles and shifts from heart-centered lyrical melodies to deep interior harmonic exploration.\"\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2951557974\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/ehserecords.bandcamp.com\/album\/four-improvisations\"\u003eFour Improvisations by Liz Durette\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Ehse Records","offers":[{"title":"Default Title","offer_id":33602758443145,"sku":"","price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1320279199_16.jpg?v=1588147124"},{"product_id":"lonnie-smith-afrodesia-new-cd","title":"Smith, Lonnie ‎– Afrodesia – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/zZJ_50zl8qY?si=5Uxn8mB_uCkIkXCk\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/h2\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan itemprop=\"author\"\u003eJason Ankeny\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\" itemprop=\"reviewBody\"\u003e\n\u003cp\u003eAfrodesia\u003cspan\u003e \u003c\/span\u003eexpands upon the soul-jazz sensibility of organist\u003cspan\u003e \u003c\/span\u003eLonnie Smith's classic Blue Note efforts, abandoning their hairpin-tight, diamond-sharp grooves in favor of more meditative, free-flowing epics that draw on elements of Latin jazz, pop, and even disco. Featuring a supporting cast including then-unknown saxophonist\u003cspan\u003e \u003c\/span\u003eJoe Lovano, electric bassist\u003cspan\u003e \u003c\/span\u003eRon Carter, and drummer Jamey Huddad,\u003cspan\u003e \u003c\/span\u003eAfrodesia\u003cspan\u003e \u003c\/span\u003efeatures some of\u003cspan\u003e \u003c\/span\u003eSmith's strongest, most nuanced work; the imaginative arrangements create panoramic stretches of space for all of the players to explore, and they push the 15-minute \"Spirits Free\" into compelling new spheres of funk consciousness.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"credits\" data-toggle-section-id=\"credits\" class=\"section credits toggle_section    toggle_section_remember\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":34631285702817,"sku":"","price":5.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-9409900-1498662094-8199_jpeg.jpg?v=1591748648"},{"product_id":"mcdaniels-eugene-outlaw-neon-red-vinyl-new-lp","title":"McDaniels, Eugene - Outlaw [Neon Red Vinyl] –  New LP","description":"\u003cp\u003e Colored vinyl reissue (July 2020) of 1970 album.\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003eWith his “Compared To What” composition becoming one of the anthems of 1970, with McCann-Harris’ live version (and Roberta Flack’s studio version) released in 1969 (and over the years covered by over 200 artists), Gene returns to the States in 1970 with something to say about the state of the nation with this one-of-a-kind long player, calling himself Eugene or The Left Rev. Mc D, the album sometimes seeming like a recording of a funky rap-poem play, backed with a crackerjack team and offering a mix and fusion of rock, jazz, and funk. If you dig something different, this is an essential listen. -- winch (green noise records)\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\"Eugene \"Gene\" McDaniels first broke through in the early '60s with pop soul hits like\u003cbr\u003e\"A Hundred Pounds of Clay.\" But that was a different time…and a different man. By\u003cbr\u003ethe time McDaniels recorded his 1970 album Outlaw, he had re-christened himself\u003cbr\u003e\"the left rev mc d\" and penned the soul-jazz protest anthem \"Compared to What,\"\u003cbr\u003efirst recorded in 1966 by Les McCann and turned into a standard by McCann and\u003cbr\u003esaxophonist Eddie Harris on their 1969 album Swiss Movement. Indeed, the front\u003cbr\u003ecover of Outlaw left no doubt as to the radicalization of McDaniels' politics. As Pat\u003cbr\u003eThomas puts it in the liner notes that we have added to this reissue, \"One sees\u003cbr\u003eMiddle America's worst nightmare coming to life. There's the badass Reverend Lee\u003cbr\u003ehimself holding a bible. Righteous Susan Jane in a jean jacket and black French\u003cbr\u003eresistance turtleneck is wielding a machine gun, and McDaniels' then-wife Ramona\u003cbr\u003eappears as a soul sister with cross your heart Viva Zapata! ammo belts. In the\u003cbr\u003eforefront is a large human skull, just in case you didn't already get the message. The Nixon White House sure got the message; legend has it that the administration wasso offended by the lyrics to \"Silent Majority\" (\"Silent Majority is calling out loud to\u003cbr\u003eyou and me from Arlington Cemetery\") that either Spiro Agnew or Nixon's Chief of\u003cbr\u003eStaff personally called Atlantic, asking them to stop working with McDaniels. Politics\u003cbr\u003easide, Outlaw offers a heady blend of soul, jazz, folk, and rock grooves played by Ron\u003cbr\u003eCarter, Eric Weissberg, and Hugh McCracken among others, with legendary\u003cbr\u003eproducer Joel Dorn at the controls and cult favorite William S. Fischer operating as\u003cbr\u003eMusical Director. Oft-sampled, and never more relevant, 50th\u003cbr\u003eanniversary release of Outlaw comes in a neon red vinyl pressing limited to 700\u003cbr\u003ecopies. And those liner notes we mentioned previously? They come with some pithy\u003cbr\u003eMcDaniels quotes that confirm his revolutionary fervor remained unquenched till his death in 2011.\"\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cspan\u003e\"In the early- to mid-'60s, he\u003c\/span\u003e\u003cspan\u003e was a successful singing star whose carefully orchestrated records, full of production polish, split the difference between R\u0026amp;B and pop. He hit the charts with the singles \"A Hundred Pounds of Clay,\" \"Tower of Strength,\" and \"Chip Chip\" and was a popular performer on-stage and on television. However, he \u003c\/span\u003e\u003cspan\u003ewas a more thoughtful and politically conscious man than his hits would suggest, and after the assassination of \u003c\/span\u003eMartin Luther King, Jr.\u003cspan\u003e, he left America to live in Sweden and Denmark and focus on songwriting. When he returned to the United States in 1970, he was billing himself as \u003c\/span\u003eEugene McDaniels\u003cspan\u003e, and his music took a sharp turn into a new direction. Few would recognize the guy who sang \"A Hundred Pounds of Clay\" and the artist who made 1970's \u003c\/span\u003eOutlaw\u003cspan\u003e as the same person unless they were told, and even then they might not believe it. On the opening title track, a loose country-rock number about liberated women, he\u003c\/span\u003e\u003cspan\u003e sounds remarkably like \u003c\/span\u003eMick Jagger\u003cspan\u003e (an interesting creative choice since he\u003c\/span\u003e\u003cspan\u003e would record \"Jagger the Dagger,\" an unflattering appraisal of the \u003c\/span\u003eRolling Stones\u003cspan\u003e' frontman, on his next album, 1971's \u003c\/span\u003eHeadless Heroes of the Apocalypse\u003cspan\u003e). Even when \u003c\/span\u003eMcDaniels\u003cspan\u003e' vocals more closely resemble his early hits, his music is radically different. \u003c\/span\u003eOutlaw\u003cspan\u003e is a set of songs that exist in a place bordered by jazz, rock, and funk, and \u003c\/span\u003eMcDaniels\u003cspan\u003e' phrasing is expressive and adventurous in a way it had never been before. Most importantly, as a songwriter \u003c\/span\u003eMcDaniels\u003cspan\u003e had eagerly embraced the counterculture and the issues of the day, and \u003c\/span\u003eOutlaw\u003cspan\u003e is full of smart, pointed lyrics that speak of race, class, and cultural division in a style that's articulate and just a bit theatrical, as if this were the original cast album to an off-Broadway revue about the turbulence of the early '70s. The musicians (who include \u003c\/span\u003eRon Carter\u003cspan\u003e, \u003c\/span\u003eHugh McCracken\u003cspan\u003e, and \u003c\/span\u003eRay Lucas\u003cspan\u003e) bring an unflashy virtuosity to their performances, and \u003c\/span\u003eJoel Dorn\u003cspan\u003e's production is suitably clean and unobtrusive, giving the music a welcome sense of focus. At a time when African-American consciousness was exploding in new and provocative directions in popular music, \u003c\/span\u003eOutlaw\u003cspan\u003e shows he\u003c\/span\u003e\u003cspan\u003e was at the vanguard of this revolution, even if the album didn't find an audience until it became a cult item decades after the fact.\"\u003c\/span\u003e\u003c\/p\u003e","brand":"Atlantic Records","offers":[{"title":"Default Title","offer_id":34991610757281,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/848064010630.jpg?v=1594253617"},{"product_id":"ridiculous-trio-the-plays-the-stooges-new-lp","title":"Ridiculous Trio, The ‎– Plays The Stooges [Yellow Vinyl] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003ebrand-new yellow-color issue of the Ridiculous Trio's Plays the Stooges LP, previously released on CD, first time on vinyl with added \"TV Eye,\" crazy-ass tuba\/trombone\/drums versions of Stooges tunes...which maybe isn't all that crazy considering the electric guitar often comes from the sounds of horns...and of course as the name of the group suggest, this isn't some cleanup jazz versions of Stooges, it's more chaotic and experimental. -- winch\u003c\/p\u003e\n\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2132987004\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless=\"\"\u003e\u003ca href=\"http:\/\/theridiculoustrio.bandcamp.com\/album\/the-ridiculous-trio-plays-the-stooges\"\u003eThe Ridiculous Trio Plays The Stooges by The Ridiculous Trio\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e \u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cmeta charset=\"utf-8\"\u003eA crazed tuba \u0026amp; trombone reimagination of the music created by The Stooges! Thrashing cymbals and bashing drums locked in step with unrelenting tuba riffs, reinforced by otherworldly trombone writhing and sliding and bending, sounding somewhere between a disheveled wah-wah guitar or a kazoo. Available for the first time as a complete album, it must be heard to be believed!\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003eOriginally released on CD in 2004, now on vinyl for the first time, with all the selections from the CD + \"TV Eye.\"  Tuba, Trombone, and drum!\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased July 17, 2020\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Modern Harmonic","offers":[{"title":"Default Title","offer_id":35963927527585,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1668065857_16.jpg?v=1598983775"},{"product_id":"copy-of-various-artists-black-fire-soul-love-now-the-black-fire-records-story-1975-1993-2xlp-new-lp","title":"Various Artists – Black Fire (Soul Love Now: The Black Fire Records Story 1975 – 1993)  [2xLP IMPORT] – New LP","description":"released September 18, 2020.  the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, covering 1975 to 1993.  \u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=660091798\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/black-fire.bandcamp.com\/album\/soul-love-now-the-black-fire-records-story-1975-1993\"\u003eSoul Love Now: The Black Fire Records Story 1975-1993 by Black Fire\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cul class=\"roles-list\"\u003e\n\u003cli\u003e\n\u003ch4\u003eFeaturing\u003c\/h4\u003e\n\u003cspan\u003e \u003c\/span\u003e\n\u003cul\u003e\n\u003cli\u003e\u003ca href=\"https:\/\/strut.k7store.com\/artist\/81955-oneness-of-juju\"\u003eOneness Of Juju\u003c\/a\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cdiv class=\"description-wrapper\"\u003e\n\u003carticle class=\"description-article\" itemprop=\"description\"\u003e\n\u003cp\u003eStrut present the first ever compilation bringing together classics and rarities from the seminal spiritual jazz and conscious soul label Black Fire, spanning 1975 to 1993.\u003c\/p\u003e\n\u003cp\u003eFormed by DJ and record producer Jimmy Gray in Richmond, Virginia, and following in the footsteps of other influential black-owned independent labels like Strata-East and Tribe, the foundation of Black Fire coincided with saxophonist James “Plunky” Branch returning to Richmond from New York to form Oneness Of Juju. The band’s ‘African Rhythms’ album in 1975 was the perfect fusion of jazz, deep African polyrhythms and empowering lyrics and bassist Muzi Branch, a trained artist, created the first of many Black Fire hand-illustrated sleeves for this release. The album set the tone for a series of landmark releases on the label including Oneness Of Juju’s ‘Space Jungle Luv’ (1976) and debuts from soulman Wayne Davis (1976) and early go go pioneers Experience Unlimited (1977). Gray continued to use his influence and strong A\u0026amp;R instincts to bring in more key artists – great jazz players like Byard Lancaster and Hamiet Bluiett, Ghanaian master percussionist Okyerema Asante and talented collectives including Southern Energy Ensemble and music \/ drama troupe Theatre West. Due to personal and cashflow issues, many releases had to be canned and only surfaced subsequently on CD releases during the early ‘90s.\u003c\/p\u003e\n\u003cp\u003e‘Soul Love Now’ brings together some of the many highlights from the label onto one essential compilation. Opening with Theatre West’s powerful soul message ‘Children of Tomorrow’s Dreams’, the tracks include a Byard Lancaster recording with Tunde Kuboye’s Drummers Of Ibadan in Nigeria and Lon Moshe’s driving jazz dance classic ‘Doin’ The Carvin’ For Thabo’. Wayne Davis brings the explosive gospel rare groove ‘Look At The People’ while Plunky’s JuJu and Oneness Of Juju feature with three tracks spanning their career, including a storming previously unreleased version of the classic ‘African Rhythms’ recorded in DC in 1975. ‘Black Fire’ features extended sleeve notes with extended interviews with musicians from the label and includes a reprint of one of the three Black Fire magazines published by Jimmy Gray which predated the launch of the label.\u003c\/p\u003e\n\u003c\/article\u003e\n\u003c\/div\u003e","brand":"Black Fire \/ Strut Records","offers":[{"title":"Default Title","offer_id":36170663919777,"sku":"","price":33.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0738155188_16.jpg?v=1599865921"},{"product_id":"sly5thavenue-what-it-is-new-lp","title":"Sly5thAve - What it Is [2xLP PURPLE VINYL IMPORT marked down] - New LP","description":"\u003cp\u003eHand numbered purple vinyl edition of 500.  #425\/500\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e“It’s a little jazzy. There is some hip hop in there. A little bit of orchestral chamber vibes… It’s me”, Sly5thAve admits. From the NYC-Texas inspired sounds of “More Or Less”\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003efeaturing prolific New York rapper Marlon Craft to the politically charged Brazilian-Portuguese “Expatria” recorded with Grammy-nominated Thalma de Freitas, the album spans a myriad of genres and offerings from fellow talented musicians.