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A newly-discovered live performance by Bill Evans Trio, featuring Eddie Gómez on bass and Eliot Zigmund on drums. The previously unreleased concert took place on June 20, 1975, at Oil Can Harry’s, Vancouver, BC. Captured for radio host Gary Barclay, it was aired on his popular CHQM jazz show. For nearly half a century, the tapes lay forgotten – until now. Thanks to audio restoration by Plangent Processes and meticulous mastering by Paul Blakemore, it sounds just as fresh today as it did in 1975. – Craft Recordings

A fantastic little record – and very much the kind of set that the Strata East label was created to represent!

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The music here would hardly have found a home on the bigger jazz labels of the period – not because it's too avant-garde or non-commercial, but just because it's so deeply personal and powerful – the boldest vision on record of trombonist John Gordon, who composed a mind blowing suite of tracks for the first side of the album, as well as some equally great tunes for the second half! Gordon leads the group on trombone – with solos that are soaring and soulful, alongside work by the great James Spaulding on alto and flute, Waymond Reed on trumpet, John Miller on piano and keyboards, Lyle Atkinson on bass, and Frank Derrick on drums!

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If you know some of the other players here from their own work of the time, you know you're in for a treat – as the music has this fantastic sound of strong individual voices coming together, instruments lifted high on a mission of music – with results that are as fantastic all these many years as they were in the 70s. – Pure Pleasure Records

Be With is delighted to present Jorge López Ruiz’s El Grito (Suite Para Orquesta De Jazz), eternal Argentinian magic released on CBS in 1967 that must be one of the most sought-after South American jazz LPs.

The work of a genius artist living under an oppressive dictatorship, erased by the government of the time, this is buried treasure in every sense and it’s been a rare record for over 50 years. But it isn’t just being hard to find that has pushed up the prices of those few original copies that survived, this is a foundational record in the development of jazz in South America.

Yet this is not challenging jazz. There are certainly avant garde, free jazz flourishes, but the hard bop characteristics make this a very accessible album: easy to listen to without being easy listening. And López Ruiz’s love of film brings a definite cinematic feel.

This Be With edition of El Grito sounds sensational, if we do say so ourselves. Working with audio from the original analogue tapes, the vinyl mastering chops of Simon Francis are on full show here in what he considers to be some of his best ever work for Be With. Pete Norman’s cutting skills have made sure nothing is lost. The tortured artwork has been restored here at Be With HQ as the finishing touch to helping this revered work find a rightful place in every protest art collection. – Be With Records

TAV CURATOR'S PICK - JAZZ
BBE Music present the latest in the acclaimed J Jazz Masterclass Series: Kohsuke Mine ‘First’, the debut album by one of the leading artists in the new wave of modern jazz that swept Japan in the late 60s and early 70s. ‘First’ epitomises the shifting sound of the Japanese modern jazz scene of the time, characterised by rich textures and tones, kinetic rhythms, punctuated by urgent, angular melody lines.

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Reissued for the first time since original 1970 release, Mine is joined by master keyboard player Masabumi Kikuchi on electric piano, and two American players – bassist Larry Ridley and drummer Lenny McBrowne – to deliver one of the strongest debuts in the J Jazz canon. ‘First’ announced the arrival of a serious talent, one who was to be a hugely influential figure in the Japanese jazz scene across the decade that followed and beyond. ‘First’ established an artist who built a reputation for standout albums spanning spiritual jazz, post-bop, modal and funk-fusion. All of that started here, on this exemplary album.

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‘First’ is issued on CD, digital and vinyl. The vinyl edition is presented as a double album, cut at 45rpm by the Grammy-nominated Carvery, with full original reproduction artwork, including obi strip. Both CD and vinyl comes with a 4500 word sleeve note and interview with Kohsuke Mine by Tony Higgins, plus artist portraits by Shigeru Uchiyama. - BBE

Bassist, composer, arranger, and film scorer Jorge López Ruiz was the living embodiment of Argentine jazz history. This recording, which was done in 1967 with a big band led by López Ruiz, represents a monumental work in Argentine jazz. The work is a concept album that takes a critical stance on the chaotic political situation and the military regime in Argentina at the time. It was banned upon release and directly led to constraints being placed on López Ruiz’s subsequent activities. Musically, it represents the starting point of López Ruiz’s ‘musical world’, where he wholeheartedly reflects his spirit as a Latin American and Argentine citizen onto his music – jazz. This work is a masterpiece of 60’s big band jazz, which captures López Ruiz’s passion and rage – both as a musician and as a man in the face of an unforgiving reality. Its first vinyl reissue in half a century! – Light In The Attic

Throughout the early 1970s and ‘80s, vibraphonist Khan Jamal was a key figure in a wildly creative and largely underrecognized Philadelphia jazz scene. From Sun Ra’s Arkestra to Odean Pope’s jazz fusion outfit Catalyst to the free-funk experiments of Jamal and Byard Lancaster’s Sounds Of Liberation, this was a time when Philly was ripe with musicians playing forward-thinking, progressive jazz. With many of these acts recording for small independent labels, most records have gone out of print. This was the case with Jamal’s 1984 opus Infinity, long considered a holy grail amongst rare jazz collectors. Jazz Room’s reissue of the highly sought-after gem puts on full display Jamal’s brilliance as an instrumentalist and bandleader.

