Yup, on regular black vinyl - just ask your local.
Jazz
- Thread starter Captainfog
- Start date
pijo
Member
Done. Thanks for looking out for meYup, on regular black vinyl - just ask your local.
Dtknuckles
Well-Known Member
Anyone watched Ornette Coleman: Made in America documentary. It’s on Amazon. Any other places?
Happy this & the Blue Note thread exists. Jazz has quickly become my go-to genre over the past 5 years but I seriously feel like I'm just scratching the surface in terms of jazz's illustrious history as well as the immense bodies of work out there. I imagine this thread, forum and community will help me narrow that gap, slightly. I was raised in New Orleans going to Jazz Festival but honestly resented it growing up, I just wanted to listen to Linkin Park and Smash Mouth lol, also my step-dad was big into jazz and I wasn't a fan of his so naturally, I turned a cheek to his music of choice.
I think my love for jazz was ignited from Fallout 3 (a video game) oddly enough. They had the most incredible in-game radio station that had all the pre-bop soundings of The Ink Spots, The Mills Brothers, Ella Fitzgerald, Bing Crosby, The Andrew Sisters, etc etc. That really got me into vocal jazz and the standards which ended up funneling me down the Sinatra, Nat King Cole, Dean Martin crooner route. I think I was like 16 when I really got into that jazz and started watching all the mob movies to really channel the era. Not sure when I made the jump into bop but I know for damn sure it started when I heard Blue In Green for the first time and decided to pirate (oops) Kind of Blue because it was the most beautiful song I had ever heard up to that point. From there it's just been years of letting Spotify recommend me songs to put into my jazz playlist. Getting a record player a year and a half ago was when I was like "Okay, I know hundreds of jazz songs but I've barely listened to any albums, time to start getting some on this deck."
Now I'm here. I just wanted to introduce myself to everyone and give a little backstory! Excited to find some amazing new music to listen to!
I think my love for jazz was ignited from Fallout 3 (a video game) oddly enough. They had the most incredible in-game radio station that had all the pre-bop soundings of The Ink Spots, The Mills Brothers, Ella Fitzgerald, Bing Crosby, The Andrew Sisters, etc etc. That really got me into vocal jazz and the standards which ended up funneling me down the Sinatra, Nat King Cole, Dean Martin crooner route. I think I was like 16 when I really got into that jazz and started watching all the mob movies to really channel the era. Not sure when I made the jump into bop but I know for damn sure it started when I heard Blue In Green for the first time and decided to pirate (oops) Kind of Blue because it was the most beautiful song I had ever heard up to that point. From there it's just been years of letting Spotify recommend me songs to put into my jazz playlist. Getting a record player a year and a half ago was when I was like "Okay, I know hundreds of jazz songs but I've barely listened to any albums, time to start getting some on this deck."
Now I'm here. I just wanted to introduce myself to everyone and give a little backstory! Excited to find some amazing new music to listen to!
ThePakoBuelna
Well-Known Member
I just recently discovered this. Thought you guys might like it. Grabbed a red variant(100 available) $24 USD shipped seemed like a great price, plus the vinyl comes with 2 extra tracks.
Enrique Rodriguez is an 18 year-old producer, pianist and composer from Santiago, Chile. At such a young age, it is hard not to be amazed at the amount of talent this guy has. Lo que es is Enrique’s first soul-jazz album, released on Pennsylvania label Extra Lovely Records.
The album takes you on a moody, meditative journey through Enrique’s expansive world of soul and jazz music. The keys are beautifully arranged, and the slow-paced grooves give you time to truly appreciate the grace and maturity Enrique has as a multi-instrumentalist and producer, which is impressive considering his young age. With faint bossa-nova grooves on a track such as ‘Lo que somos’ or the ambient closer ‘Chao,’ this album is meant for a romantic night in with your significant other. Love would be the word to describe the atmosphere of this short but sweet project, and it’s definitely worth your time.”
- Martin Boev for In Search of Media
/SPOILER]
The album takes you on a moody, meditative journey through Enrique’s expansive world of soul and jazz music. The keys are beautifully arranged, and the slow-paced grooves give you time to truly appreciate the grace and maturity Enrique has as a multi-instrumentalist and producer, which is impressive considering his young age. With faint bossa-nova grooves on a track such as ‘Lo que somos’ or the ambient closer ‘Chao,’ this album is meant for a romantic night in with your significant other. Love would be the word to describe the atmosphere of this short but sweet project, and it’s definitely worth your time.”
- Martin Boev for In Search of Media
/SPOILER]
Welcome @ghostdorado , you'll certainly find something for you in these threads. We've been a lot in the "new" UK jazz scene recently but we are open to all jazz sub-genres and periods
Cypert2
New Member
Found this Saturday in a Mississippi flea market. ODJB from 1917, considered to be the first jazz, or jass, record ever recorded.