\u003cbr data-mce-fragment=\"1\"\u003e\u003c\/span\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1195274856\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=1777453492\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/sly5thavenue.bandcamp.com\/album\/what-it-is\"\u003eWhat It Is by Sly5thAve\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1195274856\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/sly5thavenue.bandcamp.com\/album\/what-it-is\"\u003eWhat It Is by Sly5thAve\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cp\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1195274856\/size=small\/bgcol=333333\/linkcol=0f91ff\/track=3166757768\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/sly5thavenue.bandcamp.com\/album\/what-it-is\"\u003eWhat It Is by Sly5thAve\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\"\u003eBorn in Austin, Texas, Sly5thAve moved to Pflugerville – a suburb outside of Austin when he was just a child. His father was from Nigeria and his mother was from Detroit, and together they exposed Sly5thAve to a mixture of West African music, soul and jazz. Sly5thAve grew inspired and aware and his passion to play music quickly unfurled. “I started to play in church, then all through high school —where I picked up the piano and a little bit of percussion— and then I decided I wanted to do it full time” he says.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003eCelebrating not only his own versatile musicianship but that of his collaborators and friends, ‘What It Is’ is a collection of tracks showcasing the best of the multi-faceted musician. A sought-after collaborator himself, Sly5thAve has attained much respect from his work with a host of highly fêted musicians including; Prince (as a member of the New Power Generation Band), Stevie Wonder, Gladys Knight, The Dave Brubeck Quartet, Taylor Swift, Janelle Monáe, Freddie Gibbs and Quantic.\u003cbr\u003e\u003cbr\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cbr\u003eHaving moved to New York over a decade ago, Sly5thAve found a home at The Clubhouse (AKA The Clubcasa or BKLN1834) in Brooklyn, home to a host of New York talent - Denitia, Melissa McMillan, Sene, Scienze, Lexus - Sly5thAve credits The Clubhouse as being largely responsible for his entire sound; “We hung out together, wrote music together, lived together. That house was our paradise where we could learn and grow... our Camelot. I came straight in from a jazz school mentality and pretty much had to forget all of that when it came to making music in order to vibe with these guys and I did in a major way.”\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003e\u003c\/div\u003e","brand":"TruThoughts Recordings","offers":[{"title":"Default Title","offer_id":36194225619105,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1224156154_16.jpg?v=1600042734"},{"product_id":"idris-ackamoor-the-pyramids-shaman-new-lp","title":"Idris Ackamoor \u0026 The Pyramids – Shaman!  [2xLP IMPORT] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e.\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003eInfluential jazz collective Idris Ackamoor and The Pyramids return with an epic new opus, ‘Shaman!’, featuring a fresh line-up including original 1970s Pyramids member Dr. Margaux Simmons on flute, Bobby Cobb on guitar, long-term associate Sandra Poindexter on violin, Ruben Ramos on bass, Gioele Pagliaccia on drums and Jack Yglesias on percussion. The band transitions from the political and social commentaries of 2018’s acclaimed ‘An Angel Fell’ into more introspective themes. “I wanted to use this album to touch on some of the issues that we all face as individuals in the inner space of our souls and our conscience,” explains Ackamoor. “The album unfolds over four Acts with personal musical statements about love and loss, mortality, the afterlife, family and salvation.”\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e\n\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3175501341\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/idrisackamoor.bandcamp.com\/album\/shaman\"\u003eShaman! by Idris Ackamoor \u0026amp; The Pyramids\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003eEvolving around Ackamoor's intricate compositions, the album takes us effortlessly across moods and emotions through a series of expansive, extended pieces. Starting with ritual, soul-searching, and masculine vulnerability on the title track, the band explores timeless existence on ‘Eternity’ and mourns the sudden loss of loved ones in the prescient ‘When Will I See You Again?’, a track which gains new relevance amidst the current COVID-19 crisis. Ackamoor pays tribute to his mentor Cecil Taylor on the angular ‘Theme For\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eCecil’ and renders homage to the ancestors on ‘Salvation’ and ‘The Last Slave Ship’, recalling the last ship to bring slaves to the US from Africa, the Clotilda. The superb ‘Virgin’ is an anthem of forgiveness, new beginnings and self-healing.\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003e‘Shaman!’ marks another significant landmark in The Pyramids' discography with the band at the peak of their powers. It is produced by Malcolm Catto at his analogue HQ, Quatermass Studio, in London. Cover artwork features an exclusive new painting by Japanese artist Tokio Aoyama.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003ca data-mce-fragment=\"1\"\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\" data-mce-fragment=\"1\"\u003ereleased August 7, 2020\u003cbr data-mce-fragment=\"1\"\u003e\u003cbr data-mce-fragment=\"1\"\u003ePersonnel:\u003cbr data-mce-fragment=\"1\"\u003eIDRIS ACKAMOOR: Alto Saxophone, Tenor Saxophone, Vocals, Keytar\u003cbr data-mce-fragment=\"1\"\u003eDr. MARGAUX SIMMONS: Flutes, Vocals\u003cbr data-mce-fragment=\"1\"\u003eSANDRA POINDEXTER: Violins, Vocals\u003cbr data-mce-fragment=\"1\"\u003eBOBBY COBB: Guitar, Effects, Vocals, Mbira\u003cbr data-mce-fragment=\"1\"\u003eRUBEN RAMON RAMOS: Acoustic Bass, Electric Bass\u003cbr data-mce-fragment=\"1\"\u003eGIOELE PAGLIACCIA: Drums\u003cbr data-mce-fragment=\"1\"\u003eJACK YGLESIAS: Congas, Percussion\u003cbr data-mce-fragment=\"1\"\u003e2020, Strut Records - a division of K7 Music GmbH\u003c\/div\u003e","brand":"Strut Records","offers":[{"title":"Default Title","offer_id":36574146822305,"sku":"","price":34.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0991919912_16.jpg?v=1605317199"},{"product_id":"preservation-hall-jazz-band-a-tuba-to-cuba-new-lp","title":"Preservation Hall Jazz Band - A Tuba to Cuba - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe legendary Preservation Hall Jazz Band present the soundtrack to A Tuba to Cuba, the critically acclaimed documentary directed by T.G. Herrington and Danny Clinch. The film follows Ben Jaffe of New Orleans’ famed Preservation Hall Jazz Band as he seeks to fulfill his late father's dream of retracing their musical roots to the shores of Cuba in search of the indigenous music that gave birth to New Orleans jazz. A Tuba to Cuba celebrates the triumph of the human spirit expressed through the universal language of music and challenges us to resolve to build bridges, not walls.\u003cbr\u003e\u003ciframe src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1579960507\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" style=\"border: 0; width: 100%; height: 42px;\" seamless=\"\"\u003e\u003ca href=\"https:\/\/preservationhalljazzband.bandcamp.com\/album\/a-tuba-to-cuba\"\u003eA Tuba to Cuba by Preservation Hall Jazz Band\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eThe New York Times said: “This joyous, wide-ranging account of a New Orleans jazz band's 2015 visit to Cuba is crammed with fascinating facts and toe-tickling tunes.” And, from the LA Times: “Jaunty, at times poetic chats and drop-ins with many Big Easy and Cuban jazz artists, discussion of their music’s African lineage (the Atlantic slave trade factored in), stirring examples of native instrumentation, and pulsating performances combine with colorful, travelogue-type shots (love those old Cuban theaters) and vivid archival footage to create a vibrant and joyous portrait.” Preservation Hall Jazz Band’s Ben Jaffe said of “Kreyol,” the lead single from the soundtrack: “Every evening in Havana\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003epeople gather along the waterfront to socialize. I’ve always been taken by the tempo at which people stroll, like New Orleans, there’s a very particular rhythm to their walk. That rhythm was the inspiration for ‘Kreyol.’ In fact, ‘Kreyol’ is the Cuban spelling of ‘Creole.’ You can feel that same Creole influence in New Orleans, it’s one of our many shared connections with Cuba.” \u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003c\/h3\u003e\n\u003ch3 class=\"credits-label\"\u003ereleased November 29, 2019\u003c\/h3\u003e","brand":"Sub Pop Records","offers":[{"title":"Default Title","offer_id":36852160463009,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a2969476577_16.jpg?v=1606692273"},{"product_id":"gil-scott-heron-summer-86-rsd-new-lp","title":"Gil Scott-Heron \u0026 his Amnesia Express– Summer '86 [IMPORT] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"spacer\"\u003e\n\u003cspan\u003e\u003c\/span\u003e\u003cb\u003eGil Scott-Heron\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003ewas one of the foremost singer-songwriters of his generation. A committed civil rights activist that also wrote a couple of unusual novels exploring negative elements of the black experience and the punitive societal attitude against black people in the United States, Scott-Heron recorded an exceptional body of work during the 1970s and '80s, and although longstanding issues with drug addiction resulted in repeated bouts of imprisonment and an ultimately shortened lifespan, he continued to produce noteworthy material into the new millennium. Anyone that had the pleasure of seeing Scott-Heron and\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eHis Amnesia Express\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eband during the mid-1980s is unlikely to forget it; percussionist\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eLarry McDonald\u003c\/b\u003e, drummer\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eRodney Young\u003c\/b\u003e, saxophonist\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eRon Holloway\u003c\/b\u003e, and backing vocalist\/keyboardist\u003cspan\u003e \u003c\/span\u003e\u003cb\u003eKim Jordan\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eprovide a full yet uncluttered backdrop to the man and his piano, as evidenced by these stunning excerpts from the summer 1986 tour, with \"Winter In America\", \"Johannesburg\", \"Blue Collar\", and \"Shut 'Em Down\" being among the standouts. Licensed by Prestige. 180 gram black vinyl.\u003c\/div\u003e","brand":"Trading Places (UK)","offers":[{"title":"Default Title","offer_id":36875889442977,"sku":"","price":26.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/gil-scott-heron-and-his-amnesia-express-summer-86.jpg?v=1604370815"},{"product_id":"atkins-chet-christmas-with-used-lp","title":"Atkins, Chet  – Christmas With...  – Used LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eVG\/VG\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e classic 1961 album, repress\u003c\/p\u003e","brand":"RCA Records","offers":[{"title":"Default Title","offer_id":37266128175265,"sku":"","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-2179137-1447719271-2466_jpeg.jpg?v=1702176836"},{"product_id":"washington-kamasi-becoming-soundtrack-new-lp","title":"Washington, Kamasi – Becoming (Original Motion Picture Score) – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"companies\" data-toggle-section-id=\"companies\" class=\"section companies toggle_section    toggle_section_remember\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eWorking on a soundtrack, Washington knew he had to back up and accent but not interfere with the story so this is likely in fairly sharp contrast to his other albums, and certainly to his live shows, here focusing on moods to resonate with the themes of the narrative, and in many ways this brings out the beauty of this music. As he backs up, the beauty comes forward. most jazz just really ain't my bag so I’ve never spent much time with his albums but you'll find me on the floor near the front of the stage at the funked out workouts (and reflective passages) of this live shows, and this album warms my inner spaces like flames in the fireplace warm the cold interiors of a house on a December night. While folks who know jazz can probably make comparisons and pick out many influences, the influence of music of Quincy Jones, MFSB, Grover Washington, Al Green, and Isaac Hayes seem to make their way into the grooves. He's also keen enough to bring some Chitown into the sounds, and the influence of Curtis Mayfield (and probably some other Windy City musicians) seem to be present. The Vince Guaraldi influence comes out and helps makes this perfect for the winter months: like soundtracks of Guaraldi, this album captures the hope, joy and melancholy of the season. Beautiful and thoroughly enjoyable, this perfect for that last album of the night (or year) as you think about the day and slip into slumber. -- winch (green noise)\u003cbr\u003e\u003cbr\u003ehttps:\/\/store.greennoiserecords.com\/collections\/december-2020\/products\/washington-kamasi-becoming-soundtrack-new-lp\u003cbr\u003e\u003cbr\u003e#artyommanukyan #becoming @artyommanukyan #kamasiwashington @kamasiwashington #seansonderegger @tonyaustindrums #tonyaustin \u003cbr\u003e@milesmosley #milesmosley \u003cbr\u003e#MattHaze @matthazemusic \u003cbr\u003e@daddykev #daddykev \u003cbr\u003e@remata @dontaewinslow \u003cbr\u003e#Emmy #sunsetsoundstudios @rickeywashington \u003cbr\u003e#rickeywashington #becomingsoundtrack #michelleobama #jazz2020 #jazz #blackmusic #blackmusicians @blackmusiciansunited_ @blackmusichonors @utkbma \u003cbr\u003e@youngturks #youngturks #youngturksrecordings #jazzsoundtrack #soundtrack #soundtracks #greennoiserecords @greennoiserecords #jazzvinyl #losangelesjazz #westcoastjazz #jazzrecords #jazzrecord #obama #blackamericans\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"credits\" data-toggle-section-id=\"credits\" class=\"section credits toggle_section    toggle_section_remember\"\u003e\n\u003ch3 data-for=\".credits\" class=\"toggle_section_control float_fix\"\u003e\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eAlto Flute, Flute\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eRickey Washington\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eCello\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eArtyom Manukyan,\u003cspan\u003e \u003c\/span\u003eJared Snyder (3)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eComposed By, Producer, Arranged By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eKamasi Washington\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eContrabass Clarinet, Bass Clarinet, Clarinet [B♭]\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eSean Sonderegger\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eDrums, Percussion\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eTony Austin\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eElectric Bass, Double Bass [Upright Bass]\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eMiles Mosley\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eEngineer\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eTony Austin\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eGuitar\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eMatt Haze\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eMastered By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eKevin \"Daddy Kev\" Moo*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eMixed By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eRandy Emata\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eOrgan, Keyboards, Piano\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eKenneth Crouch\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003ePiano, Electric Piano [Rhodes]\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eCameron Graves\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eSoprano Saxophone, Alto Saxophone, Tenor Saxophone\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eKamasi Washington\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrombone\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eRyan Porter\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrumpet\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eDontae Winslow\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eViola\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eChad Jackson (3),\u003cspan\u003e \u003c\/span\u003eMichael Whitson*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eViolin\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJen Simone,\u003cspan\u003e \u003c\/span\u003eReiko Nakano,\u003cspan\u003e \u003c\/span\u003eTylana Renga,\u003cspan\u003e \u003c\/span\u003eYvette Devereaux\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"notes\" data-toggle-section-id=\"notes\" class=\"section notes toggle_section    toggle_section_remember\"\u003e\n\u003ch3 data-for=\".notes\" class=\"toggle_section_control float_fix\"\u003eNotes\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eBlack-vinyl edition.