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Featuring a crew of heavy hitters—Byard Lancaster on flute and alto sax; Sunny Murray and Dwight James on drums; Omar Hill playing percussion; Reggie Curry on bass; Bernard Sammul handling piano duties; and Clifton Burton playing harmonica—the playing throughout the album is powerful, intuitive, and diverse. Stylistically, the album swings from the lush and optimistic Afro-Latin sound of “Nubian Queen” to the frantically-paced post-bop of “The Angry Young Man.” The album’s spiritual centerpiece is the hypnotic, Coltrane-inspired tune “The Known Unknown.” With its regal and majestic theme, as well as some truly inspired playing from Jamal and Sammul in particular, “The Known Unknown” speaks to the sheer quality of the music that Jamal and his cohort were making at the time. For many listeners, Infinity will be a worthy introduction to Khan Jamal and his work, and this reissue will go a long way in granting us access to what was, previously, a nearly-impossible-to-acquire classic. – Bandcamp

Over the course of 24 tracks and spanning 2 x 2LPs, we present an overview of the contemporary exponents of Spiritual Jazz; musicians who are intent on bringing something personal to the table, as much as they recognize the importance of those who have paved the way for them. We feature music recorded within the past 20 years and from 15 different countries, including modern classics from veterans Steve Reid and Idris Ackamoor, providing a vital link between the past masters and the enlightened new generation.

It’s pioneers such as John Coltrane, Sun Ra, Pharoah Sanders et al, with their innovations in reaching another plane of consciousness that was and remains uppermost in the minds of exponents of Spiritual Jazz. Fittingly, several of the artists featured on this compilation, such as Cat Toren and David Boykin, are practitioners of the art of music therapy and sound healing, and have absolute conviction in the role of song as solace. The pioneers may no longer be with us, but their saintly selves loom large, shining a light in the darkness, inspiring many a brave new disciple today, as this album will testify: the new wave of jazz is gathering pace and still sounds fresh, vibrant and as relevant as ever. - Jazzman

BBE Music presents the seventh release in its highly acclaimed J Jazz Master Class Series: ‘Evolution’ by Shintaro Quintet. Recorded in 1984 and originally released on the private label Streetnoise Records, ‘Evolution’ is a perfect example of stately modal jazz with every one of its five tracks composed by band leader and bassist, Shintaro Nakamura.

A cut from the album, ‘A Blind Man’, was included on the BBE Music compilation ‘J Jazz – Deep Modern Jazz from Japan 1969-1984’, and it’s a track that’s indicative of the album’s graceful blend of spiritual jazz and gently swinging minor blues waltzes, a style favoured by Nakamura that allows the band to stretch out and explore the strong melodic themes, lush arrangements and seductive rhythms.

Recorded in New York, ‘Evolution’ features the great Japanese trumpet player Shunzo Ohno alongside a mixed Japanese-American band: pianist Jeff Jenkins, who brings a touch of McCoy Tyner’s percussive blues to the album, has worked with many jazz greats including Freddie Hubbard, Eddie Harris and Clark Terry; US-born Saxophonist Bob Kenmotsu, one- time member of Jack McDuff’s band has also recorded and performed with jazz guitarist Pat Martino; and drummer Fukushi Tainaka, who studied under Philly Joe Jones, completes the solid rhythm section with Nakamura and Jenkins.

‘Evolution’ is reissued as a double 45rpm 180g LP, cut by the Grammy-nominated Carvery Studio. The BBE Music edition features exact reproductions of the original artwork and super-rare diagonal obi strip. It also comes with the original notes fully translated plus a new extended essay and interview with band members by Tony Higgins. ‘Evolution’ is also available as a CD and across digital formats.

The BBE J Jazz Masterclass Series is personally curated by Tony Higgins and Mike Peden and is dedicated to presenting the very finest in Japanese modern jazz. The series features rare material, presented in the highest quality reproductions of the original releases, fully licensed and authorised by the artists and labels.  – Bandcamp

“The Sojourner” was released on Strata-East in 1974 and is well known as one of the label’s rarest recordings. Most tracks are focused on a soaring, spiritual groove, and some of them expressed their soulfulness.

