For his third Blue Note album Inventions & Dimensions (1963),
pianist Herbie Hancock began moving away from the modernist hard bop
sound that defined his first two albums Takin’ Off and My Point Of View.
Inspired by explorers like Eric Dolphy and Tony Williams, Hancock went
in search of greater musical freedom by composing a set of ingenious
originals each with their own unique inner logic that did away with what
he considered the established jazz “assumptions” of the time. Hancock
also pared the instrumentation down to feature his piano with Paul
Chambers’ bass and a nuanced rhythmic bed laid down by percussionists
Willie Bobo and Osvaldo “Chihuahua” Martinez. On the album’s
unforgettable cover the designer Reid Miles lets Francis Wolff’s
imposing photo of Hancock on an NYC street do all the talking.
For the next reissue in Mr Bongo’s Cuban Classics series, we turn to Raúl Gómez’s mesmerising 1977 album Instrumental — a spellbinding blend of orchestral disco, jazz-funk, Afro-Cuban rhythms, and soundtrack-inspired compositions. Released on Cuba’s state-owned Areito label, this dynamic record pulses with drum breaks, cinematic textures, and genre-defying energy, delivered by a powerhouse orchestra at the peak of their craft.
Raúl Gómez, known for his work with Mirtha Y Raul, Los Bucaneros, and as producer of the Los Reyes 73 classic, is a central figure in Cuban music. On Instrumental, he steps fully into the roles of composer, instrumentalist, arranger, and producer, delivering a richly layered album that floats between library music, mood pieces, cosmic-Latin funk, and psychedelic workouts — with echoes of Love Unlimited, MFSB, and a distinctive Afro-Cuban foundation.
The orchestrations are led by the formidable Orquesta EGREM, bringing vibrant horns, soaring strings, and relentless rhythmic drive.
We can’t think of many artists that have had as diverse a career and who
have been involved in as many different genres of music as Asha Puthli.
A musical pioneer who forged a path through 60's psych, free-jazz, pop,
rock, disco, and more.
Asha's 1976 album 'The Devil Is Loose' is maybe her most well-known
record. Featuring the beautiful disco-funk-classic 'Space Talk’, Asha's
ethereal soaring vocals take us on a journey that almost mirrors Asha's
eclectic career. The track was championed by a wide-range of musical
scenes and movements, and over space and time it has been commandeered
as their own. You would hear it played by David Mancuso at the now
‘mythical’ underground New York party 'The Loft’, in the most discerning
disco nightclubs across the globe, in the Rare Groove scene, and also
being sampled by hip-hop heavyweights such as The Notorious B.I.G / P
Diddy, and The Pharcyde. The appeal and lifespan of ’Space Talk’ keeps
on extending and morphing as new audiences gleefully discover it for the
first time - it still sounds as relevant and fresh on the dancefloor
today - a sign of a true classic.
- Blue Vinyl
Limitiertes blaues Vinyl! Über vier Alben hinweg hat sich Pachyman als
meisterhafter Handwerker des Dub-Reggae bewiesen. Inspiriert von
Legenden wie King Tubby und Scientist, nutzt er Vintage-Equipment,
erschafft monumentale Klangwelten und versteht intuitiv die hypnotische
Kraft der Wiederholung. Mit 'Another Place' geht er einen Schritt
weiter: Er verbindet Dub mit den vielfältigen Einflüssen moderner Musik -
von der Synth-Pop-Ästhetik eines William Onyeabor und Yellow Magic
Orchestra bis hin zu den tiefen, atmosphärischen Klängen von Basic
Channel’s Dub-Techno. Ein Album, das Tradition ehrt und zugleich neue
Klangräume erschließt.
- RSD - Compilation- Lake Geneva Blue
Montreux Jazz Festival and BMG are excited to introduce the first release in a landmark new series from The Montreux Years.
Across its 60-year history, Montreux Jazz Festival has hosted some of the most defining concerts in music history. Moments – Volume 1
brings together a collection of these legendary moments – from Nina
Simone’s rousing rendition of ‘Mississippi Goddam’ in 1990, an artist
who had a special bond with the festival, to Etta James’ powerhouse
performance of ‘I Just Want to Make Love to You’ during her
unforgettable concert in 1993.
The album also includes Marianne Faithfull, Dr. John, Chick Corea,
The Modern Jazz Quartet, Muddy Waters, McCoy Tyner, Michel Petrucciani,
and John McLaughlin.
