Joe Henderson viertes Album als Leader. Es wurde im Van Gelder Studio in Englewood Cliffs, New Jersey, am 30. November 1964 aufgenommen. Henderson spielte zusammen mit dem Pianisten McCoy Tyner und dem Schlagzeuger Elvin Jones (beide zu dieser Zeit Mitglieder des John Coltrane Quartetts) und dem Bassisten Bob Cranshaw (Mitglied der Band von Sonny Rollins). Die Kompositionen Der Jazzkritiker Nat Hentoff interviewte Henderson für die Original-Linernotizen des Albums, und Henderson beschrieb Hentoff die kreativen Impulse, die hinter einigen der Songs standen. Der Titelsong "Inner Urge", der inzwischen zu einem Jazzstandard geworden ist, spiegelt eine Zeit in seinem Leben wider, in der Henderson "mit der Wut und Frustration fertig werden musste, die entstehen kann, wenn man versucht, sich im Labyrinth von New York zurechtzufinden, und wenn man versucht, das Tempo anzupassen, das man vorgeben muss, um sich in dieser Stadt zurechtzufinden, um einfach nur zu existieren." Henderson sagte Hentoff auch, dass "Isotope" eine Hommage an Thelonious Monk und Monks musikalischen Humor sei. Hentoff schreibt an anderer Stelle in den Liner Notes, dass "El Barrio" Hendersons Verbundenheit mit dem "spanischen Musikethos" repräsentiert und dass das Stück von Henderson inspiriert wurde, als er über seine Kindheit in Lima, Ohio, nachdachte. Henderson wird mit den Worten zitiert, er habe den anderen Musikern "zwei einfache Akkorde gegeben, h-Moll und C-Dur 7 (B-Phrygisch)", und sie gebeten, "etwas mit spanischem Gefühl zu spielen", während er eine Melodie für das Stück improvisierte.Rezeption In einer Rezension auf All About Jazz bezeichnet Norman Weinstein Inner Urge als Hendersons "emotional eindringlichstes Album" und als "ultimatives Schaufenster seiner herausragenden Karriere... . Das Album erscheint wie eine Apotheose des Hard Bop, eine rücksichtslos sondierende Erweiterung einer typischen, hart blasenden Blue-Note-Bop-Session, die die Bop-Formeln so weit treibt, wie es nur geht. Als solches halte ich es nicht nur für eine der besten Dutzend Blue-Note-Sessions, die jemals veröffentlicht wurden, sondern auch für eine der wichtigsten Aussagen des Jazz in den 60er Jahren, da es die politischen, wirtschaftlichen und sozialen Realitäten dieser turbulenten Zeit präziser wiedergibt als die meiste aufgenommene Musik der 60er Jahre in irgendeinem Stil. Ein absolutes Muss und ein großes Meisterwerk." ...laut Penguin Guide to Jazz: dunkel und intensiv   Mastered from the original analog tapes released in 1965

We're super happy to announce the release by Sharhabil Ahmed, the actual King of Sudanese Jazz (he actually won that title in a competition in the early 1970s). Sonically it sounds very different from what Jazz is understood to sound like outside of Sudan. It’s an incredible unique mix of rock’n’roll, funk, surf, traditional sudanese music and influences from Congolese sounds. Original copies of Sharhabil recordings are often hard to find, so we’re happy they will now be widely available. Sharhabil was born in 1935 and he is the founding father of the Sudanese Jazz scene. His aim was to modernize Sudanese music by bringing it together with western influences and instrumentation like he summarized it himself in a 2004 interview for „Al Ahram Weekly“: “[...]Haqiba music, you know, was traditional vocal music with little accompaniment beyond a tambourine. When our generation came in the 1960s, we came with a new style. It was a time of worldwide revolution in music. In Europe, the rhythms of swing and tango were being replaced by jazz, samba, rock- and-roll. We were influenced by this rejuvenation in Sudan, too. I started out by learning to play the oud and traditional Sudanese music, and got a diploma from the music institute of Khartoum University. But my ambition was to develop something new. For this, the guitar seemed like the best instrument. Western instruments can approximate the scales of Sudanese music very well. After all, a lot of Western music is originally from Africa. I have absorbed different influences, from traditional Sudanese rhythms to calypso and jazz, and I hold them together in my music with no difficulty.” Referring to its sonic apperance, Sudanese Jazz hasn’t too much in common with the western idea of Jazz. Sharhabil’s sound feels more like a unique combination of surf, rock n roll, funk, Congolese music and East African harmonies a.o. So it kind of made sense to me, while visiting him in Sudan, to see the records he kept over the years: 2 of his own and 2 by Mulatu Astatke signed to him, further proving the influence of Ethiopian and other neighboring countries. In fact, Sharhabil was not just one of many Sudanese Jazz artist. He is a king of Jazz, literally, since in he won a competion over other artists for that title.

