1
the MIMIKOTO project - Blackbird’s Philosophy (Part I) – 7:38
2
the MIMIKOTO project - Notes from Kirishima – 8:01
3
the MIMIKOTO project - Jellyfish Dance Accident – 5:02
4
the MIMIKOTO project - Goddess of the Lake – 5:15
5
the MIMIKOTO project - Blackbird’s Philosophy (Part II) – 4:22
Third album from the MIMIKOTO project
GENRE/S: Nu Jazz, Jazzy, Ambient, Deep House, Space Jazz, Neo Soul, Funk, Electro Jazz, Modal Jazz, Free Jazz, Drone, Electronica
TRACKLISTS:
1 Blackbird’s Philosophy (Part I) – 7:38
2 Notes from Kirishima – 8:01
3 Jellyfish Dance Accident – 5:02
4 Goddess of the Lake – 5:15
5 Blackbird’s Philosophy (Part II) – 4:22
SHORT INFO:
Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.
On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.
Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.
With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.
On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.
The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet.
More
GENRE/S: Nu Jazz, Jazzy, Ambient, Deep House, Space Jazz, Neo Soul, Funk, Electro Jazz, Modal Jazz, Free Jazz, Drone, Electronica
TRACKLISTS:
1 Blackbird’s Philosophy (Part I) – 7:38
2 Notes from Kirishima – 8:01
3 Jellyfish Dance Accident – 5:02
4 Goddess of the Lake – 5:15
5 Blackbird’s Philosophy (Part II) – 4:22
SHORT INFO:
Like the MIMIKOTO project’s previous albums, also “Blackbird’s Philosophy” can be described as a symbiosis of jazz with electronic music and other styles of groovy stuff.
On this album the electronic elements melt into the acoustic sounds and rhythms on a quite subtle way, while the acoustic patterns partially adopt styles of electronic music reminding of deep house, ambient and Detroit house.
Jazzy Rhodes, bass, drums and sax solos performed by jazz-rooted musicians like Darius Blair, Uli Schiffelholz, Johannes Schwarting and Justin Zitt, play a more important role than on former releases and bring nuances of funk, modal jazz, free jazz and bebop to this album.
With Fabio Kumori’s string orchestral sound created with upright bass, effects and looper in the track “Notes from Kirishima”, even elements reminding of classical music and atmospheres from soundtracks become a part of this album. These elements merge with rhythmic sound arpeggios of analog synths and vibraphone, which create a maybe unknown style of new music.
On the last track of the album, namely on the track “Blackbird’s Philosophy (Part II)”, you hear the soulful and expressive voice of Noomi Mae Coleman, who joined the MIMIKOTO crew in 2020.
The MIMIKOTO project was founded in 2019 as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet.
More
More records from the MIMIKOTO project
1
the MIMIKOTO project - A1. Spirals - 4:13
2
the MIMIKOTO project - A2. Vacuum (Club Version) - 6:52
3
the MIMIKOTO project - B1. Intergalactic Super Hero - 3:22
4
the MIMIKOTO project - B2. Spirals (Club Version) - 7:05
- Fourth release from the MIMIKOTO project
- Unique fusion of acoustic and electronic genres of historic and contemporary club music
GENRE/S:
House, Jazz-House, Nu Jazz, Funk-House, Sax House, Disco, Funk, Fusion, Electronic Jazz, Jazz-Funk, Deep House, Detroit
TRACKLISTS:
A1 Spirals - 4:13
A2 Vacuum (Club Version) - 6:52
B1 Intergalactic Super Hero - 3:22
B2 Spirals (Club Version) - 7:05
SHORT INFO:
"Spirals" goes back to the roots of jazz, funk, and disco and brings elements of these music streams into house music. In the appearance of swing, jazz was originally a dance music genre, which later developed in many directions. Various other genres were born from it. Even electronic music streams like house belong to those genres.
Bearing this in mind, "Spirals" connects different points in the history of these genres. Bringing this fusion to life, the MIMIKOTO project works with electronic elements (analogue synths, drum computers, electronic modulations) as well as acoustic instruments (saxophones, keys, trumpet, bass, drums and percussions).
The MIMIKOTO project was founded in 2019 by Fabio Kumori as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet. One of the central goals of the MIMIKOTO project is to include people from different backgrounds - to be inclusive regarding the music and the musicians themselves.
May the sound of "Spirals" be a social room in which everyone is invited to participate, and may this idea be spread everywhere where it will be played.
