Jazz /
Black Unity
2024 Stock. For 1971’s Black Unity, Pharaoh Sanders added groove to foundation of spiritual and free jazz he had explored on his previous Impulse! albums. The result is a piercing and emotive 37-minute rhythm-driven title track exploration of African, Latin, aborigine and Native American sounds. "By 1971, Pharoah Sanders had taken the free thing as far as he could and still live with himself. He was investigating new ways to use rhythm -- always his primary concern -- inside his music and more t…
Standards Combustion
Trio with Daunik Lazro on tenor sax, Benjamin Duboc on bass and Mathieu Bec on drums. The album is entitled Standards Combustion, 9 tracks, mostly jazz standards, 2 Ayler compositions, 2 by Coltrane, 1 by Lacy and 1 by Shorter…
Recorded at Les Instants Chavirés, Montreuil, France on November 17 and 18, 2022.
?Ecstatic
*2024 stock* This recording was made on the day of the fortieth anniversary of saxophonist Mario Schiano's first jazz concert. He is joined by longtime collaborators, trombonist Giancarlo Schiaffini and bassist Bruno Tommaso, all of whom engage in nine free excursions of the highest order. Schiano sounds as fresh as ever, his revolutionary fervor never diminishing. Performing on both soprano and alto saxophones, his bittersweet tone and focused flights of fancy mesh brilliantly with Schiaffini's…
"Concerto Alla Statale" Nov. 29, 1975
*2024 stock* This concert was recorded live on November 29th, 1975, during "New Trends in Italian Jazz", a series of concerts held at the State University, Milan, and has never been released before.
Coraje Buenos Aire
Killer unreleased 1973 post-bop, avant jazz album from Argentina, with highly political texts. The missing link in Argentina's jazz history finally sees the light. Coraje Buenos Aires was recorded in 1973, conceived as a follow-up to the historic Bronca Buenos Aires (1971). More explicitly than its predecessor, the texts in Coraje denounced the atrocities of the military junta that ruled the country, and the album was inevitably censored before being released. The tapes, thought to have been bur…
Live At Fat Tuesday's, February 9, 1980 First Visit
First visit archive offers previously unreleased recordings of historic and musical importance. "When, in this music, he succeeds in fusing the emotional (translated into its lyrical and dramatic qualities) pas- sage of ritual with the complex architecture of his ensemble’s infrastructural procedures, we have a bridge into Cecil Taylor’s creative spirit, and far beyond." - Art Lange
"I was present at the recordings, sitting in the recording truck in front of Fat Tuesday’s in NYC. The recording w…
Elastic
When Mars Williams dove into his vault to excavate several recordings for a Mars Archive series on Corbett vs. Dempsey, he immediately landed on a concert date from a decade earlier. The event, recorded at Chicago's Elastic Arts Foundation in 2012, featured a trio with Williams on reed instruments, Darin Gray on bass, and Chris Corsano on drums. This configuration had already been highly enough estimated by Williams that he'd posted one set on Bandcamp, but he saved the other set for future rele…
Hold That Thought
From a night of music in Holland that's become legendary among NRG Ensemble enthusiasts, Hold That Thought presents a blazing concert of the quintet's unique sound. With Mars Williams and Ken Vandermark on reeds, Kent Kessler and Brian Sandstrom on basses (the latter doubling on trumpet and electric guitar), and Steve Hunt on drums, this incarnation of the band was arguably its tightest and mightiest, taking the inspiration of founder Hal Russell (1926-1992) and running with it. All the way. The…
I know You Are But What Am I?