\u003cbr\u003e\u003cbr\u003e\"The Emmy Nominated Score\" hype sticker.\u003cbr\u003e\u003cbr\u003eRecorded at Sunset Sound Studios, L.A.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003e\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\u003c\/div\u003e","brand":"Young Turks Recordings","offers":[{"title":"Default Title","offer_id":37296394272929,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/Becoming_Kamasi-Washington.jpg?v=1607903435"},{"product_id":"dezron-douglas-brandee-younger-force-majeure-new-lp","title":"Dezron Douglas \u0026 Brandee Younger –  Force Majeure – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003esoulful collection of instrumental conversations from the living room of their Harlem home in the middle of a pandemic, just bass and harp (and occasional voice) into one mic, which of course, gives this an intimate sound and feeling, but it also has not only a timeless quality but an expansive quality to it as well, as the sounds expand beyond the confines of the room and the pandemic quarantine and out into the universe as they embrace Alice Coltrane's \"Gospel Trane,\" Pharoah Sander's \"The Creator Has a Master Plan\" (\u003cmeta charset=\"utf-8\"\u003eLeon Thomas\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003ePharoah Sanders) The Stylistics' 1974 \"You Make Me Feel Brand New\" (\u003cmeta charset=\"utf-8\"\u003eLinda Creed\u003cspan data-mce-fragment=\"1\"\u003e, \u003c\/span\u003eThom Bell), Sesame Street's 1971 \"Sing\" (\u003cmeta charset=\"utf-8\"\u003eJoe Raposo), Jackson Five's 1971 \"Never Can Say Goodbye\" (\u003cmeta charset=\"utf-8\"\u003eClifton Davis), Sting's 2016 \"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eInshallah,\" Kate Bush's 1988 \"\u003cmeta charset=\"utf-8\"\u003eThis Woman's Work,\" and \u003c\/span\u003e\u003cmeta charset=\"utf-8\"\u003eColtrane's \"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWise One\" and \"Equinox,\" as well as several originals.  Stunning document of 2020. \u003c\/span\u003e -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4234383405\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/intlanthem.bandcamp.com\/album\/force-majeure\"\u003eForce Majeure by Dezron Douglas \u0026amp; Brandee Younger\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cmeta charset=\"utf-8\"\u003eForce Majeure is an uplifting suite of real, soulful comfort music – an album that cathartically encapsulates an all-too-familiar human experience of 2020. Featuring 11 pieces performed by bassist Dezron Douglas \u0026amp; harpist Brandee Younger across a series of live-streamed shows from their living room in Harlem, NY, the album was self-recorded by the duo using just a single microphone.\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cbr\u003eThe same day Governor Andrew Cuomo shut down “non-essential” businesses throughout the state of New York, Douglas \u0026amp; Younger set up a window to the world that would prevail as a weekly musical reprieve over the devastating weeks and months to come. As the early effects of covid-19 plagued the citizens of New York City, Douglas \u0026amp; Younger did as we were all ordered to do — shelter-in-place. From their apartment in Harlem, their reflex as players and community-builders was immediate. Broadcasting via social media and spreading the word to friends and family, the duo hosted “Force Majeure: Brunch in the Crib with Brandee \u0026amp; Dezron,” a Friday morning live stream where they performed songs, said “hi” to friends tuning in, and passed a digital tip jar. The name “force majeure” — known to diligent contract-readers as a seldom-invoked bit of legalese that voids commitments in event of “extraordinary circumstances”\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003e— was, for Douglas \u0026amp; Younger, a reference to the sudden loss of livelihood that they and their musician peers suffered in the wake of covid-19.\u003cbr\u003e\u003cbr\u003e“We vowed to become a part of the resiliency of this city,” says Douglas. “You can take the work away, but you can’t stop musicians from being creative. Live streaming is just a part of it. The world as a whole saw that arts \u0026amp; entertainment is an integral and vital part of this ‘service’ city. We, musicians and creatives, are as essential to this city as the MTA is. The NYC community responded with love and honesty on a high level. Expression became vital for people to make it through the day and, at the same time, listening and watching expression became vital.”\u003cbr\u003e\u003cbr\u003eThe success of Douglas \u0026amp; Younger’s initial live streams turned their series into an ongoing weekly ritual for a fast-growing audience of supporters. For most, it was a momentary musical break that helped ease the stressful weeks of lockdown, even as the weeks turned into months and the re-opening date extended further and further into the future. In late May, as the country erupted over the compounded murders of Ahmaud Arbery, Breonna Taylor, George Floyd, and countless other Black Americans, Douglas \u0026amp; Younger continued to connect from their Friday morning platform, uniting with more and more people through the healing power of playing, sharing, and listening. The series got attention from NPR, The Wall Street Journal, Boiler Room, Downbeat, and others; but regardless, finding the creative energy to devote to the project was a regular challenge for the two musicians. “Sometimes it was hard to be creative because the mood in the world was so dark, but every Friday we felt compelled to give back and allow GOD to heal through vibration,” says Douglas. Not only was the human connection vital, the duo felt a responsibility as stewards of music’s future. “Whatever the next thing is, I will make it a point to be involved because Music saved my life, saves lives, and must be taken care of.”\u003cbr\u003e\u003cbr\u003eThe repertoire that Douglas \u0026amp; Younger performed began with standards they knew and music they wanted to learn (or “get inside of,” as Douglas often said), but evolved on a week-to-week basis to incorporate shifting emotions, milestones, and special requests from friends and family. Younger recalls: “In choosing the repertoire we played, it was definitely more organic and personal. When we realized a birthday of a certain artist or holiday was coming, we'd do something in dedication… Sometimes we'd pick the rep based on our mood. On those very dark days that Dez mentioned, we'd play “Sing\" to perk up the mood. Something about that song just brings smiles all around. It was very hard to fake when the mood was dark, though. Marvin Gaye helped us out a lot during that time, as did some spirituals.” With what became their brunch staples they covered a broad range of memories and sounds, including classics by The Stylistics, The Jackson 5, Alice \u0026amp; John Coltrane, Pharoah Sanders, Kate Bush, Sting, and The Carpenters, as well as a co-written original composition with which they ended every set, “Toilet Paper Romance.”\u003cbr\u003e\u003cbr\u003eFrom the earliest sessions, the duo worked alongside International Anthem to review the weekly recordings; together they compiled, edited, and eventually arrived at the stream-to-songbook of Force Majeure. Between the choicest takes of tunes chosen for the final album sequence, they put excerpts of their sometimes cute or comedic, often profound banter. Notably Douglas’s voice ends both side A and side B with off-the-cuff variations of: “Black Music cannot be replicated, it can only be expressed.” Like poetic bookends for Force Majeure, his words could also serve as foundational principles for the work, underscoring the importance of authenticity and integrity in music.\u003cbr\u003e\u003cbr\u003eDouglas elaborates: “Black Music, no matter what genre, is exactly what it is — Music created by Black Musicians for the sake of vibrating on our own frequencies of understanding and empathy. I love all music, but I also recognize that music is a cultural and regional vibration. You don’t have to be Black to play Black music, but if you are out here making money off of Black Culture and have no empathy for the People and the Culture then you are even more part of the problem. Black Lives Matter because for a long time our lives didn’t matter and it was Normal — normal to society and normal to us as Black humans. What’s different between then and now is the fact that the Virus has given people time to focus on the current social media platform used to document evil in this world. The filming and documentation of the loss of human life to evil is more powerful than Politics and Government. It’s LIFE showing us how Inhumane we are as a Human Race. Yet we still haven’t figured it out yet. Let’s hope we aren’t the catalyst for this planet to implode. That would be unfortunate considering we have the chance to fix it. We have the chance to do right by Mother Nature and we have the chance to do right by each other. We always have a chance. Change is inevitable, but is evil and selfishness and self-righteousness a part of change? Certainly! Is Love and Empathy and Humanity a part of change? Most definitely! What side are you on? We are on the side of Love.”\u003cbr\u003e\u003cbr\u003eDouglas \u0026amp; Younger understand that the revolution begins with a transformation of the heart. And for the heart to be transformed, it must be lifted up. “This album is a testament to the power of music to uplift us through the most challenging times,” says friend, collaborator, and fellow International Anthem recording artist, Makaya McCraven. Force Majeure is an uplifting suite of real, soulful comfort music – a spiritual salve, emanating warmth from the hearth of a Harlem sanctuary.\u003cbr\u003e\u003cbr\u003e- bio by Joe Darling \u0026amp; Scott McNiece -\u003cbr\u003e\u003cbr\u003eBassist, composer, bandleader, and educator Dezron Douglas has established himself as a major force in contemporary creative music. A protégé of the great Jackie McLean, the Downbeat Magazine 2019 Rising Star is known for his work with Pharoah Sanders, Ravi Coltrane, Cyrus Chestnut, David Murray, Louis Hayes, and also with piano legends George Cables, Eric Reed, Mulgrew Miller and Benny Green. Douglas has recorded on more than 100 albums, contributing to the artistry of numerous bandleaders and maintaining an integral presence in the sounds of his peers, which include Keyon Harrold, Jonathan Blake, Melanie Charles, and Makaya McCraven. He is an active music educator, currently on the Jazz Studies faculty at NYU Steinhardt. He has released 6 albums as a lead artist and maintains a variety of projects that he uses as platforms for his compositions. His band, Black Lion, released their latest single “COBRA” in October of 2020.\u003cbr\u003e\u003cbr\u003eHarpist, composer, educator, and concert curator Brandee Younger is known for her work with Ravi Coltrane, Moses Sumney, Lauryn Hill and producer Salaam Remi. The New Yorker has described her instrumental craft as “radiant playing ... as cogent on hip-hop and R\u0026amp;B albums as it is set against classical and jazz backdrops.” Her work often extends to illustrious heights, featured by Beyoncé in Netflix’s concert documentary Beyoncé: Homecoming as well as Quincy Jones and Steve McQueen in 2019’s “Soundtrack of America” series. She recently joined the harp faculty at NYU Steinhardt and the New School in Manhattan. When Alice Coltrane passed away in 2007, her son Ravi Coltrane asked Younger to perform at the memorial. Her performance “moved me and everyone in attendance from the first glissando,” Coltrane told the New York Times. “No harpist thus far has been more capable of combining all of the modern harp traditions — from Salzedo, through Dorothy Ashby, through Alice Coltrane — with such strength, grace and commitment.” Younger recently signed to Impulse! Records, with whom she has a new album planned for release in 2021.\u003cbr\u003e\u003cbr\u003eDouglas \u0026amp; Younger are long-time companions in life and in music. The two East Coast natives met early in life and have accompanied each other, personally and professionally, through equally prolific careers. “Brandee and I met in college, University of Hartford, Hartt School of Music, back in 2001,” remembers Douglas. “Her practice room was across the hall from mine. We began a friendship instantly through music and Black culture. We would jam a lot in college when she wanted to practice ‘Jazz.’ She was a Classical Harp and Music Business double major and she was heavily influenced by Jazz and Black Music so I sort of became an outlet for her to walk on the wild side in the eyes of University and Classical politics.” To this day, Douglas and Younger often accompany each other in the ensembles they lead, respectively. The two have played together in the Ravi Coltrane Quartet, with The Baylor Project, and in sessions for Makaya McCraven’s 2018 release Universal Beings, on which they are both featured artists. Force Majeure is their first release as a duo.\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased December 4, 2020\u003cbr\u003e\u003cbr\u003eAll music arranged by Brandee Younger \u0026amp; Dezron Douglas;\u003cbr\u003eexcept \"Inshallah\" arranged by Dezron Douglas.