Jazz Sabbath

Longtime Black Sabbath/Ozzy Osbourne keys and guitar player Adam Wakeman (as Milton Keanes) is back with Jazz Sabbath Vol. 2.

Milton Keanes, pianist for the British trio Jazz Sabbath, first emerged in early 2020 claiming that his group's lost 1960s album had been plagiarized by heavy metal pioneers Black Sabbath. In truth, Keanes is the alias of Adam Wakeman, longtime keyboardist for Ozzy Osbourne, and he came up with the idea for his fictional jazz combo while on a tour with Black Sabbath. The project's debut, a collection of Black Sabbath songs arranged for a jazz piano trio, appeared in 2020, followed by a second volume in 2022. In 2013, Adam Wakeman – son of legendary Yes keyboardist Rick Wakeman – was on a European tour supplying the off-stage keyboard parts for metal icons Black Sabbath.

Herbie Hancock - Hear, O Israel: A Prayer Ceremony In Jazz (1968) {Jonny Records JBH025CD rel 2008}
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© 1968, 2008 Jonny Records / Trunk | JBH025CD
Jazz / Post Bop / Modal Music / Soul Jazz / Modern Creative

In 1965, encouraged by his rabbi, the 17-year-old Jonathan Klein wrote a selection of jazz themes for a Jewish Sabbath concert. Originally recorded in 1968 by an all-star cast of musicians that included Herbie Hancock, Thad Jones, and Ron Carter, the collection is a unique, free-flowing series of pieces that perfectly complement the accompanying Jewish Sabbath prayers, and provides a rare opportunity to hear these talented musicians performing in a unique setting that's at once creative and intensely devotional.

Cannonball Adderley - Fiddler On The Roof (1964) {Capitol Jazz 724354230929 rel 2003}
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© 1964, 2003 Capitol Jazz / Blue Note | 7243 5 42309 2 9
Jazz / Hard Bop / Soul Jazz / Saxophone

It is a bit strange that none of the eight songs performed on this LP found their way into Adderley's permanent repertoire for the altoist is quite inspired throughout this surprising set. With strong assists from cornetist Nat Adderley, Charles Lloyd on tenor and flute, pianist Joe Zawinul, bassist Sam Jones and drummer Louis Hayes, Cannonball plays near his peak; this is certainly the finest album by this particular sextet.

This 3-CD box set of unreleased recordings by the Kurt Edelhagen Jazz Orchestra made for the German Westdeutscher Rundfunk (WDR) radio station in Cologne presents a fascinating snapshot of an important episode in the history of European jazz. The collection has been put together by Dr Bernd Hoffmann, a German broadcaster and musicologist, who has made the selection from more than 3000 tracks in WDR’s archives. The “100” in the title refers to the fact that the centenary of Edelhagen’s birth was in June last year and that this release celebrates the anniversary.

Three pieces of magic and religious mysticism performed by a new generation of musical masters! Written as a companion piece to 'Walpurgisnacht' (2004), 'All Hallows Eve' is a tour de force in three movements for string trio satanic counterpoint for the Witches Sabbath. Written as a gift to the ICE ensemble, Zorn wrote 'The Tempest' as a musical reading of Shakespeare s mystical and enigmatic last play. Finally, the virtuosic Chicago-based Fifth House Ensemble performs Zorn's mini piano concerto in the form of a philosophical dialogue between St. Anthony and his tormentors.

"Last Day In Paradise" consists of seven original compositions along with three arrangements of hard rock 'standards,' (a concept upon which the trio has built a strong reputation as an instrumental group that appeals to straight-ahead jazz fans and rock fans alike). Feeling the inspiration of European jazz and other influences, the group has now gone beyond the limitations of the traditional guitar trio format on many of the songs, incorporating electronic loops ('Last Day In Paradise'), vocal melodies ('Mercury Retrograde') and slide guitar ('Western Sabbath Stomp'). There are also special effects, bowed bass tracks and other studio embellishments, resulting in their most original and cutting edge album to date.

This release contains the complete 1963 studio recordings by the celebrated Kenny Clarke-Francy Boland big band, all made during the same January 25-26, 1963 sessions and originally issued on two separate albums. As a bonus, we have added the single tune "A Ball for Othello", recorded in 1961 but originally included in one of those albums, and four tunes recorded in 1966.