More
- Unique fusion of acoustic and electronic genres of historic and contemporary club music
GENRE/S:
House, Jazz-House, Nu Jazz, Funk-House, Sax House, Disco, Funk, Fusion, Electronic Jazz, Jazz-Funk, Deep House, Detroit
TRACKLISTS:
A1 Spirals - 4:13
A2 Vacuum (Club Version) - 6:52
B1 Intergalactic Super Hero - 3:22
B2 Spirals (Club Version) - 7:05
SHORT INFO:
"Spirals" goes back to the roots of jazz, funk, and disco and brings elements of these music streams into house music. In the appearance of swing, jazz was originally a dance music genre, which later developed in many directions. Various other genres were born from it. Even electronic music streams like house belong to those genres.
Bearing this in mind, "Spirals" connects different points in the history of these genres. Bringing this fusion to life, the MIMIKOTO project works with electronic elements (analogue synths, drum computers, electronic modulations) as well as acoustic instruments (saxophones, keys, trumpet, bass, drums and percussions).
The MIMIKOTO project was founded in 2019 by Fabio Kumori as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet. One of the central goals of the MIMIKOTO project is to include people from different backgrounds - to be inclusive regarding the music and the musicians themselves.
May the sound of "Spirals" be a social room in which everyone is invited to participate, and may this idea be spread everywhere where it will be played.
More
1
the MIMIKOTO project - Summer in Antibes 00:06:08
2
the MIMIKOTO project - Vaisseau Spatial 00:06:37
3
the MIMIKOTO project - Paradis 00:05:07
4
the MIMIKOTO project - Kama 00:05:46
5
the MIMIKOTO project - Separated Together 00:04:55
6
the MIMIKOTO project - Reflexion 00:07:12
GENRE/S: Electronic, Jazz [House, Ambient, New Jazz, Free Jazz, Electric Jazz, Space Jazz, Minimal, Abstract]
TRACKLISTS:
Summer in Antibes 00:06:08
Vaisseau Spatial 00:06:37
Paradis 00:05:07
Kama 00:05:46
Separated Together 00:04:55
Reflexion 00:07:12
SHORT INFO:
An unique nexus of electronic music and jazz! Fabio Kumori [drum machine, synth, efx, double bass] and Ü [tenor sax, efx] came together in several studio sessions and recorded the tracks for this album.
Some of the tracks let us feel electronic grooves close to house music combined with atmospheres reminding us on ambient music as well as nuances from Detroit techno. While on some tracks the tenor sax sounds pure and intensive like known from free jazz improvisations, on other tracks the sound of the sax is strongly modified by live efx that let it sound like electronic waves drifting through the endless space of universe.
More
TRACKLISTS:
Summer in Antibes 00:06:08
Vaisseau Spatial 00:06:37
Paradis 00:05:07
Kama 00:05:46
Separated Together 00:04:55
Reflexion 00:07:12
SHORT INFO:
An unique nexus of electronic music and jazz! Fabio Kumori [drum machine, synth, efx, double bass] and Ü [tenor sax, efx] came together in several studio sessions and recorded the tracks for this album.
Some of the tracks let us feel electronic grooves close to house music combined with atmospheres reminding us on ambient music as well as nuances from Detroit techno. While on some tracks the tenor sax sounds pure and intensive like known from free jazz improvisations, on other tracks the sound of the sax is strongly modified by live efx that let it sound like electronic waves drifting through the endless space of universe.
More
More records from pinyonbay records
1
the MIMIKOTO project - A1. Spirals - 4:13
2
the MIMIKOTO project - A2. Vacuum (Club Version) - 6:52
3
the MIMIKOTO project - B1. Intergalactic Super Hero - 3:22
4
the MIMIKOTO project - B2. Spirals (Club Version) - 7:05
- Fourth release from the MIMIKOTO project
- Unique fusion of acoustic and electronic genres of historic and contemporary club music
GENRE/S:
House, Jazz-House, Nu Jazz, Funk-House, Sax House, Disco, Funk, Fusion, Electronic Jazz, Jazz-Funk, Deep House, Detroit
TRACKLISTS:
A1 Spirals - 4:13
A2 Vacuum (Club Version) - 6:52
B1 Intergalactic Super Hero - 3:22
B2 Spirals (Club Version) - 7:05
SHORT INFO:
"Spirals" goes back to the roots of jazz, funk, and disco and brings elements of these music streams into house music. In the appearance of swing, jazz was originally a dance music genre, which later developed in many directions. Various other genres were born from it. Even electronic music streams like house belong to those genres.