\u003cbr\u003e\u003cbr\u003eDezron Douglas - double bass, bass guitar, voice\u003cbr\u003eBrandee Younger - harp, voice\u003cbr\u003e\u003cbr\u003eRecorded between March and June, 2020, at Dezron \u0026amp; Brandee's apartment in Harlem, New York.\u003cbr\u003e\u003cbr\u003eEngineered by Brandee Younger.\u003cbr\u003eRemote Recording Assistance by David Allen.\u003cbr\u003e\u003cbr\u003eEdited \u0026amp; Sequenced by Scott McNiece.\u003cbr\u003eMixed \u0026amp; Mastered by Dave Vettraino.\u003cbr\u003e\u003cbr\u003eCover Art by Esther Sibiude.\u003cbr\u003eDesign \u0026amp; Layout by Craig Hansen.\u003c\/div\u003e\n\u003ch3 class=\"license-label\"\u003elicense\u003c\/h3\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-tags tralbum-tags-nu\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"credits\" data-toggle-section-id=\"credits\" class=\"section credits toggle_section    toggle_section_remember\"\u003e\n\u003ch3 data-for=\".credits\" class=\"toggle_section_control float_fix\"\u003eCredits\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cmeta charset=\"utf-8\"\u003e \u003cspan data-mce-fragment=\"1\" class=\"role\"\u003eRecorded By\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e–\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eDavid Allen\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eArranged By, Double Bass, Bass Guitar, Voice\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eDezron Douglas\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eArranged By, Harp, Voice, Engineer\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eBrandee Younger\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eArtwork By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e– Esther Sibiude\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eDesign, Layout\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eCraig Hansen (2)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eEdited By, Sequenced By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eScott McNiece\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eMixed By, Mastered By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eDave Vettraino\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"barcodes\" data-toggle-section-id=\"barcodes\" class=\"section barcodes toggle_section    toggle_section_remember\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003e","brand":"International Anthem Recording Company","offers":[{"title":"Default Title","offer_id":37342213472417,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a3667047525_10.jpg?v=1609634545"},{"product_id":"kapingbdi-take-a-look-outside-new-lp","title":"Kapingbdi ‎– Take A Look Outside  [IMPORT] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003eClassic set recorded in Detroit, clearly coming from Africa, but also some muscular funk, like it was made to be recorded in the Motor Town, like Norman Whitfield was there to give them direction and button up the bottom, push the machine into overdrive.  So many Detroit musicians looked to Africa for sounds and inspirations, so it's so cool to hear an African outfit bringing their sounds to American shores.  They were obviously listening to Hendrix, Whitfield, Funkadelic and Sly, but they also got their own thing going, and it's going strong as jackhammer to the head.  Every cut maintains their fine-tuned sound, but every cut verves into new directions, jazz reflective once in a while, but mostly charging with the locomotion of a freight train across West African plains, dipping down into the savannah and then racing up to the rocky slopes, barreling like a bounder down the other side.  Look out! -- winch\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=4119147071\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sonoramarecords.bandcamp.com\/album\/take-a-look-outside\"\u003eTake A Look Outside by Kapingbdi\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cdiv id=\"ProduktTracksInhalt\"\u003e\n\u003cdiv id=\"MSideA_SO51\"\u003e\n\u003cdiv id=\"TitelA_SO51\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M1_SO51\"\u003e\n\u003cdiv id=\"TrackTitel1_SO51\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M8_SO51\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"Tracklegende\"\u003eRecorded 1985 on 24 tracks at Masterpiece studio in Detroit\/ U.S.A.,\u003cbr\u003eall music and lyrics by E. Kojo Samuels, except “Yakundé”\u003cbr\u003e(lyrics by Richard “Papa Jah” Addison and Samuel I. “Sam Kay” Kamara Foday),\u003cbr\u003emixed and mastered 2019 at Audiomoto Studio in Berlin\/ Germany\u003cbr\u003e\u003cbr\u003eE. Kojo Samuels (Liberia): saxophone, lead vocals, flute, horn\/ elephant tusk, drums,\u003cbr\u003econgas, shekere, ballaphone, kalimba,\u003cbr\u003eJoseph Kieh Blamo (Liberia): lead \u0026amp; rhythm guitar, shekere, vocals,\u003cbr\u003eOliver Mensa (Ghana): bass, vocals,\u003cbr\u003eNana Boachie -Yiadom (Ghana): drums, vocals,\u003cbr\u003eRichard “Papa Jah” Addison (Ghana): congas, sangba drum, vocals,\u003cbr\u003elead vocals on “Yakundé” (Twi language),\u003cbr\u003eSamuel I. “Sam Kay” Kamara Foday (Sierra Leone): bamboo drums, kongoma, vocals,\u003cbr\u003elead vocals on “Yakundé” (Mende language),\u003cbr\u003eAugustus “Daddy Boy” Fuller (Liberia\/ guest): clavinet, piano, organ, synthesizer,\u003cbr\u003eEric K. Paasewe (Liberia\/ guest): kelen.\u003cbr\u003e\u003cbr\u003eRelease Date: 27.09.2019\u003c\/div\u003e\n\u003cdiv id=\"ProduktText\"\u003e\n\u003cstrong\u003eKapingbdi - Take A Look Outside\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e(Unearthed Album):\u003cbr\u003e\u003cbr\u003eIn late 1984, Kapingbdi traveled from their home country of Liberia to embark on a US tour. Their \"Hey Brother\" LP, which had been recently released in America, gained the attention of promoters and music lovers alike. Within 16 days, the band performed seven concerts in small clubs such as the Maple Leaf Lounge in New Orleans and the Motor Bar in Detroit. In January 1985, the musicians assembled at the Detroit Masterpiece studio to record nine new songs for their fourth LP. There was a four week break before Kapingbdi were scheduled to tour Japan. Kojo Samuels, The Bandleader, flew back to Liberia, whilst the remaining musicians spent their spare time in the U.S.A. When Kojo returned from his travels, there were a few surprises in store. Firstly, four of the five Africans applied for Green Cards and were successful. This gained them the right to live permanently in America. Secondly, the fifth was involuntarily detained, having been arrested on drug trafficking charges. Thirdly, three of the four had married the next-best Americans in no time at all. The last was initially untraceable, but later appeared as an employee of a chicken wing stall. After nine years and three LP releases, the band came to a sudden end.\u003cspan\u003e \u003c\/span\u003e\n\u003cdiv id=\"SO111_1_Bild\" class=\"SO111_1_Bild\"\u003e\u003cbr\u003e\u003c\/div\u003e\nSubsequently, their tour of Japan and other concerts in Europe were canceled, as well as finalizing the work on Kapingbdi`s fourth album. Kojo rescued the 24-track tape from Detroit and took it to Germany, where it laid in his basement for decades. The breach of trust by his fellow musicians was too painful, which is why he tried to forget the recordings. Almost 35 years later, the \"missing\" fourth Kapingbdi album is finally released. Transferred directly from the master tape at Tonmeisterei in Oldenburg, then mixed and mastered at Audiomoto Studio in Berlin. To this day, it features the last recordings of the band. The cover photo, which was shot in Detroit, was to form part of the design for the original release of the fourth LP. \"Take A Look Outside\", as Kojo says today, has become Kapingbdi`s best album. (Ekkehart Fleischhammer, Sonorama Records 2019)\u003cbr\u003e\u003cbr\u003eFrom a review of a Kapingbdi concert 1984 in Detroit\/ U.S.A.: A loser during the recent Montreux-Detroit Festival was the Liberian band Kapingbdi. A plumbing mishap at the Book-Cadillac Hotel necessitated a round of mid-weekend room shuffling, leaving Kapingbdi the odd band out. But the sextet, which bills itself as “African Jazz-Rock from Liberia”, was back at the hotel`s Motor Bar last weekend. Word-of-mouth brought a sampling of the curious and the cognoscenti, and the response to Kapingbdi (ka-ping-gee) was enthusiastic. The group is scheduled to remain at the hotel this weekend and next, after which its plans are up in the air except for appearances at the Liberian pavillion of the New Orleans World`s Fair in mid-October. Kapingbdi`s music? Actually some Kapingbdi pieces are strictly African and played on acoustic instruments as traditional as a horn made from a hollowed elephant tusk. Most of the group`s music is a skilful mix of traditional and more contemporary African elements that should be hard to mistake with jazz, American pop and reggae. “It`s All Africa, in some of the ways we phrase the dynamics. It`s still a kind of root”, said Samuels, 40, who sings and plays several instruments with the group. The band began to gain a\u003cspan\u003e reputation in Europe in 1980, around the time of the violent military coup that toppled Liberia`s civil government. One of the group`s German albums came out then, and songs like “Why I can`t get no Pay” began to get airplay, That, according to Samuels, helped establish a new wave of original Liberian pop. “The mass started really asking for originality and started to enjoy what we were doing”, Samuels said. And it looks as if the same is about to happen in Detroit. (from the Detroit Free Press, September 13, 1984)\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003eFrom a review of a Kapingbdi concert 1983 in Bonn\/ Germany: “Kapingbdi” is a Mende word that means “born in the night”, and the seven members of the touring band do indeed play music that could be described as “coming from the night of the venerable continent.” For two hours, an overflow crowd at the “Kulturforum” in Bonn heard various combinations of bongo and conga drums, a jazzy saxophone, and several rhythm guitars. Bandleader Kojo Samuels sang in English. He spent several years in the Federal Republic of Germany, studying music in Cologne and Frankfurt. The current performance marked the fourth tour of the group in Germany since its founding in 1978. All the band members reside in Liberia. For them, music is not its own purpose but serves to carry a message, according to Samuels, a message born of the African experience and perspective though intended for all people. Though many of their pieces deal with African life, all of them convey the urgent, moral call for more human dignity, more humaneness, for more insight throughout the world. The Liberian musicians showed complete command of their instruments. Fast rhythms, constant changes in instruments, and a melodious diversity of tunes resulted in a blend of jazz, rock and reggae which swept the electrified Bonn crowd from their seats. Many young listeners even began to dance in front of the stage. The Performance climaxed when band leader Samuels picked up the elephant tusk horn to present Liberian Folk music with an accompaniment of drummers. It was as if the soul and power of African music were being unveiled in this fascinating serenade of drums and horns.\u003cbr\u003e(from the Liberian “Daily Observer”, November 10, 1983)\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\n\u003cp align=\"center\"\u003ePhoto on frontcover: Kapingbdi in late 1984 in Detroit. From left to right: Kojo Samuels,\u003cbr\u003eNana Boachie-Yiadom, Joseph Kieh Blamo, Richard “Papa Jah” Addison, Samuel I. “Sam Kay” Kamara Foday,\u003cbr\u003eOliver Mensa. All photos from the collection of Kojo Samuels.\u003cbr\u003eFinal production in 2019 by Roskow Kretschmann, Kojo Samuels and Ekkehart Fleischhammer at\u003cbr\u003eAudiomoto studio in Berlin, final mastering by Roskow Kretschmann, cover artwork: Patrick Haase.\u003cbr\u003eThanks to Kojo Samuels, Petra Gerstung, Axel Ehlers, Fabian Stephenson and the great musicians of Kapingbdi.\u003c\/p\u003e\n\u003cp align=\"center\"\u003e \u003cbr\u003e\u003c\/p\u003e\n\u003cdiv id=\"M1_SO51\"\u003e\n\u003cdiv id=\"TrackTitel1_SO51\"\u003eAfrica-I-Deh\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer1_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit1_SO51\"\u003e4:00\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M2_SO51\"\u003e\n\u003cdiv id=\"TrackNr2_SO51\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel2_SO51\"\u003eTake A Look Outside\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer2_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit2_SO51\"\u003e4:53\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M3_SO51\"\u003e\n\u003cdiv id=\"TrackNr3_SO51\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel3_SO51\"\u003eYakundé\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer3_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit3_SO51\"\u003e6:08\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M4_SO51\"\u003e\n\u003cdiv id=\"TrackNr4_SO51\"\u003e04\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel4_SO51\"\u003eDon`t Mess With The Music\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer4_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit4_SO51\"\u003e3:42\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M5_SO51\"\u003e\n\u003cdiv id=\"TrackNr5_SO51\"\u003e05\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel5_SO51\"\u003eMatumba\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer5_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit5_SO51\"\u003e3:25\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M11_SO51\"\u003e\n\u003cdiv id=\"TrackNr11_SO51\"\u003e06\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel11_SO51\"\u003eAfrican Locomotion\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer11_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit11_SO51\"\u003e5:12\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M6_SO51\"\u003e\n\u003cdiv id=\"TrackNr6_SO51\"\u003e07\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel6_SO51\"\u003eTimes So Hard\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer6_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit6_SO51\"\u003e4:52\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M7_SO51\"\u003e\n\u003cdiv id=\"TrackNr7_SO51\"\u003e08\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel7_SO51\"\u003eThe Prayer (23rd Psalm)\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer7_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit7_SO51\"\u003e8:34\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"M8_SO51\"\u003e\n\u003cdiv id=\"TrackNr8_SO51\"\u003e09\u003c\/div\u003e\n\u003cdiv id=\"TrackTitel8_SO51\"\u003eMama Africa\u003c\/div\u003e\n\u003cdiv id=\"TrackPerformer8_SO51\"\u003eSamuels\u003c\/div\u003e\n\u003cdiv id=\"TrackZeit8_SO51\"\u003e2:39\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"content\"\u003e\u003c\/div\u003e\n\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003e","brand":"Sonorama Records","offers":[{"title":"Default Title","offer_id":37665264763041,"sku":"","price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-14151456-1568797519-6111_jpeg.jpg?v=1612411531"},{"product_id":"melle-gil-tome-vi-used-lp","title":"Mellé, Gil ‎– Tome VI – Used LP","description":"\u003cp\u003evinyl: VG+\u003c\/p\u003e\n\u003cp\u003eSleeve: VG \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eExperimental electronic free jazz.  \"The Jazz Electronauts\"\u003c\/p\u003e","brand":"Verve Records","offers":[{"title":"Default Title","offer_id":39521967046817,"sku":"","price":12.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-1131747-1461542734-3701.jpg?v=1617007990"},{"product_id":"phil-woods-tom-harrell-used-lp","title":"Phil Woods \/ Tom Harrell - The Jazz Masters – Used LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1\u003e\u003cspan mce-data-marked=\"1\"\u003eSlight warp, but they played just fine on our turntable.  1986.  Sleeves have some corner crushes.\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Groove Merchant Records","offers":[{"title":"Default Title","offer_id":39616228819105,"sku":"","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-7235457-1436807258-8125_jpeg.jpg?v=1618024064"},{"product_id":"hypnosonics-drums-were-beating-new-lp","title":"Hypnosonics  – Drums Were Beating: Fort Apache Studios 1996 – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003ePrior to founding the band Morphine, Mark Sandman launched Hypnosonics, built around a stripped down drum kit with no toms and a piece of plywood in place of cymbals, played by Jay Hilt. With funk in its heart, Hypnosonics was originally a five piece with Sandman on guitar and organ, Tom Halter and Russ Gershon of the Either\/Orchestra on trumpet and sax, and Mike Rivard, who later founded Club d'Elf, on bass. After Morphine took off, Dana Colley joined Hypnosonics, Hilt added hi-hat cymbals to his kit, and the horn section started singing. In 1996, the same year that Morphine recorded Like Swimming at the legendary Cambridge, MA studio Fort Apache, Hypnosonics visited the Fort to play a live-in-the-studio radio broadcast on beloved local rock station WFNX.\u003c\/span\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2532469143\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sundazedmusic.bandcamp.com\/album\/drums-were-beating-fort-apache-studios-1996-1\"\u003eDrums Were Beating: Fort Apache Studios 1996 by Hypnosonics\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Modern Harmonic Records","offers":[{"title":"Default Title","offer_id":39628949815457,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1784331123_16.jpg?v=1618208475"},{"product_id":"hypnosonics-beyond-the-q-division-sessions-new-lp","title":"Hypnosonics  – Beyond The Q Division Sessions – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" data-mce-fragment=\"1\"\u003eIn 1986, while Mark Sandman was still touring with his first major label band, Treat Her Right, and before he convened the now-mythical Morphine, he assembled what is often referred to as his \"secret band.\" Hypnosonics remained a favorite side project, and performed for the last time two weeks before Sandman's death in 1999. Playing guitar and organ as well as singing, Mark was joined by members of the large jazz ensemble Either\/Orchestra for the funkiest excursions of his diverse career. An edition of the band which included future founding drummer of Morphine, Jerome Deupree, and future bassist\/leader of Club d'Elf, Mike Rivard, recorded five songs at Q Division Studio in Boston in 1989. Also included are four more tracks by the 1996 edition of the group featuring original drummer Jay Hilt along with Morphine's Dana Colley, trumpeter Tom Halter, and saxman Russ Gershon.\u003c\/div\u003e\n\u003ch3 class=\"credits-label\" data-mce-fragment=\"1\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\" data-mce-fragment=\"1\"\u003ereleases April 16, 2021\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=129309351\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sundazedmusic.bandcamp.com\/album\/someone-stole-my-shoes-beyond-the-q-division-sessions\"\u003eSomeone Stole My Shoes: Beyond The Q Division Sessions by Hypnosonics\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Modern Harmonic Records","offers":[{"title":"Default Title","offer_id":39629068763297,"sku":"","price":27.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a2480397659_16.jpg?v=1618209447"},{"product_id":"preservation-hall-jazz-band-thats-it-new-lp","title":"Preservation Hall Jazz Band - That's It - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eAt a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history.  \u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003ePreservation Hall Jazz Band’s That’s It! is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in PHJB Creative Director Ben Jaffe’s crusade to carry forward the Hall’s original mission while making it relevant to today’s audiences.” For his part, co-producer Jim James (My Morning Jacket) is convinced that the PHJB has a future as vibrant as its past: “The music will speak forever,” he says. “Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\" data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003eJazz Band?”\u003c\/span\u003e\u003c\/p\u003e\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=931669614\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/preservationhalljazzband.bandcamp.com\/album\/thats-it\"\u003eThat's It! by Preservation Hall Jazz Band\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Subpop Records","offers":[{"title":"Default Title","offer_id":39666699927713,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1635776139_16.jpg?v=1618623773"},{"product_id":"copy-of-preservation-hall-jazz-band-so-it-is-new-lp","title":"Preservation Hall Jazz Band - So It Is - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eAt a moment when musical streams are crossing with unprecedented frequency, it’s crucial to remember that throughout its history, New Orleans has been the point at which sounds and cultures from around the world converge, mingle, and resurface, transformed by the Crescent City’s inimitable spirit and joie de vivre. Nowhere is that idea more vividly embodied than in the Preservation Hall Jazz Band, which has held the torch of New Orleans music aloft for more than 50 years, all the while carrying it enthusiastically forward as a reminder that the history they were founded to preserve is a vibrantly living history.\u003c\/span\u003e\u003cbr\u003e\u003cbr\u003e\u003cspan\u003ePreservation Hall Jazz Band’s That’s It! (2013) is an eclectic album that draws on the collective experience of players nurtured in the New Orleans tradition but determined to build something fresh and exciting on that foundation. It marks an important milestone in PHJB Creative Director Ben Jaffe’s crusade to carry forward the Hall’s original mission while making it relevant to today’s audiences.” For his part, co-producer Jim James (My Morning Jacket) is convinced that the PHJB has a future as vibrant as its past: “The music will speak forever,” he says. “Will people stop listening to Beethoven? Will people stop listening to Bob Dylan? Will people stop listening to the Preservation Hall\u003c\/span\u003e\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003eJazz Band?”\u003cbr\u003e\u003cbr\u003eSo It Is (2017) finds the classic Preservation Hall Jazz Band sound invigorated by a number of fresh influences, not least among them the band’s 2015 life-changing trip to Cuba. A visit to the island, so integral to the evolution of jazz and New Orleans culture in general, had long been in the works when President Obama’s diplomatic opening suddenly allowed for a more extensive journey than had originally seemed possible. Producer David Sitek, a founder of art rock innovators TV on the Radio who has helmed projects by Kelis, the Yeah Yeah Yeahs and Santigold among others, offered both a keen modern perspective and a profound respect for the band’s storied history.\u003cbr\u003e\u003cbr\u003eBoth albums are now back in print on vinyl and CD via Sub Pop, which signed Preservation Hall Jazz Band in 2018.\u003c\/span\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=3021731837\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/preservationhalljazzband.bandcamp.com\/album\/so-it-is\"\u003eSo It Is by Preservation Hall Jazz Band\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"Subpop Records","offers":[{"title":"Default Title","offer_id":39787948638369,"sku":"","price":23.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a1389247537_16.jpg?v=1622684494"},{"product_id":"johnny-lewis-feelings-used-lp","title":"Lewis, Johnny ‎– Feelings - Used LP","description":"\u003cp\u003eVG\/VG\u003c\/p\u003e\n\u003cp\u003eSigned sleeve by Johnny.\u003c\/p\u003e\n\u003cp\u003eAs the sleeve suggests, this has some Pacific Northwest downtown Seattle late-night lounge charm, the bubbling B3 and Fender Rhodes helping considerably.  Lewis might not be ready for the big time but who cares, the production works, inviting like a living room gathering.  This is obviously the 1970s, Johnny and the band covering Roberta Flack, Lou Rawls, Charlie Rich...side two my favorite side, opening with \u003cmeta charset=\"utf-8\"\u003eJohn Denver and Carole King...take me home...you got a friend...don't you know. -- winch\u003c\/p\u003e","brand":"Jaro Records","offers":[{"title":"Default Title","offer_id":40072773992609,"sku":"","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-2281756-1316308663_jpeg.jpg?v=1622841988"},{"product_id":"blk-jks-abantu-before-humans-new-lp","title":"Blk Jks -  Abantu \/ Before Humans - New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003eBLK JKS are a seminal force in the South African underground. After an extended hiatus the Johannesburg foursome, championed by The Mars Volta and TV On The Radio (amongst many others), return with a groundbreaking new album.\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=763040475\/size=small\/bgcol=ffffff\/linkcol=0687f5\/license_id=1726\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/blk-jks.bandcamp.com\/album\/abantu-before-humans\"\u003eAbantu \/ Before Humans by BLK JKS\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eMonster grooves meet guitar and brass driven afro-rock. Echoes of spiritual jazz, post-apocalyptic funk, renegade dub and kwaito. Features Malian guitarist Vieux Farka Touré and Beastie Boys accomplice Money Mark on the track \"Maiga.”\u003cbr\u003e\u003cbr\u003e“This South African art-rock band traffics in complexity, cross-hatching not only rhythms and textures but also the signifiers of genre” - Nate Chinen (The New York Times)\u003cbr\u003e\u003cbr\u003eThe story of BLK JKS reads like a veritable rock’n’roll legend. For a couple of years around the end of the 00’s, the enigmatic South African rock quartet was the darling of the underground scene. Apparently “discovered” by Diplo in South Africa, they went on to meet and befriend everyone from The Mars Volta to TV On The Radio, two bands they were often compared to. They jammed with The Roots, snapped pics with Pharrell Williams and hung out with Lou Reed at the SXSW festival in Texas. They played double bills with Squarepusher at Southbank (UK) and Femi Kuti at the\u003cspan class=\"bcTruncateMore\"\u003e\u003cspan\u003e \u003c\/span\u003efabled Irving Plaza (NYC). Recording an EP aptly named “Mystery” by chance at Jimi Hendrix’s iconic Electric Lady Studios. This and a Fader Magazine cover feature in March 2008 then led to the band signing with indie label Secretly Canadian in 2009.\u003cbr\u003e\u003cbr\u003eTheir debut album “After Robots” went on to blow down the walls of rock'n'roll Jericho with its heady yet seamless mix of post-apocalyptic African funk rock, jazz, kwaito, folk, renegade dub, psych prog-rock, tv channel hopping, internet surfing, mbaqanga, soul and pretty much everything else in between. Confidently pushing one golden envelope through another the band began captivating a cult following for their music worldwide.\u003cbr\u003e\u003cbr\u003eFoo Fighter Dave Grohl declared “After Robots” his favourite album of 2009. Thanks to a killer live collaboration with Alicia Keys at the 2010 Soccer World Cup Kick-Off Concert to an estimated television audience of two billion and their hit song “Lakeside” being synched on EA Sports’ FIFA10 soundtrack, the reviews were glowing and global audiences growing – case in point, Rolling Stone Magazine championed the BLK JKS as “Africa’s best new band”.\u003cbr\u003e\u003cbr\u003eBut just as quickly as they arrived on the international scene, BLK JKS disappeared.\u003cbr\u003e\u003cbr\u003eThe years of international touring had begun to take its toll. By 2011 the band were back in South Africa and continued to play the festival and nightclub circuit. But Johannesburg or Cape Town isn’t New York or LA. A hiatus where each member pursued their individual creative muses was inevitable and necessary. Fans and critics alike doubted whether BLK JKS would ever record again.\u003cbr\u003e\u003cbr\u003eYet while they flew largely under the mainstream media radar, for the next five years the three remaining members continued to work together. After opening for Foo Fighters in 2014 at the request of Dave Grohl who inspired the band to forge on. More experimentation and collaboration would become key. They jammed and recorded with Malian guitar royalty Vieux Farka Touré and hip-hop revolutionary Money Mark. In January 2018 they recorded a bold, brassy, beautiful re-envisioning of trumpet legend Hugh Masekela’s 70’s hit “The Boys Don’ It” shortly after his passing, as a tribute to their late friend and mentor. The song featured Hugh’s son, Selema of Alekesam on vocals and a certain Tebogo Seitei cutting a firebrand trumpet solo through the heart of the track.\u003cbr\u003e\u003cbr\u003eBLK JKS couldn’t help but to invite young trumpeting virtuoso Tebogo Seitei to complete the quartet. They then hit the rehearsal room running. Spending their winter weeks, and months of 2018 in the studio … or rather the Soweto Theatre Orchestra Pit which they rebuilt into a studio and locked themselves into re-imagining a guitar-and-brass-driven, widescreen African Diasporic roots rock sound. They got it down. But the studio was burgled and the hard drives on which the songs were saved wound up stolen. Bummed out, bent out of shape by existential questions, they refused to be broken, so the band went back into the studio, a year later, recalibrated, and re-recorded the album in only three days! A rock’n’roll phoenix, rising from the ashes.\u003cbr\u003e\u003cbr\u003eNow, it’s the year 2021. We are here in the future, where BLK JKS finally re-enter the musical fray with their long-awaited new album “Abantu \/ Before Humans”. They see it as a prequel to “After Robots”.\u003cbr\u003e\u003cbr\u003e“Abantu” is a surreal journey of an album, beaming with laser-like vision and power… that in parts possesses an almost hauntingly vulnerable beauty.\u003cbr\u003e\u003cbr\u003eThe band believes “There is a lot of important information stored and needing to be restored or preserved in this kind of narrow sonic crevice we are mining.” – Mpumelelo Mcata (Guitarist).\u003cbr\u003e\u003cbr\u003eIt's this commitment to cultural activism that encodes the musical DNA of “Abantu \/ Before Humans.”