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A massive album and one of the best Strata-East releases. A Japanese P-Vine re-issue of The Ensemble Al-Salaam's spiritual jazz masterpiece 'The Sojourner' from 1974. Highly recommended. – Mr Bongo

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Another fine deep spiritual Jazz reissue on Japanese label P-Vine that came out on Strata East originally in 1974. Soaring vocals are charismatic of this album and it features the track Optimystical which Andres previously sampled. – HHV

The Awakening were the only 'group' recorded by Black Jazz, for which they made two albums; those two releases happen to be among the most collectible in the label's entire catalog, which, given the value Black Jazz titles command in the open market, gives one an idea just how sought-after these records are. Recorded in 1972, Hear, Sense, and Feel marked the band's debut, and featured the same line-up that played on next year's Mirage. Being from Chicago, The Awakening's line-up unsurprisingly boasts a heavy connection to the AACM (Association for the Advancement of Creative Musicians) collective that claimed The Art Ensemble of Chicago among its most esteemed artists; in fact, both bassist Reggie Willis and tenor saxman/flautist Ari Brown were AACM members and appeared on albums with Muhal Richard Abrams, Lester Bowie, and Anthony Braxton among others. The other members of The Awakening, on the other hand, hailed from the city's soul jazz scene, specifically Young Holt Unlimited, for whom co-leaders trumpeter Frank Gordon and keyboardist Ken Chaney played (trombonist Steve Galloway played on Melvin Jackson's soul jazz classic Funky Skull). And it is that sweet spot, somewhere between the free jazz and Afrocentric explorations of the Art Ensemble and the rhythm-heavy soul jazz sound being recorded at Chicago-based labels like Brunswick and Cadet, that Hear, Sense and Feel lands. Which explains why this album sells for hundreds of dollars online if you can find it at all. Real Gone Music's first-ever LP reissue is pressed on black vinyl at Gotta Groove Records with lacquer cutting by Clint Holley and Dave Polster at Well Made Music. Mike Milchner at Sonic Vision Mastering has remastered the album for both CD and vinyl, and both formats feature liner notes by Pat Thomas, author of Listen, Whitey! The Sights and Sounds of Black Power 1965-1975, that set the scene for both the label and the band. A lost gem worthy of all the attention we think this reissue is going to get! – Real Gone Music

This excellent LP by the classic John Coltrane Quartet (with pianist McCoy Tyner, bassist Jimmy Garrison, and drummer Elvin Jones) is highlighted by a 26-minute version of "Mr. P.C." Also included on the album are "The Inchworm" and the ballad "Every Time We Say Goodbye." Although the sound and passion of the group on this date will not surprise veteran listeners, it is always interesting to hear new variations of songs already definitively recorded in the studios. The Paris Concert is recommended to all true Coltrane fanatics. – All Music

The Blue Note Record label needs little introduction. Musically, graphically and sonically iconic, the label created and defined the golden age of modern jazz on record. Founded in 1939 by German émigré Alfred Lion, the label's roster of artists is a litany of giants – Thelonious Monk, Sonny Rollins, Horace Silver, Lee Morgan, Art Blakey, Lee Morgan, Herbie Hancock and many more. With peerless musicians in the grooves, the legendary Rudy Van Gelder behind the boards, and graphic design genius Reid Miles creating emblematic artwork for every release, Blue Note – 'the Cadillac of the jazz lines' – was outstanding in every way.

Volume 8 of Jazzman's Spiritual Jazz series takes a close look at the deeper side of Blue Note – from the experimental avant-garde explored by younger musicians such as Bobby Hutcherson, Joe Henderson and Pete La Roca, to the exciting new developments in modal sounds put forward by stalwarts Hank Mobley, Jackie McLean and Duke Pearson. The music we have selected shows how musicians working with the label responded to a period of dramatic social and sonic change, charting the route toward the esoteric and spiritualised sounds that would dominate the deepest jazz of the 1970s. - Jazzman Records | Bandcamp

A TAV Essential Listening Album

“We Release Jazz (WRWTFWW Records’ new sister-label) is proud to present its first release, the official reissue of Ryo Fukui’s highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound, as well as on digipack CD.

Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz.” – Bandcamp

“Released when Ryo was 27 years old, Scenery is to jazz music as Is This It? is to rock music. A love letter of the purest form. The Strokes took forty years of rock music and chewed it up in a way that only a true blood fan of the music could, and so it is with Scenery. Playing a mixture of a mixture of original compositions and renditions of classics jazz standards, Ryo immediately proves what seperated him from jazz musicians of the time…

…Ryo and his trio perform them with such passion and energy the standards transform into something wholly unique. Equally fundamental, was that the trio exuded such a genuine lack of cynicism, and intellectual posturing, something the overly self-serious jazz world so desperately needed in 1976.” – Overblown

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