Bearing this in mind, "Spirals" connects different points in the history of these genres. Bringing this fusion to life, the MIMIKOTO project works with electronic elements (analogue synths, drum computers, electronic modulations) as well as acoustic instruments (saxophones, keys, trumpet, bass, drums and percussions).
The MIMIKOTO project was founded in 2019 by Fabio Kumori as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet. One of the central goals of the MIMIKOTO project is to include people from different backgrounds - to be inclusive regarding the music and the musicians themselves.
May the sound of "Spirals" be a social room in which everyone is invited to participate, and may this idea be spread everywhere where it will be played.
More
- Unique fusion of acoustic and electronic genres of historic and contemporary club music
GENRE/S:
House, Jazz-House, Nu Jazz, Funk-House, Sax House, Disco, Funk, Fusion, Electronic Jazz, Jazz-Funk, Deep House, Detroit
TRACKLISTS:
A1 Spirals - 4:13
A2 Vacuum (Club Version) - 6:52
B1 Intergalactic Super Hero - 3:22
B2 Spirals (Club Version) - 7:05
SHORT INFO:
"Spirals" goes back to the roots of jazz, funk, and disco and brings elements of these music streams into house music. In the appearance of swing, jazz was originally a dance music genre, which later developed in many directions. Various other genres were born from it. Even electronic music streams like house belong to those genres.
Bearing this in mind, "Spirals" connects different points in the history of these genres. Bringing this fusion to life, the MIMIKOTO project works with electronic elements (analogue synths, drum computers, electronic modulations) as well as acoustic instruments (saxophones, keys, trumpet, bass, drums and percussions).
The MIMIKOTO project was founded in 2019 by Fabio Kumori as a collective of musicians related to jazz, funk, soul and electronic music, after a certain period of composing and playing as duo, trio and quartet. One of the central goals of the MIMIKOTO project is to include people from different backgrounds - to be inclusive regarding the music and the musicians themselves.
May the sound of "Spirals" be a social room in which everyone is invited to participate, and may this idea be spread everywhere where it will be played.
More
1
the MIMIKOTO project - Summer in Antibes 00:06:08
2
the MIMIKOTO project - Vaisseau Spatial 00:06:37
3
the MIMIKOTO project - Paradis 00:05:07
4
the MIMIKOTO project - Kama 00:05:46
5
the MIMIKOTO project - Separated Together 00:04:55
6
the MIMIKOTO project - Reflexion 00:07:12
GENRE/S: Electronic, Jazz [House, Ambient, New Jazz, Free Jazz, Electric Jazz, Space Jazz, Minimal, Abstract]
TRACKLISTS:
Summer in Antibes 00:06:08
Vaisseau Spatial 00:06:37
Paradis 00:05:07
Kama 00:05:46
Separated Together 00:04:55
Reflexion 00:07:12
SHORT INFO:
An unique nexus of electronic music and jazz! Fabio Kumori [drum machine, synth, efx, double bass] and Ü [tenor sax, efx] came together in several studio sessions and recorded the tracks for this album.
Some of the tracks let us feel electronic grooves close to house music combined with atmospheres reminding us on ambient music as well as nuances from Detroit techno. While on some tracks the tenor sax sounds pure and intensive like known from free jazz improvisations, on other tracks the sound of the sax is strongly modified by live efx that let it sound like electronic waves drifting through the endless space of universe.
More
TRACKLISTS:
Summer in Antibes 00:06:08
Vaisseau Spatial 00:06:37
Paradis 00:05:07
Kama 00:05:46
Separated Together 00:04:55
Reflexion 00:07:12
SHORT INFO:
An unique nexus of electronic music and jazz! Fabio Kumori [drum machine, synth, efx, double bass] and Ü [tenor sax, efx] came together in several studio sessions and recorded the tracks for this album.
Some of the tracks let us feel electronic grooves close to house music combined with atmospheres reminding us on ambient music as well as nuances from Detroit techno. While on some tracks the tenor sax sounds pure and intensive like known from free jazz improvisations, on other tracks the sound of the sax is strongly modified by live efx that let it sound like electronic waves drifting through the endless space of universe.