Launched in 2021, The Montreux Years series is the
embodiment of the spirit of the Montreux Jazz Festival and the legacy of
its founder, Claude Nobs. Nobs refused to compromise on quality or
settle for anything other than the best and this ethos lives on in the
superb quality of the recordings compiled in The Montreux Years.
Mastering has been performed by Tony Cousins at London’s iconic
Metropolis Studios, capturing the original sound of the special live
performances.
- Blue Note Classic Vinyl Series
- 180g Vinyl-
Reissue
“Kenny was a hell of a trumpet player – great style, all his own.” So
wrote Miles Davis in his 1988 memoir. Despite being praised by Davis and
widely admired by his peers, Kenny never received the recognition his prodigious talent deserved. Unlike
Davis and Dizzy Gillespie, he never became a household name, but between
1953 and 1964 he recorded a number of excellent albums, including five
for the iconic Blue Note label, that offered compelling proof of his
star quality. One of his best was Trompeta Toccata, the final
album of his eleven-year spell as a solo artist, which showcased a blend
of astounding trumpet pyrotechnics, harmonic guile, and compositional
skill.
Born in a small town in Texas, McKinley
“Kenny” Dorham began playing the trumpet at ten. After leaving
the army in 1942, he ventured to New York, where he eventually wound
up in Dizzy Gillespie’s group. Following that, he joined singer
Billy Eckstine’s band, then an incubator for bebop talent, before
replacing Miles Davis in his idol Charlie Parker’s quintet. He
appeared on Blue Note’s radar in 1955, releasing the album Afro
Cuban, a pioneering meld of hard bop and Latin music. Following
stints at Riverside and Prestige, Dorham returned to Blue Note in
1961. On his fourth LP for the label, 1963’s Una Mas, the
trumpeter’s band featured Joe Handerson, a young tenor saxophonist
with a compelling and distinctive style. Dorham became a mentor to
Henderson, with whom he collaborated on five Blue Note albums
together between 1963 and 64.
RSD, Compilation, Blue Vinyl
Blue Note sessions often yielded more recorded material than could be
fit on a single LP. Some of these ended up in expanded CD/digital
versions, but very few have found their way to vinyl. Alt’s ‘N Outs
features a fascinating new collection of alternate and bonus tracks,
buried treasure, from six of the most noteworthy albums in Blue Note
history: Cannonball Adderley’s Somethin’ Else, Grant Green’s Idle
Moments, Wayne Shorter’s Speak No Evil, Art Blakey and the Jazz
Messengers’ Moanin’, Jimmy Smith’s Back at the Chicken Shack, and Sonny
Clark’s Cool Struttin’. Released on 180gm opaque blue vinyl
RSDCompilation, Limited Edition, Remastered
A brand-new collection of Count Basie’s biggest hits from the Roulette
catalogue, including “Splanky”, “Flight of the Foo Birds” and “One
O’clock Jump”.Pressed for Record Store Day 2025 on Moss Green vinyl.
Legendary trumpeter Miles Davis was still near the start of his storied
career when he cut the three sessions that comprise his Blue Note
recordings in 1952, 1953, and 1954. In 1955, Blue Note compiled the
tracks into two 12" LPs as part of the 1500 series. The music presents
all the hallmarks of his early style from blazing bebop to beautiful
ballads. This Blue Note Classic Vinyl Edition is mono, all-analog,
mastered by Kevin Gray from the original masters, and pressed on 180g
vinyl at Optimal.
Erstveröffentlichung einer legendären Blue-Note-Liveaufnahme vom Montreux Jazz Festival im Juli 1973.
Neben Donal Byrd an der Trompete noch mit dabei : Vibraphonist Bobby Hutcherson, Organist Ronnie Foster, Flötistin Bobbi Humphrey und Sängerin Marlena Shaw.
Blue Mode ist das dritte Album des amerikanischen Organisten Reuben Wilson, das 1969 aufgenommen und im folgenden Jahr vom Label Blue Note veröffentlicht wurde. Die Allmusic-Rezension von Stephen Thomas Erlewine verlieh dem Album 4½ Sterne und stellte fest: „Wenn Love Bug die Grenzen von Free Jazz und Black Power umgingen, umfasst Blue Mode ohne Zweifel Soul-Jazz und Memphis-Funk ... sie wissen, wie man einen Groove erzeugt, und das macht Blue Mode zu einem Gewinner.“
26,90 €*
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