Re-Release der Original-Alben: 1 Fly Me To The Moon (1968) 2 My Prescription (1969) 3 The Womack "Live" (1970) 4 Communication (1971) 5 Understanding (1972) 6 Across 110th Street (1972) 7 Facts Of Life (1973) 8 Lookin' For A Love Again (1974) 9 I Don't Know What The World Is Coming To (1975) 10 Safety Zone (1975) 11 B.W. Goes C. And W. (1976) 12 Home Is Where The Heart Is (1976)

10-Jahres-Jubiläumsausgabe des zweiten José James-Albums "Blackmagic" aus 2010. Mit der Lofi-Hip-Hop-Produktion von Legenden wie Flying Lotus, Moodymann und Taylor McFerrin etablierte sich James als "Jazz-Sänger für die Hip-Hop-Generation" und als Bindeglied zwischen klassischem Soul mit Referenzen an Curtis Mayfield und Marvin Gaye und den jungen Londoner Broken Beat- und Dubstep-Bewegungen. Nur kurze Zeit später signte er beim legendären Jazz-Label Blue Note. Die Reissue auf seinem eigenen Label Rainbow Blonde erscheint auf 180g Doppelvinyl und enthält per Downloadcode 4 zusätzliche Bonustracks, die nicht auf dem Original enthalten waren.

After 7 releases in 6 years, the Tramp Records crew invites you to another illuminating journey into the soulful jazz, folk and funk of the 1970s. This 8th edition contains eighteen jazz, soul and folk nuggets from the period between the late 1960s and the late 1970s. One of the many highlights is the opening Bobby Cole track, which is most likely one of the finest independently produced vocal jazz recordings ever pressed on wax. So true. Oscar Brown Jr. and Mark Murphy send their regards. But that's just the beginning. Praise Poems Vol.8 covers a wide range of genres, from big band jazz (Helmut Pistor's Big Rock Jazz Band and Germany's Ladykiller) to psych-pop (Portraits in Sound, Harve and Charee and Allison & Shaffer), from folk-rock (Flash, Garndarf and the incredible Fang Buzbee) to AOR (The Menagerie and Penn Central), and rounds out the set with a handful of melancholic folk beauties, most notably Hans Hass Jr's stunning "What Colour is the Wind". Very few compilation series make it to eight volumes, and those that do often run out of quality music or stray too far from their original artistic direction. This is certainly not the case with the Praise Poems series, as our team of compilers and researchers continue the search for lost and often overlooked music from a bygone era. Many of these records were released in small quantities as private pressings or by small regional labels. Obviously, these labels had neither the budget nor the know-how or the means to promote their releases extensively. As a result, most of these artists failed to reach the wide audience that their music so richly deserved.

Record Store Day 2019 release, limited to 850 copies

Limited 3 blue 180g vinyl edition in triple gatefold sleeve with 3 printed innersleeves.