More
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Ryo Fukui - It Could Happen To You
2
Ryo Fukui - I Want To Talk About You
3
Ryo Fukui - Early Summer
4
Ryo Fukui - Willow Weep For Me
5
Ryo Fukui - Autumn Leaves
6
Ryo Fukui - Scenery
The Standard Edition - Territory - NO Sales to Japan
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
More
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY-
LP Edition: Mastered at half speed, 140g vinyl, Sticker
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on limited edition 180g vinyl mastered at half speed for audiophile sound and on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting Vinyl LP
A1 It Could Happen To You
A2 I Want To Talk About You
A3 Early Summer
B1 Willow Weep For Me
B2 Autumn Leaves
B3 Scenery
More
1
Ryo Fukui - A1. Hot House (Charlie Parker)
2
Ryo Fukui - A2. All The Things Your Are (Jerome Kern)
3
Ryo Fukui - A3. Red Carpet (Duke Ellington)
4
Ryo Fukui - A4. Bouncing With Bud (Bud Powell)
5
Ryo Fukui - B1. Embraceable You (George Gershwin)
6
Ryo Fukui - B2. Just One of Those Things (Cole Porter)
7
Ryo Fukui - B3. Mellow Dream (Ryo Fukui)
-NO SALES TO JAPAN-
LP: 180g vinyl, half speed mastered, heavy sleeve, obi
Tracklisting LP
A1. Hot House (Charlie Parker)
A2. All The Things Your Are (Jerome Kern)
A3. Red Carpet (Duke Ellington)
A4. Bouncing With Bud (Bud Powell)
B1. Embraceable You (George Gershwin)
B2. Just One of Those Things (Cole Porter)
B3. Mellow Dream (Ryo Fukui)
Info
We Release Jazz is so happy to announce the official reissue of Ryo Fukui’s New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD.
Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui’s idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable ses-sions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums.
Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui’s very own "Mellow Dream". It’s expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it’s got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way.
Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day.
This is reissued in conjunction with Ryo Fukui’s A Letter from Slowboat (2016), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, Barry Harris, Scenery, jazz clubs and New York nights.
- Official reissue of Ryo Fukui’s New York sessions with Lisle Atkinson and Leroy Williams.
- 9th release from We Release Jazz, following Ryo Fukui’s Scenery, Mellow Dream, and A Letter from Slowboat, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin’s Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada’s Through The Looking Glass and Lunar Cruise with Masahiko Sato, MKWAJU ensemble’s KI-Motion, Jun Fukamachi’s Nicole, Bruno Spoer-ri’s Voice of Taurus and The Sound of the UFOs, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mondo Dei Romani…)
More
LP: 180g vinyl, half speed mastered, heavy sleeve, obi
Tracklisting LP
A1. Hot House (Charlie Parker)
A2. All The Things Your Are (Jerome Kern)
A3. Red Carpet (Duke Ellington)
A4. Bouncing With Bud (Bud Powell)
B1. Embraceable You (George Gershwin)
B2. Just One of Those Things (Cole Porter)
B3. Mellow Dream (Ryo Fukui)
Info
We Release Jazz is so happy to announce the official reissue of Ryo Fukui’s New York sessions with Lisle Atkinson and Leroy Williams, the aptly titled album Ryo Fukui in New York, sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD.
Recorded in February 1999 at Avatar Recording Studios in New York and inspired by Ryo Fukui’s idol and mentor Barry Harris, the fourth album from the famed Sapporo pianist captures memorable ses-sions with seasoned American jazz musicians (and frequent Barry Harris collaborators) Lisle Arthur Atkinson on bass and Leroy Williams on drums.
Ryo Fukui in New York is pure bop heaven, glowing with poetic takes on classics by Charlie Parker, George Gershwin, Duke Ellington, Jerome Kern, Cole Porter, and Bud Powell, plus a supreme remake of Fukui’s very own "Mellow Dream". It’s expressive, soulful, and vibrating with a bouncing swing feel all the way through; every note falls exactly where it should, undeniable brilliance. Much like the other albums by the genius from Hokkaido, it’s got that "special something", hard to grasp, hard to describe, but 100% felt. Skills and heart, the Ryo Fukui way.
Following his New York adventures, Ryo Fukui headed back to Sapporo, and more precisely to his jazz club Slowboat, where his newly acquired experience inspired numerous jam sessions and a full dedication to perfecting his craft. He sadly passed away in 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still hap-pens to this day.
This is reissued in conjunction with Ryo Fukui’s A Letter from Slowboat (2016), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, Barry Harris, Scenery, jazz clubs and New York nights.