\u003cbr\u003e\u003cbr\u003eThe band declare as much on the new album's manifesto - we see on the vinyl cover art a text that reads: \"A complete fully translated and transcribed Obsidian Rock Audio Anthology chronicling the ancient spiritual technologies and exploits of prehistoric, post-revolutionary afro bionics and sacred texts from The Great Book On Arcanum by Supernal 5th Dimension Bound 3rd Dynasty young Kushites from Azania.”\u003cbr\u003e\u003cbr\u003eWait up, what to make of such an arcane, unabashedly literary, sonic fiction? Simple. Back in 2009 BLK JKS had foreseen the future with “After Robots.”\u003cbr\u003e\u003cbr\u003eIn 2021 with “Abantu \/ Before Humans” this present has a fiercely retro-futuristic fresh moniker: Afropunk. These brothers just want to jam. To say BLK JKS poured gas on the fire down below or lit the flames that created the soundtrack for the nascent Afropunk movement in their home country of South Africa especially… would not be too far off the mark.\u003cbr\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"tralbumData tralbum-about\"\u003e\n\u003cspan class=\"bcTruncateMore\"\u003eThe band are often cited as key influences on artists like Spoek Mathambo, Nakhane, Petite Noir and Urban Village. They’ve also helped bring to life ideas like growing young Johannesburg indie record label Mushroom Hour and others who are starting to make waves internationally. It’s an influence that has spread further than just music too – quietly influencing young diasporadical visual artists, photographers, writers and filmmakers alike globally.\u003cbr\u003e\u003cbr\u003eBLK JKS’s universal artistic appeal and approach to their work can be seen and felt clearly in their latest cover art collaboration with formidable fine artist Nandipha Mntambo. She is a brilliant peer and an inspired match.\u003cbr\u003e\u003cbr\u003eTo celebrate the 10yrs+ anniversary of their genre-traversing and trailblazing, award winning debut “After Robots,” BLK JKS are amped to announce that they are scheduled to drop their new album “Abantu \/ Before Humans” through an exciting new partnership with Glitterbeat Records (Worldwide) \u0026amp; We Are Busy Bodies (North America).\u003c\/span\u003e\u003cspan\u003e \u003ca\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv class=\"tralbumData tralbum-credits\"\u003ereleased May 21, 2021\u003c\/div\u003e\n\u003cp\u003e\u003cbr\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Glitterbeat Records \/ We Are Busy Bodies","offers":[{"title":"Default Title","offer_id":40101467390113,"sku":"","price":25.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a2188081296_16.jpg?v=1623209289"},{"product_id":"kirk-rahsaan-roland-the-case-of-the-3-sided-dream-in-audio-color-used-lp","title":"Kirk, Rahsaan Roland – The Case of the 3 Sided Dream in Audio Color – Used LP","description":"\u003cp\u003evinyl: VG\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003esleeve: G+\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eAnother simply stunning set from Kirk. panned by jazz critics, the best jazz album ever recorded for me, blow the whistle and bust out the grooves, move on into and move on out.  There's nothing worse than jazz, especially when it's indulgent and excessive.  And then came Kirk to prove to me that everything is everything, and everything that I thought was wrong, and if I was wrong and everything is everything, then I've been wrong about everything all the time.  Three sides east of Eden, this side of heaven \u003cmeta charset=\"utf-8\"\u003eshaking the dusty devils from the tail. -- winch (green noise)\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3 class=\"review-author headline\"\u003eReview by\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eThom Jurek:\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003ePerhaps I am an apologist for\u003cspan\u003e \u003c\/span\u003eRahsaan Roland Kirk, I don't know. If I am then I should be smacked, because he needed no one to make apologies for him. The Case of the 3-Sided Dream in Audio Color is a case in point. The namby-pamby jazz critics, those \"serious\" guys who look for every note to be in order before they'll say anything positive, can shove it on this one. They panned the hell out of it in 1975, claiming it was \"indulgent.\" Okay. Which\u003cspan\u003e \u003c\/span\u003eKirk\u003cspan\u003e \u003c\/span\u003erecord wasn't? Excess was always the name of the game for\u003cspan\u003e \u003c\/span\u003eKirk, but so was the groove, and here on this three-sided double LP, groove is at the heart of everything. Surrounding himself with players like\u003cspan\u003e \u003c\/span\u003eCornell Dupree,\u003cspan\u003e \u003c\/span\u003eHugh McCracken,\u003cspan\u003e \u003c\/span\u003eRichard Tee,\u003cspan\u003e \u003c\/span\u003eHilton Ruiz\u003cspan\u003e \u003c\/span\u003e(whose playing on \"Echoes of Primitive Ohio and Chili Dogs\" is so greasy, so deliciously dirty it's enthralling),\u003cspan\u003e \u003c\/span\u003eSteve Gadd, and others from that soul-jazz scene, it's obvious what you're gonna get, right? Nope. From his imitations of\u003cspan\u003e \u003c\/span\u003eMiles Davis\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eJohn Coltrane\u003cspan\u003e \u003c\/span\u003eon \"Bye, Bye, Blackbird\" to his screaming, funky read on \"High Heel Sneakers\" to his Delta-to-New-Orleans version of \"The Entertainer,\"\u003cspan\u003e \u003c\/span\u003eKirk\u003cspan\u003e \u003c\/span\u003eis deep in the groove. But the groove he moves through is one that is so large, so universal, deep, and serene, that it transcends all notions of commercialism versus innovation. Bottom line, even with the charming tape-recorded ramblings of his between tunes, this was his concept and it works like a voodoo charm. Here's one for the revisionists: This record jams.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Atlantic Records","offers":[{"title":"Default Title","offer_id":40172966576289,"sku":"","price":12.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-7177596-1435986297-4853_jpeg.jpg?v=1624206577"},{"product_id":"russell-gene-new-direction-new-lp-new-lp","title":"Russell, Gene ‎– New Direction – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003cp data-mce-fragment=\"1\"\u003eThe first album released by the most sought-after label, bar none, among jazz collectors! And since keyboardist Gene Russell was at the artistic helm of Black Jazz, it was only natural that the label's debut record featured Russell himself, with the fitting title New Direction. Oft-bootlegged, with original copies commanding princely sums, New Direction, while a fairly straight-ahead piano trio outing, sets the tone for the entire label with its modal and soul jazz flourishes, and features such sidemen as double bassist Henry 'The Skipper' Franklin and drummer Steve Clover.  Reissue includes the distinctive original Black Jazz album art along with new liner notes by Pat Thomas, the author of Listen Whitey! The Sounds of Black Power 1965-1975. Remastered by Mike Milchner at Sonic Vision...a lost jazz classic sounding better than ever!\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/Vzyffb0Mweo?si=txY9IRImyxhClib9\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp data-mce-fragment=\"1\"\u003eSide One\u003cbr data-mce-fragment=\"1\"\u003e1. Black Orchid\u003cbr data-mce-fragment=\"1\"\u003e2. Hitting The Jug\u003cbr data-mce-fragment=\"1\"\u003e3. Willow Weep For Me\u003cbr data-mce-fragment=\"1\"\u003e4. Listen Here\u003cbr data-mce-fragment=\"1\"\u003eSide Two\u003cbr data-mce-fragment=\"1\"\u003e1. On Green Dolphin Street\u003cbr data-mce-fragment=\"1\"\u003e2. Silver’s Serenade\u003cbr data-mce-fragment=\"1\"\u003e3. My Cherie Amour\u003cbr data-mce-fragment=\"1\"\u003e4. Making Bread\u003c\/p\u003e","brand":"Black Jazz Records","offers":[{"title":"Default Title","offer_id":40220839510177,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/files\/a3798832618_16.jpg?v=1690935180"},{"product_id":"dos-justamente-tres-rsd-teal-vinyl-new-lp","title":"Dos - Justamente Tres [TEAL VINYL] - NEW LP","description":"\u003cp\u003eFocusing on the instrumental, but also some vocal cuts, the instrumental reminding me a bit of Chet Atkins (both his solo and duo albums), as like Chet this has a warm inviting quality, is full of mid-tempo melancholy and down-home charm even though it's kind of jazzy.  \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1063093847\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/dossanpedro.bandcamp.com\/album\/justamente-tres\"\u003eJustamente Tres by Dos\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eLes and Mary Paul might have been an influence (as they sounded more urban than Chet), as were perhaps the progressive English folk of the late 1960s and early 1970s, the noncommercial American folk singers and guitarists from the same era, both bass players and piano players from jazz, and bassists from the world black music.  I'm not sure who helped inspire Kira's singing, likely both American and European jazz singers from decades past, maybe a bit of rickie lee jones (who was of course influenced heavily from the previously mentioned past), and probably mostly just from her own experiences and innards.  While most would be looking for punk rock when they see these two names, this is likely pretty far from those expectations, but it's pretty enjoyable.  It's good to see some of these 1990s CD releases get the vinyl treatment they always deserved. -- winch  (green noise)   \u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003evinyl reissue of 1996 CD release. Sophomore album from legendary bass players KIRA ROESSLER (Black Flag) and MIKE WATT (Minute Men, Firehose, Stooges). Pressed on teal vinyl. \u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e1. Down In The Dumps 2. Dream Of San Pedro 3. Imagine That 4. Intese Song For Madonna 5. Til The Blood Ran 6. Sidemouse Advice 7. Excerpts From A Captain's Log 8. To Each His Dulcinea 9. Powerful Hankerin' 10. Little Doll 11.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"Apple-tab-span\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eWillow Weep For Me 12. Even The Pain Has Changed 13. Formal Introduction 14. Angel Face Is The Devil's Daughter 15. Number Seven 16.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\" class=\"Apple-tab-span\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003e\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003eDo You Want New Wave Or Do You Want The Truth? 17. Number Five\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch3 class=\"review-author headline\"\u003e\n\u003cspan\u003eKurt Morris: \"\u003c\/span\u003eJustamente Tres\u003cspan\u003e \u003c\/span\u003eis a seventeen song doodling by two of the well-known bass players of punk rock past:\u003cspan\u003e \u003c\/span\u003eKira Roessler\u003cspan\u003e \u003c\/span\u003e(Black Flag) and\u003cspan\u003e \u003c\/span\u003eMike Watt\u003cspan\u003e \u003c\/span\u003e(Minutemen,\u003cspan\u003e \u003c\/span\u003efIREHOSE).\u003cspan\u003e \u003c\/span\u003eRoessler\u003cspan\u003e \u003c\/span\u003ehandles the occasional vocal work and comes off sounding like a more modern blues singer akin to\u003cspan\u003e \u003c\/span\u003eBillie Holiday\u003cspan\u003e \u003c\/span\u003eor\u003cspan\u003e \u003c\/span\u003eElla Fitzgerald\u003cspan\u003e \u003c\/span\u003ebut obviously not nearly as good. Songs like \"'Til The Blood Ran\" might make one believe that there are electronics utilized on the album, but the whole thing is just bass and vocals,\u003cspan\u003e \u003c\/span\u003eRoessler\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eWatt\u003cspan\u003e \u003c\/span\u003ein their tripped out, laid-back selves, about as far from their respective beginnings as one can get and be faintly recognizable. At seventeen songs it might be a tad too long, but real enthusiasts of\u003cspan\u003e \u003c\/span\u003eWatt\u003cspan\u003e \u003c\/span\u003eand\u003cspan\u003e \u003c\/span\u003eRoessler's work as well as fans of instrumental, jazzy bass work will get a kick out of this.\"\u003c\/h3\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"Kill Rock Stars","offers":[{"title":"Default Title","offer_id":40349258481825,"sku":"","price":19.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/EF7184B1-E041-4E11-97E8-8EB43551A583_2.jpg?v=1685498235"},{"product_id":"cochemea-vol-ii-baca-sewa-new-lp","title":"Cochemea – Vol. II Baca Sewa – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cbr\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-about\"\u003e2021.  Dap-Kings' electro-sax space warrior returns with a groove-heavy sequel to All My Relations, Vol. II: Baca Sewa, an expressive, transcendental voyage through the archives of his indigenous roots and beyond. Drawing on ancestral memories and family histories to wrap new flesh around the bones of history, this album is a bold, semi-autobiographical work that leads us deeper into the annals of family histories, mythology and the cultural imaginary.  “Baca Sewa” is Cochemea’s original family name prior to Spanish colonization. The melody was composed by Anthony Gastelum and features vocals and drumming by the Baca Sewa Singers- a group composed of several generations of family members. The album runs thick with sonic tributes and remembrances. “Chito’s Song” is a contemplative, ethereal tribute to a beloved uncle. “Curandera” conjures the memory of the irrepressible healing power of medicine women. “Black Pearl” recalls his great grandfather, heir to a legacy of indigenous peoples enslaved as pearl divers in the Sea of Cortez.  \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=2911416019\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/cochemea.bandcamp.com\/album\/vol-ii-baca-sewa\"\u003eVol. II Baca Sewa by Cochemea\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003eLeading a 7-piece ensemble composed of New York’s top percussionists and members of Daptone’s rhythm section, Cochemea has created his own world of emotional textures and rhythmic possibilities, a musical and spiritual synthesis made possible\u003cspan data-mce-fragment=\"1\" class=\"bcTruncateMore\"\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003c\/span\u003ethrough his deep reverence of the horn and the music and traditions preceding him. Vol II: Baca Sewa - is an offering and continuation of Cochemea’s explorations, part of a musical process of cultural reclamation and healing through connection, relations, memory and imagination.\u003c\/span\u003e\u003cspan data-mce-fragment=\"1\"\u003e \u003ca data-mce-fragment=\"1\"\u003e\u003c\/a\u003e\u003c\/span\u003e\n\u003c\/div\u003e\n\u003ch3 data-mce-fragment=\"1\" class=\"credits-label\"\u003e\u003cbr\u003e\u003c\/h3\u003e\n\u003cdiv data-mce-fragment=\"1\" class=\"tralbumData tralbum-credits\"\u003ereleases July 16, 2021\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":40365648445601,"sku":"","price":22.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a4114549021_10.jpg?v=1626294428"},{"product_id":"gil-scott-heron-moving-target-new-lp","title":"Gil Scott-Heron – Moving Target – New LP","description":"\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003eMoving from plenty of funky numbers to the reggae of \"Ready or Not,\" from the blues of \"Blue Collar,\" to his rap-poetry \/ jazz workout with the marathon closer \"Black History \/ The World,\" giving the background and then moving into plans for today and the future, throughout it all, his eye focused keenly on the happenings of the world unfolding, continuing the vision he and his contemporaries had explored for the past decade and before, some of the sounds making it clear this comes from the early 1980s but also ignoring some of the styles and clearly coming out of the social commentary the early 1970s, another essential outing from Gil Scott-Heron.  -- winch\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eDan LeRoy: \"\u003c\/span\u003eGil Scott-Heron's last proper album for more than a decade,\u003cspan\u003e \u003c\/span\u003eMoving Target\u003cspan\u003e \u003c\/span\u003ewas recorded after a period of intense touring (hence the title) and, perhaps understandably, finds\u003cspan\u003e \u003c\/span\u003ethe Midnight Band\u003cspan\u003e \u003c\/span\u003eplaying a larger role than usual. It also may reflect the group's travels, as the typical, tastefully jazzy R\u0026amp;B and funk grooves -- like set-opener \"Fast Lane\" and \"Explanations\" -- are supplemented with more exotic sounds. Like\u003cspan\u003e \u003c\/span\u003eStevie Wonder, for whom he and\u003cspan\u003e \u003c\/span\u003ethe Midnight Band\u003cspan\u003e \u003c\/span\u003eopened a tour in 1980,\u003cspan\u003e \u003c\/span\u003eScott-Heron\u003cspan\u003e \u003c\/span\u003eand his bandmates were experimenting with reggae. \"No Exit\" has clear echoes of\u003cspan\u003e \u003c\/span\u003eBob Marley, while \"Ready or Not\" is a sultry island jam. Both tunes also had themes more personal than political, a shift noticeable elsewhere on the album (even \"Washington D.C.,\" with its seemingly obvious subject, is as much about the resilient spirit of D.C.'s citizens as it's about the city's politicians). That's somewhat surprising, given that\u003cspan\u003e \u003c\/span\u003eScott-Heron\u003cspan\u003e \u003c\/span\u003ehad recently enjoyed success with \"B-Movie,\" a pointed attack on then-president\u003cspan\u003e \u003c\/span\u003eRonald Reagan. But \"Blue Collar\" is a populist manifesto that gives shout-outs to working folks in a variety of professions across the fruited plain before concluding with the dispirited chorus, \"There ain't no place we ain't been down,\" and \"Black History\/The World\" offers nearly ten minutes of Afro-centric theorizing, beginning with a spoken introduction that hearkens back to\u003cspan\u003e \u003c\/span\u003eScott-Heron's sarcastic, poetic beginnings and ends with a plea for peace and world change.\"\u003c\/h3\u003e\n\u003cp\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecording Studios:\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eBlas Studio\/Springfield, Va.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMarch 25-27 \u0026amp; May 28-29 1982\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eTownhouse\/London, England\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 9-12 1982\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eThe Manor\/Oxford, England\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eApril 19-21 1982\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eRecord Plant\/Los Angeles, Cal.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJune 7-17 (Recorded \u0026amp; Mixed)\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eA\u0026amp;M\/Los Angeles, Ca.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eMastering, July 1982.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"spacer\"\u003e\u003c\/div\u003e","brand":"Arista Records","offers":[{"title":"Default Title","offer_id":40411761246369,"sku":"","price":17.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-6478911-1435561711-6807_jpeg.jpg?v=1626825591"},{"product_id":"el-domingo-duendes-isidro-y-justa-new-7","title":"El Domingo ‎– Duendes\/ Isidro Y Justa [Blue\/brown split] – New 7\"","description":"\u003cdiv\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"tralbumData tralbum-about\" itemprop=\"description\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eStraight from the concrete jungle of East Los Angeles, Mango Hill brings you the \"Ethio-Latino\" sounds of El Domingo. Led by composer and multi-instrumentalist, Joseluis Jimenez. JJ \"El Carnicero\" has been playing a wide range of instruments since the womb and recently called on his childhood friend \u0026amp; musical confidant Joey Quiñones to help him produce the beginnings of this new musical territory...\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eJoseluis has spent his youth and teens playing as a side man in many groups including Thee Sinseers, The Altons, Jason Joshua, The Latin Solitaires \u0026amp; more, drawing his influences from Los Bukis, Mulatu Atsake \u0026amp; Fania-Allstars to bring his new genre breaking sound.\u003c\/span\u003e\u003cbr data-mce-fragment=\"1\"\u003e\u003cspan data-mce-fragment=\"1\"\u003eWithout further ado......♫♫♫♫♫\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1984611351\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/mangohillrecords.bandcamp.com\/album\/duendes-isidro-y-justa\"\u003eDuendes\/ Isidro Y Justa by El Domingo\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv id=\"companies\" data-toggle-section-id=\"companies\" class=\"section companies toggle_section toggle_section_collapsed   toggle_section_remember\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cspan class=\"type\"\u003ePressed By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eGZ Media\u003cspan\u003e \u003c\/span\u003e– 222570H\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"type\"\u003eRecorded At\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eSecond Hand Sounds\u003c\/li\u003e\n\u003cli\u003e\u003cbr\u003e\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"credits\" data-toggle-section-id=\"credits\" class=\"section credits toggle_section toggle_section_collapsed   toggle_section_remember\"\u003e\n\u003ch3 data-for=\".credits\" class=\"toggle_section_control float_fix\"\u003eCredits\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eBass\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eChris \"Breadsteady\" Manjarez*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eDrums, Percussion\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eCaitlyn Moss\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eGuitar\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eBryan Ponce\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eProducer, Mixed By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJJ*,\u003cspan\u003e \u003c\/span\u003eJQ*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eRecorded By, Engineer\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJoey Quinones\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eSaxophone, Clarinet, Flute\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eEric Johnson (74)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eSongwriter\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJoseluis \"El Carnicero\" Jimenez*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrombone, Electric Piano [Fender Rhodes], Piano, Organ, Composed By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJoseluis Jimenez*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrumpet\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eBen C (4)\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eWritten-By\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eJajimenez*\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv id=\"notes\" data-toggle-section-id=\"notes\" class=\"section notes toggle_section toggle_section_collapsed   toggle_section_remember\"\u003e\n\u003ch3 data-for=\".notes\" class=\"toggle_section_control float_fix\"\u003eNotes\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eHalf blue \u0026amp; half brown vinyl.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cbr\u003e\u003cbr\u003e","brand":"Mango Hill Records","offers":[{"title":"Default Title","offer_id":40533997682849,"sku":"","price":18.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-19258246-1624536426-6310_jpeg.jpg?v=1628325126"},{"product_id":"simone-nina-ninas-back-new-lp","title":"Simone, Nina - Nina's Back - New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eNina manages to be in tune with 1985, with funky pop numbers like \"You Must Have Another Lover,\" while still exploring her jazz roots  and clearly maintaining her potent signature sounds on cuts like \"Fodder For Her Wings,\" and also offering cuts like \"I SIng Just To Know I'm Alive\" that are so much part of both--the world of 1985 and her own unique place in the universe, a place called Planet Nina.  It was her planet, we just got to live there. -- winch (green noise)\u003c\/h3\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003e\"Originally recorded in 1985, following a lengthy semi-retirement from the music business, NINA'S BACK is pure Nina Simone. Her vocals and piano front a small and sympathetic band on a well-chosen set of standards and several Simone originals. Of those, 'Fodder For Her Wings' and the intensely personal 'I Sing Just To Know I Am Alive' rank among Nina Simone's finest late-era compositions. The other tracks, particularly an inviting 'It's Cold Out There,' are equally fine.\"\u003c\/p\u003e\n\u003c\/div\u003e","brand":"VPI Records (VPI 100-7A)","offers":[{"title":"Default Title","offer_id":40571785216161,"sku":"","price":16.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-3679402-1358339335-2989_jpeg.jpg?v=1628723953"},{"product_id":"blakey-art-moanin-new-cd","title":"Blakey, Art – Moanin' – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003c\/h2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e1968. \u003cspan data-mce-fragment=\"1\"\u003eNot to be confused with the classic 1958 studio album with the same name, this is a live set from ten years later and WITH a completely different band...but it's still a great band and a great set. \"obscure live set....not even listed on most discographies...strong if underrated band...well recorded and highlighted by \"Slide's Delight,\" [saxophonist Bill] Harper's ballad feature on \"You Don't Know What Love is,\" and a spirited remake of \"Moanin'\".\" SCOTT YANOW (ALL MUSIC GUIDE TO JAZZ.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":40599607705761,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-8935294-1498661243-8000_jpeg.jpg?v=1629163868"},{"product_id":"modern-jazz-quartet-longing-for-the-continent-new-cd","title":"Modern Jazz Quartet – Longing for the Continent – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003c\/h2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e 1958.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":40599620812961,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-930313-1174704629_jpeg.jpg?v=1629164076"},{"product_id":"golson-benny-up-jumped-spring-new-cd","title":"Golson, Benny – Up, Jumped, Spring – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003c\/h2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e 1990.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":40599634706593,"sku":"","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-6704682-1424986177-3566_jpeg.jpg?v=1629164344"},{"product_id":"sir-roland-hanna-quartet-plays-gershwin-new-cd","title":"Sir Roland Hanna Quartet – Plays Gershwin – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003c\/h2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e 1993.\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":40599643488417,"sku":"","price":4.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-11140896-1510600213-3061_jpeg.jpg?v=1629164511"},{"product_id":"hampton-slide-mellow-dy-new-cd","title":"Hampton, Slide – Mellow-Dy – New CD","description":"\u003ch2\u003eCD.    COMPACT DISC.    CD.    COMPACT DISC.     CD.\u003c\/h2\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cp\u003e1967, 1968\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"LRC Limited","offers":[{"title":"Default Title","offer_id":40599651025057,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-6530737-1421354532-1341_jpeg.jpg?v=1629164694"},{"product_id":"freddie-hubbard-benny-golson-s-t-new-cd","title":"Freddie Hubbard, Benny Golson ‎– S\/T - New CD","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1\u003e\u003cbr\u003e\u003c\/h1\u003e\n\u003cp\u003e\u003cspan mce-data-marked=\"1\"\u003eI'm probably not the best judge of jazz, but this is a good session.  That's what I think, and I think I'm right.\u003c\/span\u003e\u003c\/p\u003e\n\u003cdiv id=\"tracklist\" class=\"section tracklist\" data-toggle=\"tracklist\"\u003e\n\u003cdiv class=\"section_content\"\u003e\n\u003ctable class=\"playlist\"\u003e\n\u003ctbody\u003e\n\u003ctr class=\"first tracklist_track track\" data-track-position=\"A1\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA1\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eDouble Bass\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\" data-track-position=\"A2\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA2\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eGypsy Jingle Jangle\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\" data-track-position=\"A3\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eA3\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eLove Is A Many Splendored Thing\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\" data-track-position=\"B1\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB1\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eSad To Say\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr class=\"tracklist_track track\" data-track-position=\"B2\"\u003e\n\u003ctd class=\"tracklist_track_pos\"\u003eB2\u003c\/td\u003e\n\u003ctd class=\"track tracklist_track_title\"\u003e\u003cspan class=\"tracklist_track_title\"\u003eFaraway\u003c\/span\u003e\u003c\/td\u003e\n\u003ctd width=\"25\" class=\"tracklist_track_duration\"\u003e\u003cspan\u003e\u003c\/span\u003e\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/tbody\u003e\n\u003c\/table\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section credits toggle_section    toggle_section_remember\" data-toggle-section-id=\"credits\" id=\"credits\"\u003e\n\u003ch3 class=\"toggle_section_control float_fix\" data-for=\".credits\"\u003eCredits\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cul class=\"list_no_style\"\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eBass\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eRon Carter\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eDrums\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eSmitty*\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eFlugelhorn\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eFreddie Hubbard\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003ePiano\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eMulgrew Miller\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTenor Saxophone\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eBenny Golson\u003c\/li\u003e\n\u003cli\u003e\n\u003cspan class=\"role\"\u003eTrumpet\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e–\u003cspan\u003e \u003c\/span\u003eFreddie Hubbard\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"section notes toggle_section    toggle_section_remember\" data-toggle-section-id=\"notes\" id=\"notes\"\u003e\n\u003ch3 class=\"toggle_section_control float_fix\" data-for=\".notes\"\u003eNotes\u003c\/h3\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eRecorded Clinton Studios, NYC June 22-30, 1987.