Albums

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Jazz - To be released March 29, 2019 | Craft Recordings

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Jazz - To be released March 29, 2019 | Craft Recordings

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Jazz - To be released March 29, 2019 | Craft Recordings

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Jazz - To be released March 15, 2019 | Ozella

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Jazz - Released February 8, 2019 | Universal Digital Enterprises

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Free Jazz & Avant-Garde - Released January 25, 2019 | Resonance Records

Distinctions Pitchfork: Best New Reissue
Experts in quality archives, Resonance Records, have dug up an essential Eric Dolphy gem. After leaving Prestige/New Jazz Records, the saxophonist worked during the summer of ‘63 with producer Alan Douglas (famous not only for his recordings with Jimi Hendrix but also for being behind the glass for the album Money Jungle with Duke Ellington, Charles Mingus and Max Roach). This meeting resulted in two albums: Iron Man and Conversations. The sessions were concocted with the crème de la crème of avant-garde jazz at that time: William "Prince" Lasha on flute, Huey "Sonny" Simmons on alto saxophone, Clifford Jordan on soprano saxophone, Woody Shaw on trumpet, Garvin Bushell on bassoon, Bobby Hutcherson on vibraphone, Richard Davis and Eddie Kahn on double bass and J.C. Moses and Charles Moffett on drums. Fast forward to January 2019: all the sessions from 1st and 3rd June 1963 have resurfaced, including some alternate takes. The tapes had been stored in a suitcase by Dolphy himself with other personal belongings just before he flew off on his last European tour, during which he died in Berlin on June 29th 1964 at the age of 36. The Californian had entrusted the suitcase to friends. Years later, it was recovered by flautist James Newton, who went through its content with Zev Feldman from Resonance Records and the pundits of the Eric Dolphy Trust in Los Angeles. With two and a half hours of music, Musical Prophet is a major document in Eric Dolphy's artistic evolution. A recording comparable to Out To Lunch!, his masterpiece for Blue Note released seven months later. But this is by no means a draft. Here, the group embark on trails both well-trodden and unexplored. Without cutting themselves off from their elders (Jitterbug Waltz by Fats Waller opens the album), they blow hot and cold and dare to explore all posibilities. Depending on the weapon of choice (alto saxophone, flute or bass clarinet), Dolphy expresses different qualities. Melancholic and introspective, almost as if irritated, if not panicky, he is constantly matched by accomplices who are just as quick as he is. And the musical freedom never erases the melodic framework. 56 years later, this emerging jazz has not lost any of its spontaneity and it would easily make some 2019 productions obsolete... © Marc Zisman/Qobuz
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Jazz - Released January 25, 2019 | Blue Note Records