- Official reissue of Ryo Fukui’s New York sessions with Lisle Atkinson and Leroy Williams.
- 9th release from We Release Jazz, following Ryo Fukui’s Scenery, Mellow Dream, and A Letter from Slowboat, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, Marc Moulin’s Placebo Live 1971 and Boillat Thérace Quintet albums. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada’s Through The Looking Glass and Lunar Cruise with Masahiko Sato, MKWAJU ensemble’s KI-Motion, Jun Fukamachi’s Nicole, Bruno Spoer-ri’s Voice of Taurus and The Sound of the UFOs, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mondo Dei Romani…)
More
1
Ryo Fukui - It Could Happen To You
2
Ryo Fukui - I Want To Talk About You
3
Ryo Fukui - Early Summer
4
Ryo Fukui - Willow Weep For Me
5
Ryo Fukui - Autumn Leaves
6
Ryo Fukui - Scenery
Territory - NO Sales to Japan
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY in a Deluxe Limited Edition 2018 Reissue digipack CD
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting CD
01 It Could Happen To You
02 I Want To Talk About You
03 Early Summer
04 Willow Weep For Me
05 Autumn Leaves
06 Scenery
More
Ryo Fukui's 1976 highly sought-after jazz masterpiece SCENERY in a Deluxe Limited Edition 2018 Reissue digipack CD
We Release Jazz (WRWTFWW Records' new sister-label) is proud to present its first release, the official reissue of Ryo Fukui's highly sought-after masterpiece Scenery (1976), sourced from the original masters and available on digipack CD.
Unquestionably one of the most important Japanese jazz albums ever recorded, Scenery reveals Ryo Fukui as a miraculously brilliant self-taught pianist fusing modal, bop, and cool jazz influences for a very personal, dexterous and game-changing take on classic standards made famous by Bing Crosby and John Coltrane among others. From "It Could Happen To You" and its serene and calm intro which magically flows into a jubilant and upbeat piece, to the out-of-this-world piano solo of "Early Summer", or the incredible teamwork of "Autumn Leaves" where Fukui leads Satoshi Denpo (bass) and Yoshinori Fukui (drums) into groove heaven, every single note on the album oozes precision, confidence and flair and every single section slides seamlessly into one another, creating a supreme and elegant blend of jazz. Often compared to McCoy Tyner or Bill Evans, Ryo Fukui was a genius in his own right, a true master of his craft whose perfectionism gave birth to some of the greatest music ever recorded. Scenery is his magnum opus and an absolute must-have.
The Hokkaido wizard-pianist followed Scenery with the soulful gem Mellow Dream (also available on We Release Jazz) in 1977. He then focused on improving his live skills, often performing at Sapporo's Slowboat Jazz Club (which he co-founded with his wife Yasuko Fukui) and releasing 2 live albums. Ryo Fukui sadly passed away in March 2016, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come.
Tracklisting CD
01 It Could Happen To You
02 I Want To Talk About You
03 Early Summer
04 Willow Weep For Me
05 Autumn Leaves
06 Scenery
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Green Dolphin Orchestra - Part I
2
Green Dolphin Orchestra - Part II
3
Green Dolphin Orchestra - Part III
4
Green Dolphin Orchestra - Part IV
5
Green Dolphin Orchestra - Part V
6
Green Dolphin Orchestra - Part VI
7
Green Dolphin Orchestra - Part VII
8
Green Dolphin Orchestra - Part VIII
Vinyl Edition plus Download Code
Track List
A Side
Parts I-IV
B Side
Parts V-VIII
In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.
The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."
Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022. More
Track List
A Side
Parts I-IV
B Side
Parts V-VIII
In the midst of the pandemic, Enjoy Jazz Festival has developed a musical project whose members will be recruited new every year and then debut at a concert on UNESCO International Jazz Day, April 30. The members come from the jazz scene of the German state of Baden-Württemberg. "We wanted," festival director Rainer Kern stresses, "not only to revitalize the fragile network of outstanding creative minds, but also to rethink it artistically as a rolling system." Two experienced and renowned band leaders, Alexandra Lehmler and Erwin Ditzner, now curate an annually changing ensemble of outstanding artists of the most diverse provenance. As part of a voluntary commitment, the ensemble is to be organized in a sustainable, diverse, and, in three years at the latest, completely gender-equal
and climate-fair manner. Thus, as a commitment to the goals of the "European/Local Green Deal" (and with reference to the jazz standard "On Green Dolphin Street"), the name Green Dolphin Orchestra was created. Another special feature: The renowned Oriental Music Academy Mannheim (OMM), a long-standing partner of the Enjoy Jazz Festival, receives a white card, so that musicians with a migration background or protagonists from other musical cultures are always part of this "orchestra of many" and constantly expand its sound language.
