N.c. Reeds

G.E.N.E. (Grooving Electronic Natural Environments) is a Canadian New Age instrumental band. The idea of this world-famous project was born in June 1987, during a conversation under the stars around a campfire and tents on the shore of the lake in the Canadian woods. That night, Cleo de Mallio took the first steps in a musical odyssey that is still not completed. The conversation was carried on the nature and technology, the world and machines, the new digital sound and lofty emotions. Father of the project and the producer is Michael Weisser - founding member of the German band Software, one of the disciples of the legendary Klaus Schulze, the founder of the company's IC/Digit music, on which he produced G.E.N.E. and Software. Michelle Weisser - it is not trivial producer who invested and believed in the idea…

Afro-Soultet - Afrodesia (1969) {Luv N' Haight LHCD063 rel 2011}
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© 1969, 2011 Banyan / Ubiquity Recordings / Luv N' Haight | LHCD063
Jazz / Afrobeat / Jazz Funk / Soul Jazz

Afrodesia is the lone album by the Afro-Soultet, which may or may not have been officially released by Banyon sometime between 1968 and 1971 (no one still breathing can remember the exact date). What we do know is that Johnny Kitchen (aka Jack Millman) licensed the record to Banyon's Betty Chiappetta (Vee-Jay Records), and the record received a test pressing. The Afro-Soultet originally hailed from Texas and recorded several albums under the name Afro-Blues Quintet +1, who had previously recorded three albums and seven 45s.

With the release of his new record, 99 Cent Dreams, Eli Paperboy Reed begins his second decade as an artist much in the same way he began his first: in love with soul music. Reed is ten years wiser this time around, writing with the kind of freewheeling confidence. The result is the finest of his career. Cut at the legendary Sam Phillips Recording in Memphis, TN, and produced by Matt Ross-Spang (Jason Isbell, Margo Price), 99 Cent Dreams is exuberant, a celebration of life delivered by an ecstatic messenger. Reeds arrangements on the album are lean, filtering vintage R&B, soul, and gospel through the heart of a modern songwriter. His stunning voice remains front and center but his performances have matured, a sign perhaps of the newfound perspective hes gained with fatherhood. Fueled by love and hope, this is a collection that, despite its moments of loneliness and pain, ultimately insists on seeing the bigger picture, on recognizing each and every day for the gift that it is.

Teddy Wilson - Teddy Wilson & His All-Stars Vol. 1 (2014) {Japan Jazz Collection 1000 Columbia-RCA SICP 4040 rec 1935-1939}
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© 1935-39, 2014 Columbia / Sony Music Japan / Brunswick | SICP 4040
Jazz / Swing / Big Band / Mainstream Jazz / Piano

Reissue with the latest DSD remastering. Comes with liner notes. During the years 1935-1939 pianist Teddy Wilson led a series of small recording bands peppered with some of the world's most accomplished and influential jazz musicians. That's why "Teddy Wilson & His All-Stars" is an accurate heading for this collection of 16 tunes recorded between July 31, 1935 and November 1, 1939. Wilson's ability to summon many of the best improvisers of his generation yielded results that continue to delight and entertain those who take the time to savor the solos and marvel at the integrity of the ensembles. Collectively, Wilson's players as heard here included trumpeters Irving "Mouse" Randolph, Cootie Williams, Roy Eldridge, Buck Clayton and Jonah Jones, as well as trombonist Benny Morton.

Chu Berry - Classic Chu Berry Columbia and Victor Sessions (2007) {7CD Set Mosaic MD7-236 rec 1933-1941}
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© 1933-41, 2007 Columbia / Victor / Sony BMG / Mosaic Records / BMG | MD7-236
Jazz / Swing / Tenor Saxophone

This is a comprehensive collection with countless pivotal sessions. It features 203 separate recordings on seven CDs and collects both the sessions led by Chu Berry and other sessions where he contributed significantly as a sideman. You can study his remarkable surefootedness as a soloist; remember an era where evolution in the music was running rampant and Chu Berry's tenor saxophone was one of the things making it run.

It's hard to fathom today, but Roland Kirk was considered a gimmick for much of his early career. For sure, the man was a cagey character, which certainly didn't help his reputation. People were bemused by the way he played multiple horns simultaneously, including some horns that he invented himself. His style wasn't easy to pin down, either, so fluent was he in every jazz idiom.

Miles Davis - Live-Evil (1971) {2006 DSD Japan Mini LP Edition Analog Collection SICP 1225~26}
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© 1971, 2006 Sony Music Japan / Columbia | SICP 1225~26 | DSD | HQD High Quality Disc
Jazz / Jazz Funk / Jazz Rock / Trumpet

A beautiful live representation of the energy of the Bitches Brew years – one that has Miles Davis and the group really letting loose with free-flowing, modally-inspired lines – cooking up an incredible blend of acoustic and electric sounds at once! There's a bit of funk here, but not much – and although guitar is sometimes used strongly, it's often not as noisy as in later live sides. Instead, the whole group gels together beautifully – an unlikely assortment of players that includes Gary Bartz and Steve Grossman on reeds, John McLaughlin on guitar, Herbie Hancock on keyboards, Hermeto Pascoal on percussion, Dave Holland on bass, and Jack DeJohnette on drums – all given new focus, direction, and inspiration by Miles!

In 1977 Henderson signed to Capitol and produced his “Coming Through” album. This featured the jazz funk classic “Say You Will”, highlighted by UK DJ Richard Searling as one of the top jazz funk tracks of all time in a recent edition of the UK Togetherness magazine. Background vocals were included for the first time courtesy of Patrice Rushen, Phillip Bailey, Mtume and a very young Dianne Reeves.

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.