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For decades, composer and saxophonist Wayne Shorter has led one of the more impressive quartets in jazz. With pianist Danilo Perez, bassist John Patitucci, and drummer Brian Blade, the 85-year-old saxophonist has explored the connections between chamber music and jazz. This band rehearses on-stage, creating innovative architectures via in-the-moment dialogue and improvising with unbridled freedom that never gives way to excess. Emanon is their first recording in five years and conceptual in nature. It comprises a four-part suite in a studio date from 2013 with the Orpheus Chamber Ensemble, and two 2016 live discs of the quartet playing the Emanon material with other tunes. It's packaged in an oversize hardbound book that contains a 36-page graphic novel that Shorter co-wrote with Monica Sly and illustrator Randy DeBurke. It follows the exploits of its "rogue philosopher"/warrior/protagonist namesake ("no name" spelled backwards, from a Dizzy Gillespie tune). He fights bad guys in the multiverse, a concept that shares principles with the Buddhist notion of emptiness, allowing for an infinite number of simultaneously existing universes that Emanon travels effortlessly between. Disc one begins with piano and soprano sax probing the suggestion of melody, but really it's the pianist offering Shorter a chance for dialogic thought. Orchestral brass, strings, and the rhythm section enter minutes later and create melody from rhythm and vice-versa. The full orchestra's colorful voicings introduce "Prometheus Unbound" with a majestic grandeur balanced by the quartet's subtler interventions. "Lotus" commences as a full-on orchestral thematic statement answered by a recurrent three-note piano ostinato that's countered by free blowing from Perez and Shorter. They are barely held in check by the fluid pulse from Blade and Patitucci. The chamber group's bold yet lush restatement later in the piece frames the quartet's interrogatory investigation of blues. "The Three Marias," whose origins date back to 1985's Atlantis, is rendered completely anew with Bernstein-esque orchestral flourishes and a sweeping theme. Shorter plays soprano and tenor with equal vigor. The quartet emerges to take over with speculative and assertive conversation until the last third, where the orchestra returns with tempi, texture, and dynamic changes ushering in a sweeping conclusion. The two live discs begin with a radically revisioned 27-minute version of "The Three Marias," where the group's close listening and instinctive risk-taking chart the unknown amid post-bop, modal jazz, and free improv. The medley of "Lost" and "Orbits" is edgier, traversing out jazz one moment and swinging grooves the next as Perez provides a wide palette for his bandmates to color. The final disc opens and closes with kaleidoscopic quartet versions of "Lotus" and "Prometheus Unbound," with stops at the traditional "She Moves Through the Fair" (unrecognizable from their 2003 version) and a short, blistering "Adventures Aboard the Golden Mean" that goes from 0-60 instantly in a bluesy workout led by Shorter's soprano, followed by Perez's Latin montunos and vamps given a heavy bottom by the rhythm section. While Emanon's suite may take some getting used to, it is a profoundly imaginative work; the quartet concert offers a killer portrait a group whose M.O. is pushing at the margins until they give way to something altogether new. ~ Thom Jurek
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Jazz - Released December 7, 2018 | Verve

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Jazz - Released November 30, 2018 | Universal Music Distribution Deal

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Jazz - Released November 30, 2018 | Universal Music Distribution Deal

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Jazz - Released November 27, 2018 | DISTROSONG

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Jazz - Released November 23, 2018 | Sunnyside

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Contemporary Jazz - Released November 16, 2018 | Prescott Records

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Jazz - Released November 16, 2018 | Silver Spot

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Jazz - Released November 16, 2018 | Impulse! Records

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Jazz - Released November 9, 2018 | Acrobat

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Jazz - Released November 9, 2018 | ECM

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Gospel - Released November 2, 2018 | Universal Music (Pty) Ltd.

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Jazz - Released October 30, 2018 | Housemaster Records

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Jazz - Released October 28, 2018 | Deutsche Grammophon (DG)

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Jazz in the magazine
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    To the Power of Three Joe Lovano's Trio Tapestry is in Hi-Res 24-Bit on Qobuz!
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    Dandy Man Bryan Ferry is the ultimate dandy, the singer that never gets old and who does as he pleases.
  • A Night of Nat
    A Night of Nat In 2017, Gregory Porter released a tribute album - or rather a love letter, to the man he considers his ultimate hero: Nat King Cole.
  • Afternoon Tea and Vintage Cars
    Afternoon Tea and Vintage Cars Jools Holland, the musical virtuoso, director and well-loved host of the BBC 2 programme Later… with Jools Holland since 1992, joins forces with the first-rate vocals of Marc Almond and the musicia...
  • 360° vision
    360° vision After two staggering studio albums (When the Heart Emerges Glistening in 2011 and The Imagined Savior Is Far Easier to Paint in 2014) and one brilliant live album (A Rift in Decorum in 2017), all t...
  • Leaning back to the 60s
    Leaning back to the 60s Jose James is bringing back the great soul music of the sixties.
  • Perfect unison
    Perfect unison Fifteen years on from Changing Places, his first album for the label ECM, Tord Gustavsen is once again offering up an album performed with a trio, which seems to be the line-up most in keeping with...