The project has a free improvisation approach with changing personnel. "We actually even thought of drawing lots for the different formats within the band pool," explains saxophonist Alexandra Lehmler. "We decided against it in the case of the first concert and instead put together curated formations." And drummer Erwin Ditzner adds, "In principle, however, this procedure remains an option." It was important to the two of them to also mix the genres represented by the individual musicians in such a way that free space for something truly new could emerge. "We wanted to challenge ourselves," Lehmler sums it up. The only restriction: a time code was assigned to each sub-project. "Each formation was given a time limit, although it was possible to virtually override this limit by spontaneous
reshuffling," says Ditzner, explaining one central of the few rules. "In concrete terms, this meant that after eight minutes, the improvisation in progress was either ended or new musicians simply joined in the ongoing creative process, while others took themselves out of the game."
Alexandra Lehmler summarizes the artistic impact of the ensemble as follows: "We really cross-fertilize each other. In order to push this process even further, we forced ourselves when putting together the ensemble not to fall back on our 'favorite playing partners', i.e. musicians with whom one feels particularly at home. In other words, we consciously wanted to step out of our comfort zone with this project." The present pieces were recorded live in Heidelberg during the ensemble's premiere concert on the occasion of International Jazz Day on April 30, 2022. More
Label:We Release Jazz
Cat-No:WRJ011CD
Release-Date:01.10.2021
Genre:Jazz / Nu Jazz
Configuration:CD Excl
Label:We Release Jazz
Cat-No:WRJ011CD
Release-Date:01.10.2021
Genre:Jazz / Nu Jazz
Configuration:CD Excl
-NO SALES TO JAPAN-
CD (digipack)
Genre: Jazz, Hard Bop, Contemporary Jazz, Soulful, Solo Piano
Tracklisting CD
01. Voyage
02. Scenery
03. Mellow Dream
04. Nobody Knows The Trouble I've Seen
05. Nobody's
06. My Conception
07. After Hours
08. Nord
Info
We Release Jazz is very happy to announce the official reissue of Ryo Fukui's only solo piano al-bum, recorded live, June 4-5, 1994 at The Lutheran Hall in Sapporo. Sourced from the original mas-ters, this intimate offering from the Japanese jazz legend is available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both formats come with liner notes by Yusuke Ogawa.
Originally released on CD only by Sapporo Jazz Create in 1994, My Favorite Tune is a beautiful bop adventure which includes two superb compositions that Ryo Fukui wrote as an homage to his belo-ved Hokkaido region, the fan-favorite "Nord" and "Voyage", a tribute to his mentor Barry Harris ("No-body's"), alternate versions of his mega classics "Scenery" and "Mellow Dream", and, last but not least, bewitching takes on timeless gems by Sonny Clark and Avery Parrish.
My Favorite Tune plays like a cool summer night, full of contemplative notes and deep feelings, with Ryo Fukui baring his heart on the piano and displaying the soulful sophistication he is loved for. A true masterpiece completing his amazing discography.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, Hokkaido, Scenery, cool sum-mer nights and intimate piano moments.
- Official reissue of the only solo piano album by legendary Hokkaido pianist Ryo Fukui.
- 11th release from We Release Jazz, notably following Hiroshi Suzuki's Cat, Ryo Fukui's Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, and Marc Moulin's Pla-cebo Live 1971. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records.
More
CD (digipack)
Genre: Jazz, Hard Bop, Contemporary Jazz, Soulful, Solo Piano
Tracklisting CD
01. Voyage
02. Scenery
03. Mellow Dream
04. Nobody Knows The Trouble I've Seen
05. Nobody's
06. My Conception
07. After Hours
08. Nord
Info
We Release Jazz is very happy to announce the official reissue of Ryo Fukui's only solo piano al-bum, recorded live, June 4-5, 1994 at The Lutheran Hall in Sapporo. Sourced from the original mas-ters, this intimate offering from the Japanese jazz legend is available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both formats come with liner notes by Yusuke Ogawa.