At the tail end of 1996, saxophonist Mars Williams and drummer Hamid Drake took the tall corner stage at Chicago's Empty Bottle for two sets of duets. The rock club had just started a weekly Jazz & Improvised Music Series, curated by Ken Vandemark and John Corbett, which would run for nearly a decade. This rare pairing brought together two pivotal figures in the city's creative music scene, both of whom had extensive experience in diverse areas of music, from the free jazz focus of this intimate…
Maua
“A blissfully ecstatic sprawl of spiritual-jazz explorations of the most transcendent order” – Brooklyn Rail
Thembi
VERY last copies Pharoah Sanders recorded the songs that comprise Thembi in the winter of ’70/’71, in between sessions with Alice Coltrane that would eventually become her masterpiece Journey In Satchidananda LP. The same compelling spirituality that embued Coltrane’s masterpiece with a mood of stately calm and grace pervades Thembi. ‘On Thembi, that was the first time that I ever touched a Fender Rhodes electric piano. We got to the studio in California — Cecil McBee had to unpack his bass, t…
Eye To Ear
2024 stock. Famous as an improviser and a rock guitarist (Henry Cow, Art Bears, Residents, Massacre, Skeleton Crew, French/Frith/Kaiser/Thompson), Fred Frith is still highly under-rated as a composer. Since relocating to Germany in the early '90s, Frith has composed soundtracks for a number of films and has chosen his finest for his first Tzadik release, Eye To Ear.
Four For Trane
** Official reissue by Elemental music in collaboration with Impulse Records! Special Gatefold Edition. ** Recorded for the Impulse label by Archie Shepp in 1965, four of the five tracks on Four for Trane are reworkings of pieces originally recorded in 1959 & 1960 by John Coltrane, and released on his Giant Steps (1960) and Coltrane Plays the Blues (1962) albums. They are rearranged here by Shepp and trombonist Roswell Rudd. The album also features trumpeter Alan Shorter (Wayne Shorter’s brother…
Point Of Departure
Pure Virgin Vinyl, 180 Gram, Audiophile Grade, Limited Edition. Alfred Lion and Max Margulis established the Blue Note label in 1939, with photographer Francis Wolff becoming involved shortly afterwards. The caliber of the musicians that recorded for Blue Note coupled with its stylized cover designs has made it one of the most legendary jazz labels of all time. From the dozens of classic albums produced by the Blue Note label, our collection presents some of the most outstanding titles. They hav…
3+3
Much has happened to Tomeka Reid, who was already one of jazz's definitive figures in the 21st century, in the 4½ years since her last album by this all-star quintet. Most notably, she was awarded a MacArthur Fellowship in 2022, one of the most prestigious awards in the creative arts field in the USA. The same year, she also won the DownBeat Critics Poll for miscellaneous instrument (despite many deserving talents emerging on the instrument, the jazz polls don't have cello as a category for reco…
Electric Telepathy Vol. 1
“A blissfully ecstatic sprawl of spiritual-jazz explorations of the most transcendent order” – Brooklyn Rail
Whoadie
An out of tune piano inspired the creation of this album.
I Went This Way
2024 stock. With her new album, I Went This Way, (due October 23, 2020), Rachel Musson debuts her own ambitious compositions, incorporating spoken word text and daring instrumental experimentation, alongside eight other accomplished musicians. The ensemble was built around the close working relationship between saxophonist Rachel Musson and drummer Mark Sanders. The music, a blend of compositions and improvisation designed to highlight all of the different musical voices in the ensemble, is susp…
Telepathic Mysteries Vol. 1
2024 stock. The Telepathic Band is named after the sort of improvisational style that can only be accomplished with a decade or two of collaboration, playing a signature ghostly, boundary-pushing music between friends. In their fourth album, Daniel Carter, Patrick Holmes, Matthew Putman, Hilliard Greene, and Federico Ughi exemplify the possibilities of in-person improvisation, offering extemporized performances with their characteristically daring instrumentation. Telepathic Mysteries, Vol. 1 ma…
A Lifeboat Part I
2024 stock. In the first lockdown, Matthew Putman (on keyboard) and Michael Sarian (on trumpet and flugelhorn) began to meet up (with precautions) for semi-regular sessions in Sarian’s makeshift home studio. The conditions were less-than-ideal—a borrowed 20-year-old keyboard, an inadequate microphone, and cramped NYC apartment acoustics—but they continued their “weekly pilgrimages, searching for [their] cadences, rhythms and melodies through the Fall.” The sessions gave them much-needed sanity, …