Mr Moore
Well-Known Member
Forced Exposure | Product Page
www.forcedexposure.com
Previously unreleased and not known to exist soundboard recording of Alice Coltrane Sextet live in Berkeley, California in 1972. Featuring a dream line-up of Charlie Haden, Ben Riley, Ashish Khan, Pranesh Khan, Bobby W., and Alice Coltrane. Newly re-mastered from the original tapes. In 1972 (Journey In Satchidananda/Lord of Lords era), during one of Alice Coltrane's most creative periods, she gathered five musicians for a live concert at the Berkeley Community Theater on July 23rd, 1972. Bassist Charlie Haden, Sarod player Ashish Khan, Pranesh Khan on tabla and naal, Ben Riley on drums, Bobby W. on tambura and percussion. The four tracks featured for the performance (three John Coltrane compositions) -- "Journey In Satchidananda", "A Love Supreme", "My Favorite Things" and "Leo" -- show a group in full flight to the cosmos. Alice Coltrane leads the group on organ, piano and harp. This show, in particular, is as searing a document of a spiritual group of musicians in full launch to outer space. As intense a performance and recording as we've heard from Alice Coltrane. Raw, propulsive and incendiary. Limited edition, double-LP; comes in a gatefold sleeve; edition of 750.
Don't you want to pick the July AoTM thread?
Selaws
Well-Known Member
Beat me to it, just saw this on Honest Jons website!
On a secondary note, the NME has quite a nice write up on the current London jazz scene, specifically Moses Boyd:
https://www.nme.com/blogs/nme-radar...radically-altering-londons-jazz-scene-2490655
Mr Moore
Well-Known Member
Make Some Space – Tuning Into Total Refreshment Centre | Sounds of the Universe
Shabaka Hutchings , Nubya Garcia, Sons of Kemet - read how the new jazz scene started in this wicked book about The Total Refreshment Centre. Included…
soundsoftheuniverse.com
Selaws
Well-Known Member
Just saw this, assuming we all got the same emailMake Some Space – Tuning Into Total Refreshment Centre | Sounds of the Universe
Shabaka Hutchings , Nubya Garcia, Sons of Kemet - read how the new jazz scene started in this wicked book about The Total Refreshment Centre. Included…
I actually picked up the book a few weeks ago, really interesting read and some great interviews in there. Worth a pick up for sure
Nia Andrews - No Place Is Safe
No Place Is Safe is the debut full-length from Nia Andrews, a singer-songwriter whose unique vision and expressive aesthetics fly high over her undeniable legacy in the artistic culture of Los Angeles. Building on her beautiful voice that appeared on Solange’s #1 album A Seat at the Table, Andrews has transformed herself into a powerhouse producer in her own right. The daughter of music educator and philanthropist Reggie Andrews, she grew up immersed in the vibrant sounds of the rich musical community that he championed – including The Pharcyde, Kamasi Washington, Thundercat, and Terrace Martin.
With the release of No Place Is Safe, Nia Andrews adds an impressive new chapter to the musical narrative of Los Angeles. The album is a poignant exploration of the damage caused by chronic unacceptance and a feeling of being unseen. Pining for safety – an anchor that continues to elude her – Andrews is haunted by shadows closing in on all sides. She wrestles with the pain of not being chosen, weighed down by the exhaustion of ending after ending while the world outside burns. But as Andrews learns to find safety within herself, No Place Is Safe develops into a nuanced story of understanding, surrender, and finally – triumph.
Revealing an innate sense of musicality, Andrews’ intimate release balances between lush instrumentation and the raw beauty of her unadorned voice. She transforms sounds into symbols that augment her lyrical narrative: broken dreams, mental chaos, yearning and forgiveness. Thoughtful and exposed, the music looks you in the eye even as it questions itself.
How did we get so far from the one dream? How did we get so far from being who we are? The album’s contemplative incandescence is evident from the first measures of “The Road.” Andrews’ vocals curl around tender strums and keystrokes in “Linger,” a hushed and haunted love song.
Lo-fi electronic fuzz transforms “Call Your Name” from peaceful pretending into a muddled distortion, a sonic reflection of a relationship’s devolution. Even Andrews’ dreams are not safe. She implores herself to “Be a Smart Girl” with a syncopated warning and rhythms that run for cover. Winsome strings illuminate “Cleo and the King” with symphonic elegance and “The Ceiling” loses control in a rushing jam that climbs the walls.