Originally released on CD only by Sapporo Jazz Create in 1994, My Favorite Tune is a beautiful bop adventure which includes two superb compositions that Ryo Fukui wrote as an homage to his belo-ved Hokkaido region, the fan-favorite "Nord" and "Voyage", a tribute to his mentor Barry Harris ("No-body's"), alternate versions of his mega classics "Scenery" and "Mellow Dream", and, last but not least, bewitching takes on timeless gems by Sonny Clark and Avery Parrish.
My Favorite Tune plays like a cool summer night, full of contemplative notes and deep feelings, with Ryo Fukui baring his heart on the piano and displaying the soulful sophistication he is loved for. A true masterpiece completing his amazing discography.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, Hokkaido, Scenery, cool sum-mer nights and intimate piano moments.
- Official reissue of the only solo piano album by legendary Hokkaido pianist Ryo Fukui.
- 11th release from We Release Jazz, notably following Hiroshi Suzuki's Cat, Ryo Fukui's Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, and Marc Moulin's Pla-cebo Live 1971. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records.
More
1
MKWAJU ensemble (Midori Takada) - Mkwaju
2
MKWAJU ensemble (Midori Takada) - Shak Shak
3
MKWAJU ensemble (Midori Takada) - Lemore
4
MKWAJU ensemble (Midori Takada) - Tira-Rin
5
MKWAJU ensemble (Midori Takada) - Pulse In The Mind
6
MKWAJU ensemble (Midori Takada) - Flash-Back
- Beautiful CD Digipac Edition CLASSIC
- THE holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU ensemble
WRWTFWW Records is proud to announce the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD.
Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato's debut album, Yasuaki Shimizu's Kakashi, Colored Music self-titled LP and many more) MKWAJU is the fruit of the collaboration between Takada's crew and world-famous composer/musical director Joe Hisaishi, the man behind most of of Hayao Miyazaki's Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano's Sonatine, Hana-Bi, and Kikujiro. The ensemble's transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic.
Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada's career and an all-around pioneering album.
Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa's legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).
Tracklisting CD
01. Mkwaju
02. Shak Shak
03. Lemore
04. Tira-Rin
05. Pulse In The Mind
06. Flash-Back
NO SALES TO JAPAN! More
- THE holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU ensemble
WRWTFWW Records is proud to announce the highly anticipated official reissue of holy grail album MKWAJU by acclaimed Japanese percussionist Midori Takada's MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios (formerly the in-house recording department of Deutsche Grammophon) and a digipack CD.
Originally recorded in February and March 1981 and released by fabled Japanese avant-garde label Better Days (home of Ryuichi Sakamato's debut album, Yasuaki Shimizu's Kakashi, Colored Music self-titled LP and many more) MKWAJU is the fruit of the collaboration between Takada's crew and world-famous composer/musical director Joe Hisaishi, the man behind most of of Hayao Miyazaki's Studio Ghibli anime soundtracks and over 100 other films scores, including Takeshi Kitano's Sonatine, Hana-Bi, and Kikujiro. The ensemble's transcendental wonder is, in fact, the first-ever Midori Takada album and the first-ever Joe Hisaishi-produced album. Historic.
Led by Midori Takada on marimba, gong, vibraphone, and tom tom, MKWAJU is an inventive and riveting take on Eastern and Western minimalist traditions, African rhythms, and early electronica. Drawing from its jazz-rooted polyrhythmic improvisations in the most inventive ways, the album covers a wide spectrum of sounds, from colorful dance floor-ready percussion pieces that stand somewhere between proto-techno and experimental synth-pop, to cinematic ambient landscapes and ethereal drone delicacies. The feverishly sought-after full-length is a stepping-stone in Midori Takada's career and an all-around pioneering album.
Alongside Takada and Hisaishi (who not only produced the album but also played synthesizers), personnel on MKWAJU includes famed Japanese musicians Yoji Sadanari and Hideki Matsutake of KI-Motion fame, Junko Arase (heard on Satoshi Ashikawa's legendary Still Way - Wave Notation 2), and Pecker (whose stacked resume boasts collaborations with Ryuichi Sakamoto and Jun Fukamachi).