\u003c\/div\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003eThis is likely the first and only vinyl pressing of the following CD (except this vinyl pressing omits two cuts likely because the entire set wouldn't fit on vinyl.\u003c\/div\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"section_content toggle_section_content\"\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eScott Yanow\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eThis obscure CD, released by Japanese Denon but for a time made available in the U.S., has tenor saxophonist\u003cspan\u003e \u003c\/span\u003eBenny Golson\u003cspan\u003e \u003c\/span\u003ewelcoming trumpeter\u003cspan\u003e \u003c\/span\u003eFreddie Hubbard, pianist\u003cspan\u003e \u003c\/span\u003eMulgrew Miller, bassist\u003cspan\u003e \u003c\/span\u003eRon Carter\u003cspan\u003e \u003c\/span\u003eand drummer\u003cspan\u003e \u003c\/span\u003eMarvin \"Smitty\" Smith\u003cspan\u003e \u003c\/span\u003eto his quintet set.\u003cspan\u003e \u003c\/span\u003eHubbard\u003cspan\u003e \u003c\/span\u003ewas in prime form during this period, and the repertoire (three\u003cspan\u003e \u003c\/span\u003eGolson\u003cspan\u003e \u003c\/span\u003etunes, an original apiece by\u003cspan\u003e \u003c\/span\u003eCarter\u003cspan\u003e \u003c\/span\u003eand the trumpeter, \"Love Is a Many Splendored Thing\" and \"Stardust\") provides inspiration for some excellent hard bop-oriented solos. Worth searching for.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Groove Merchant","offers":[{"title":"Default Title","offer_id":40599730815137,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-13786077-1561098476-8468_jpeg.jpg?v=1629165896"},{"product_id":"phil-woods-tom-harrell-the-jazz-masters-new-cd","title":"Phil Woods \/ Tom Harrell - The Jazz Masters – New CD","description":"\u003cmeta charset=\"utf-8\"\u003e\n\u003ch1\u003e\u003cspan mce-data-marked=\"1\"\u003e1986.  \u003c\/span\u003e\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Groove Merchant Records","offers":[{"title":"Default Title","offer_id":40599806771361,"sku":"","price":3.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-18192667-1617807246-4610_jpeg.jpg?v=1629166627"},{"product_id":"brubeck-dave-christmas-used-cd","title":"Brubeck, Dave - Christmas - Used CD","description":"\u003cp style=\"font-weight: 400;\"\u003eVG+\/VG+\u003c\/p\u003e\n\u003ch3 class=\"review-author headline\"\u003eAllMusic Review by\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003eKen Dryden\u003c\/span\u003e\n\u003c\/h3\u003e\n\u003cdiv class=\"text\"\u003e\n\u003cp\u003eBrubeck covers a host of favorite carols on this solo outing. His chime-like \"Joy to the World\" and striding \"Winter Wonderland\" are treasures. His festive opening version of \"Jingle Bells\" contrasts with the weary version signaling the end of an evening's festivities; anyone who has ever worked a holiday party will relate to it. His originals include the delightful \"Run, Run, Run to Bethlehem\" and the meditative \"To Us Is Given.\" This is a Christmas CD worth repeated hearings.\u003c\/p\u003e\n\u003c\/div\u003e\n\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003e\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003e\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003e","brand":"Telarc Jazz Records","offers":[{"title":"Default Title","offer_id":40754580193441,"sku":"","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/IMG_0513.jpg?v=1630645325"},{"product_id":"leonhart-peplowski-rosenthal-tate-sensitive-to-the-touch-the-music-of-harold-arlen-used-cd","title":"Leonhart, Jay – Sensitive to the Touch: The Music of Harold Arlen - Used CD","description":"\u003cp style=\"font-weight: 400;\"\u003eVG+\/VG+\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"th-RW4GC-installed\"\u003e\u003c\/span\u003eKen Dryden: :Ignore the cheesy art on the cover, this swinging quartet session featuring the music of Harold Arlen is worth checking out. Bassist Jay Leonhart is the leader, with Ken Peplowski on clarinet and tenor sax, Ted Rosenthal on piano and drummer Grady Tate, who adds a nice vocal to \"Ill Wind.\" No credit is given for the superb fresh arrangements, especially the humorous snappy \"Ding Dong The Witch Is Dead,\" a sly waltzing \"If I Only Had A Brain,\" and a bluesy \"Accentuate The Positive.\" Recommended.\"\u003c\/p\u003e\u003cbr\u003e\u003ciframe width=\"560\" height=\"315\" src=\"https:\/\/www.youtube.com\/embed\/-kJsBDdybm8?si=5gjtVcIJnMhBgVGJ\" title=\"YouTube video player\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen\u003e\u003c\/iframe\u003e\u003cbr\u003e","brand":"LRC Records","offers":[{"title":"Default Title","offer_id":40754653266081,"sku":"","price":2.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/IMG_0510.jpg?v=1630645786"},{"product_id":"ambrosetti-frank-and-friends-movies-used-lp","title":"Ambrosetti, Franco and Friends - Movies - Used LP","description":"\u003cp\u003evinyl: VG\u003c\/p\u003e\n\u003cp\u003eSleeve: G\u003c\/p\u003e\n\u003cp\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eJazz interpretations of songs and compositions from movies, the \"movies\" focus fortunately not forcing them to focus on the same old same old, focusing on different periods from the previous 50 years, but clearly bringing it all into the age the previous 20 years, Michigander Geri Allen on both piano and synthesizer, Scofield on electric guitar, and the Swiss leader on flugelhorn and trumpet, all of them and the rhythm section working together to stretch and pull the music in whatever direction their instincts took them, the original compositions just launching pads for conversations and improvisations, some jazz cats talking movies, sometimes Scofield getting to be a bit of a blabber mouth, but like all the friends, he's always aware of the rhythm section, the discussion with many strands and opinions.  With the original songs forming not just launching pads but landing pads as well, the band is also clearly aware of folks like Miles Davis (and others) and fusion when it was first forming 20 years earlier.  Don't let the sleeve or the theme fool you into thinking this will be boring or conservative; instead, this is a recommended listen if you dig that junk called jazz. -- winch\u003c\/p\u003e\n\u003cp\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cdiv class=\"review-headline-container\"\u003e\n\u003ch2 class=\"review-author\"\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"text\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"review-headline-container\"\u003e\n\u003ch2 class=\"review-author\"\u003e\u003c\/h2\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"text\"\u003e\u003c\/div\u003e\nScott Yanow: \"When one considers the repertoire -- eight songs from movies. including the theme from The Magnificent Seven and the Beatles' \"Yellow Submarine\" -- this recording may not seem to have much potential. But actually, the set list includes four well-known standards (including \"That Old Black Magic\" and \"Falling In Love Again\"), and all of the music is transformed into creative and consistently exciting jazz. Trumpeter\/flugelhornist Franco Ambrosetti is the lead voice, but gives plenty of solo space to his illustrious sidemen (guitarist John Scofield, pianist Geri Allen, bassist Michael Formanek, drummer Daniel Humair and percussionist Jerry Gonzalez), and the performances are generally quite memorable. Recommended.\"","brand":"Enja Records","offers":[{"title":"Default Title","offer_id":40880186589345,"sku":"","price":1.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/IMG_1236.jpg?v=1632014622"},{"product_id":"sun-ra-lanquidity-new-lp","title":"Sun Ra – Lanquidity – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003eSun Ra\u003cmeta charset=\"utf-8\"\u003ethe Sun Ra Arkestra\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e's rhythm section settling into a steady groove on each of the lengthy tracks, while horns, reeds, guitars, and \u003c\/span\u003e\u003c\/a\u003eSun Ra\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e's keyboards solo in overlapping patterns on top. The title number recalls \u003c\/span\u003e\u003c\/a\u003eCharles Mingus\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e' \"Goodbye Porkpie Hat\" in its slow pace and elegiac tone, while the middle three tracks have livelier beats with playing that often answers to the style of fusion played by many jazz groups in the late '70s. \u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1804005569\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sunrastrut.bandcamp.com\/album\/lanquidity\"\u003eLanquidity by Sun Ra\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\"There Are Other Worlds (They Have Not Told You Of),\" the nearly 11-minute concluding tune, is the closest to more familiar 1960s and early-'70s \u003c\/span\u003e\u003c\/a\u003eSun Ra\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e, with its less cohesive lead work and the \"ethnic voices\" that speak, sing, and whisper about outer space. \u003c\/span\u003e\u003c\/a\u003eLanquidity\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e was extremely rare in its original vinyl pressing. It was reissued by Evidence Music on September 26, 2000, with liner notes in which \u003c\/span\u003e\u003c\/a\u003eJohn Dilberto\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e discussed \u003c\/span\u003e\u003c\/a\u003e\u003ca href=\"https:\/\/www.allmusic.com\/artist\/sun-ra-mn0000924232\" class=\"name-link\"\u003eSun Ra\u003c\/a\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003cspan\u003e's 25-year residence in Philadelphia and Tom Buchler, who organized the recording session, discussed the making of the album.\u003c\/span\u003e\u003c\/a\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\u003ca data-encoded-tag-name=\"meta\" data-encoded-tag-value=\"\" data-encoded-attr-charset=\"dXRmLTg=\"\u003e\u003c\/a\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Strut Records \/ Art Yard Records","offers":[{"title":"Default Title","offer_id":40892931571873,"sku":"","price":28.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a0127880947_16.jpg?v=1632189172"},{"product_id":"sun-ra-space-is-the-place-blue-vinyl-new-lp","title":"Sun Ra – Space Is The Place [Blue Vinyl] – New LP","description":"\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\n\u003cdiv class=\"leftColumn\" id=\"trackInfo\"\u003e\n\u003cdiv\u003e\u003c\/div\u003e\n\u003cdiv id=\"trackInfoInner\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cp\u003e*Tip-on Gatefold Jacket with original 1973 artwork\u003c\/p\u003e\n\u003cp\u003e*Limited Edition Transparent Colored Vinyl - Pressed at RTI\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=1676995911\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/sunramusic.bandcamp.com\/album\/space-is-the-place\"\u003eSpace is the Place by Sun Ra \u0026amp; His Arkestra\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e In the endless ocean of Sun Ra recordings, Space Is The Place ranks among the very best but more importantly stands as the most immediately understandable of his records. This masterpiece touches flawlessly on elements of many of Ra’s multiple phases and provides both a mission statement for and a gateway to his immaculate body of work \"Space Is the Place is possibly Sun Ra’s most accessible outing, a fine entry point to his world(s)\"\u003c\/p\u003e\n\u003cp\u003e- BBC 5\/5 Stars - All Music Guide\u003c\/p\u003e\u003cbr\u003eThe contents of this album are only for sale in Outer Space, where the rights belong to Sun Ra, as codified in the original recording contract for Space is the Place:\n\n\"RIGHTS ON PLANETS OTHER THAN EARTH. Company agrees that all rights discussed in paragraph 5 above [viz. ACTUAL OWNERSHIP OF MASTERS], as well as all rights of distribution and retail sales, on planets other than Earth (including but not limited to Saturn, Pluto, Jupiter, and Mars) shall belong to Sun Ra.\"\n\nBy purchasing this digital album or downloading any single track thereof, you hereby declare and warrant that you are either a space-based life-form or that you are a terrestrial being currently stationed outside the Earth's atmosphere and beyond its gravitational pull.\u003cbr\u003e\u003cbr\u003e\nRecorded October 1972\n\nPERSONNEL:\nSun Ra (piano, Space Organ [Farfisa], Minimoog, Rocksichord, vocals); Akh Tal Ebah (trumpet, flugelhorn, vocals); Lamont McClamb [Kwame Hadi] (trumpet, percussion); Marshall Allen (alto sax, flute, percussion); Danny Davis (alto sax, flute, alto clarinet, percussion); Larry Northington (alto sax, conga, percussion); John Gilmore (tenor sax, drums, vocals); Pat Patrick (tenor sax, baritone sax, flute, electric bass, vocals); Danny Ray Thompson (baritone sax, flute, libflecto, percussion, vocals); Eloe Omoe (bass clarinet, flute, percussion); Lex Humphries (drums, percussion); Robert Underwood [Aye Aton] (drums); Harry Richards (drums, percussion); Alzo Wright (drums, percussion); Stanley Morgan [Atakatune] (conga, percussion); Russell Branch [Odun] (conga, percussion); June Tyson, Ruth Wright, Cheryl Banks, Judith Holton (space ethnic voices).\n\nProduced by Alton Abraham and Ed Michel","brand":"Jackpot Records","offers":[{"title":"Default Title","offer_id":40963617226913,"sku":"","price":26.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/R-11058175-1611268343-5239_jpeg.jpg?v=1632977461"},{"product_id":"various-artists-the-daptone-super-soul-revue-live-at-the-apollo-new-lp","title":"Various Artists –  The Daptone Super Soul Revue LIVE at the Apollo [3xLP Translucent Teal Vinyl MARKED DOWN]– New LP","description":"\u003ch1\u003e\u003cmeta charset=\"utf-8\"\u003e\u003c\/h1\u003e\n\u003ch1\u003e)\u003cbr\u003e\u003ciframe style=\"border: 0; width: 100%; height: 42px;\" src=\"https:\/\/bandcamp.com\/EmbeddedPlayer\/album=466513734\/size=small\/bgcol=333333\/linkcol=0f91ff\/transparent=true\/\" seamless\u003e\u003ca href=\"https:\/\/daptonerecords.bandcamp.com\/album\/the-daptone-super-soul-revue-live-at-the-apollo-2\"\u003eThe Daptone Super Soul Revue LIVE at the Apollo by Daptone Records\u003c\/a\u003e\u003c\/iframe\u003e\u003cbr\u003e\n\u003c\/h1\u003e\n\u003cp\u003e \u003c\/p\u003e\n\u003ch1\u003e\n\u003cmeta charset=\"utf-8\"\u003e\n\u003cspan\u003eHefty package dropping like a brick of solid gold on the streets of the world, scorching and soulful for you junkies of the funky, 32 songs and a half dozen albums sides of some kind of wonderful, all your favorite Daptone artists taking numbers and TCB for days, boogalooing down into the grooves of this six-sider to take your life for a turn for the better.  -- winch (green noise)\u003c\/span\u003e\n\u003c\/h1\u003e\n\u003cbr\u003e","brand":"Daptone Records","offers":[{"title":"Default Title","offer_id":40980207042721,"sku":"","price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0635\/1427\/products\/a3080002584_16.jpg?v=1633102639"}],"url":"https:\/\/store.greennoiserecords.com\/collections\/jazz.oembed?page=19","provider":"Green Noise Records","version":"1.0","type":"link"}