No Place Is Safe is almost entirely self-made; Andrews wrote, arranged, and produced every track with few collaborators. “I didn’t begin this project intending to do so much of it myself,” she explains. “I laid down parts as ideas, but when I brought other musicians in to replace my bass or guitar parts, they were killing but I was surprised that I preferred the original parts. The imperfection of my playing just seemed to sonically serve the story of the music better and its vulnerability. I did want one song that was like a big hang with a few musicians I hold very dear and that’s ‘Seems So.’ There’s a lot of love nestled in the crevices of that tune.” The track’s jazzy riff and heavy drums dig in deep as her passionate vocals soar over the serious beats. Touching and teary-eyed, “Little Girl” is a love letter to the lost child within.
Crafted with the art of restraint and refined with honeyed harmonies, No Place is Safe aims for the mastery of the self. Through her inward search for significance, Nia Andrews reveals her compelling relevance and artistic talents – and her place creating new ground at the forefront of Los Angeles’ musical saga.
With the release of No Place Is Safe, Nia Andrews adds an impressive new chapter to the musical narrative of Los Angeles. The album is a poignant exploration of the damage caused by chronic unacceptance and a feeling of being unseen. Pining for safety – an anchor that continues to elude her – Andrews is haunted by shadows closing in on all sides. She wrestles with the pain of not being chosen, weighed down by the exhaustion of ending after ending while the world outside burns. But as Andrews learns to find safety within herself, No Place Is Safe develops into a nuanced story of understanding, surrender, and finally – triumph.
Revealing an innate sense of musicality, Andrews’ intimate release balances between lush instrumentation and the raw beauty of her unadorned voice. She transforms sounds into symbols that augment her lyrical narrative: broken dreams, mental chaos, yearning and forgiveness. Thoughtful and exposed, the music looks you in the eye even as it questions itself.
How did we get so far from the one dream? How did we get so far from being who we are? The album’s contemplative incandescence is evident from the first measures of “The Road.” Andrews’ vocals curl around tender strums and keystrokes in “Linger,” a hushed and haunted love song.
Lo-fi electronic fuzz transforms “Call Your Name” from peaceful pretending into a muddled distortion, a sonic reflection of a relationship’s devolution. Even Andrews’ dreams are not safe. She implores herself to “Be a Smart Girl” with a syncopated warning and rhythms that run for cover. Winsome strings illuminate “Cleo and the King” with symphonic elegance and “The Ceiling” loses control in a rushing jam that climbs the walls.
No Place Is Safe is almost entirely self-made; Andrews wrote, arranged, and produced every track with few collaborators. “I didn’t begin this project intending to do so much of it myself,” she explains. “I laid down parts as ideas, but when I brought other musicians in to replace my bass or guitar parts, they were killing but I was surprised that I preferred the original parts. The imperfection of my playing just seemed to sonically serve the story of the music better and its vulnerability. I did want one song that was like a big hang with a few musicians I hold very dear and that’s ‘Seems So.’ There’s a lot of love nestled in the crevices of that tune.” The track’s jazzy riff and heavy drums dig in deep as her passionate vocals soar over the serious beats. Touching and teary-eyed, “Little Girl” is a love letter to the lost child within.
Crafted with the art of restraint and refined with honeyed harmonies, No Place is Safe aims for the mastery of the self. Through her inward search for significance, Nia Andrews reveals her compelling relevance and artistic talents – and her place creating new ground at the forefront of Los Angeles’ musical saga.
Just spotted Bill Evans in England available at Amazon for a good price I if anyone missed it on RSD:
Evans In England [VINYL]: Amazon.co.uk: Music
Shop Evans In England [VINYL]. Everyday low prices and free delivery on eligible orders.
www.amazon.co.uk
mitchwagz
Well-Known Member
I would be very very surprised if this got fulfilled. Resonance has never repressed a record to my knowledge and those Evans albums were scooped up and sold out very quickly over RSD.
I've got some love. I've only recently listened to his albums properly and wasn't fully aware of his production credits, loads of Cannonball Adderley and Lou Rawls!
I've got this gem :-
And have listened to him here...
Here...
Here...
Here...
Here...
Here...
And most recently, here...
(Thanks as always to 'whosampled.com')
What a dude, Heavy Axe is a regular go to for me.
Attachments
Robohands - Dusk
qrates.com
Dusk
'Robohands' is the experimental solo/collaborative project of London based composer/multi instrumentalist Andy Baxter. The debut Robohands LP ‘Green’ was released on Village Live records in 2018, incorporating elements of jazz, krautrock and ambient music. The follow up, 'Dusk’ (2019), is a...
qrates.com
Clint Howard
Well-Known Member
Yeah, his version of You're So Vain off Heavy Axe is fantastic (as is the rest of the record)... I know I could look it up on Discogs but what is the first Shadow record you posted below Axe's Mo Wax release?