BILLY BROOKS CULT JAZZ-FUNK ALBUM OFFICIALLY REISSUED FOR THE FIRST TIME IN DECADES. FEATURING THE ICONIC 'FOURTY DAYS' SAMPLED BY A TRIBE CALLED QUEST FOR THEIR CLASSIC 'LUCK OF LUCIEN' Wewantsounds is delighted to announce the reissue of Billy Brooks' much sought-after album "Windows Of The Mind," released in 1974 on Ray Charles' Crossover Records. The album, co-produced by Charles and featuring such heavy players as Herman Riley, Calvin Keys and Larry Gales, includes one of the most famous samples in hip hop history in the form of 'Fourty Days' which forms the backbone of A Tribe Called Quest's 1990 anthemic 'Luck of Lucien.' Newly remastered, the reissue comes with original artwork. There's not a huge amount of information to be found about trumpet player Billy Brooks. A solid session musician who'd been around since the 50s, he played with the likes of Lionel Hampton, Cal Tjader and of course Ray Charles, who signed him to his sub label Crossover Records in the early 70s to release "Windows of the Mind." Interestingly Brooks also appears on Bea Benjamin's 1976 cult classic African Songbird produced by Dollard Brand. "Windows of the Mind" released in 1974 remains Brooks' only solo album. "Windows of the Mind" was recorded in Los Angeles and co-produced by Ray Charles. It is a skilful brass-led mix of jazz and funk performed by such cult players as bassist Larry Gales (Thelonious Monk), drummer Clarence Johnston (Freddie Roach, James Moody), Saxophonist Herman Riley (Side Effect, Pleasure, Earth Wind & Fire, Letta Mbulu), guitarists Jef Lee (Roy Ayers, Sylvia Striplin) and cult player Calvin Keys of Black Jazz Records fame. From the groove of "Rockin Julius", "Shetter Cheeze" and "Black Flag" to the mid-tempo Jazz mood of "Cooling It" and "C.P. Time" and the cinematic brass pyrotechnics of "The Speech Maker", "Windows Of The Mind" is a superb funked up big band jazz album. "Windows of the Mind" did reasonably well among the jazz circles when it came out but its fate would change fifteen years later when, in 1990, A Tribe Called Quest heavily sampled its closing track "Fourty Days" for their own "Luck of Lucien" featured on the group's debut album "People's Instinctive Travels And The Paths Of Rhythm." The album revolutionised hip hop and "Luck Of Lucien" became one of the album's highlights, thus cementing the reputation of Billy Brooks original LP among DJs and collectors. Original LPs now change hands for a few hundred dollars. Wewantsounds is now glad to make this landmark album available again in partnership with The Ray Charles Foundation, with newly remastered audio and striking original artwork.

Bass – Jimmy Garrison Drums – Elvin Jones Piano – McCoy Tyner Tenor Saxophone, Soprano Saxophone – John Coltrane Sleeve Notes – Ashley Kahn Mastered By – Kevin Reeves Producer [Original Recordings] – Bob Thiele Recorded March 6th, 1963 Original 1/4" analog mono tapes were used for all tracks Producer – Ken Druker, Ravi Coltrane Deluxe Edition

16 Early 60's Instrumental Shakers

Die Box Set 5 wurde von Felas Sohn, Femi Kuti, und Chris Martin (Coldplay) gemeinsam kuratiert. Das Artwork jedes der einzelnen Alben wurde akribisch und bis ins letzte Detail der jeweiligen Original-Vinyl-Pressung nachempfunden. Das gilt auch für die Vintage Vinyletiketten. Die Box enthält:- 7 Vinyl-LPs- Ein 20-seitiges, farbiges Booklet mit: Einführungen von Chris Martin und Femi Kuti, einem ausführlichen Kommentar zu jedem der sieben Alben von Musikjournalist und Afrobeat-Historiker Chris May; Songtexten; nie zuvor veröffentlichten Fotos von Fela Kuti; sowie Standbildern aus dem Fela-Dokumentarfilm Music Is The Weapon von 1982.- 16x24" Poster, entworfen vom nigerianischen Künstler Lemi Ghariokwu, der kreativen Kraft hinter 29 von Felas Albumcovern. Limitiert auf 4000 Exemplare weltweit.

Limited edition gatefold including 2 heavyweight black LP's with their inner sleeves, 2-page insert and Mp3 download code.

3x vinyl, remastered

180g vinyl