Tracklisting CD
01. Mkwaju
02. Shak Shak
03. Lemore
04. Tira-Rin
05. Pulse In The Mind
06. Flash-Back
NO SALES TO JAPAN! More
1
Ensamble Acústico - Cuando La Nostalgia Guia
2
Ensamble Acústico - Otoño del 83
3
Ensamble Acústico - Dis-solucion
4
Ensamble Acústico - Reposo De La Hierba
5
Ensamble Acústico - En Los Campos De Colonia
6
Ensamble Acústico - Fabula
7
Ensamble Acústico - A Ras De Cielo
8
Ensamble Acústico - Un Exceso De Luz
LP reissue of 1989 Perro Andaluz/Circe tape release
GENRE/S: Ambient/Balearic/Kraut/Electro
TRACKLISTS:
A1 Cuando La Nostalgia Guia
A2 Otoño del 83
A3 Dis-solucion
A4 Reposo De La Hierba
B1 En Los Campos De Colonia
B2 Fabula
B3 A Ras De Cielo
B4 Un Exceso De Luz
Ensamble Acústico was conceived in the early 1980s by Billy Pereyra and Eduardo Roland in Blancarena, a resort on the coast of the Río de la Plata, east of Colonia, Uruguay. In 1989, after only a few performances, the duo released their first and only album: a cassette of eight songs titled 'Un Exceso De Luz' ('An Excess of Light'), co-released by independent labels Perro Andaluz (Uruguay) and Circe (Argentina).
Despite being limited to just 500 copies the album was critically acclaimed and lauded as the first 'new age' project to come out of Uruguay. Yet lumping 'Un Exceso De Luz' into that most vast and heterogenous confluence of musical genres, akin to 'world music', dismisses the alchemical breakdown of minimalism with gestures of contemporary jazz, exemplified by the shifting harmonic figures of 'En Los Campos de Colonia' ('In the Fields of Colonia').
Pereyra and Roland sound strings in tandem, forming harmonic compositions that generate unexpected resonances. Together they build a climatic character that gives the sound of Ensamble Acústico its most distinctive seal, sharing more with the aesthetics of contemporary jazz than the nebulous new age label. The opening track 'Cuando la Nostalgia Guía' ('When Nostalgia Guides') raises not a question so much as a provocation that hints at its own temporal limitations - as an unfinished sentence. 'Reposo de la Hierba' ('Repose of the Grass') meanders through grassy fields before 'A Ras de Cielo' ('Flush With Sky') reveals the 'Exceso' of the title track. These are the great ungroundings of modernity that saw the heavens open and dissolve the celestial sublime, leaving us with a godless excess of space and time.
Perhaps 'new age' is a more fortuitous classification than we originally suspected. As Roland tells us, 'music is the expression of a new world'.
More
GENRE/S: Ambient/Balearic/Kraut/Electro
TRACKLISTS:
A1 Cuando La Nostalgia Guia
A2 Otoño del 83
A3 Dis-solucion
A4 Reposo De La Hierba
B1 En Los Campos De Colonia
B2 Fabula
B3 A Ras De Cielo
B4 Un Exceso De Luz
Ensamble Acústico was conceived in the early 1980s by Billy Pereyra and Eduardo Roland in Blancarena, a resort on the coast of the Río de la Plata, east of Colonia, Uruguay. In 1989, after only a few performances, the duo released their first and only album: a cassette of eight songs titled 'Un Exceso De Luz' ('An Excess of Light'), co-released by independent labels Perro Andaluz (Uruguay) and Circe (Argentina).
Despite being limited to just 500 copies the album was critically acclaimed and lauded as the first 'new age' project to come out of Uruguay. Yet lumping 'Un Exceso De Luz' into that most vast and heterogenous confluence of musical genres, akin to 'world music', dismisses the alchemical breakdown of minimalism with gestures of contemporary jazz, exemplified by the shifting harmonic figures of 'En Los Campos de Colonia' ('In the Fields of Colonia').
Pereyra and Roland sound strings in tandem, forming harmonic compositions that generate unexpected resonances. Together they build a climatic character that gives the sound of Ensamble Acústico its most distinctive seal, sharing more with the aesthetics of contemporary jazz than the nebulous new age label. The opening track 'Cuando la Nostalgia Guía' ('When Nostalgia Guides') raises not a question so much as a provocation that hints at its own temporal limitations - as an unfinished sentence. 'Reposo de la Hierba' ('Repose of the Grass') meanders through grassy fields before 'A Ras de Cielo' ('Flush With Sky') reveals the 'Exceso' of the title track. These are the great ungroundings of modernity that saw the heavens open and dissolve the celestial sublime, leaving us with a godless excess of space and time.
Perhaps 'new age' is a more fortuitous classification than we originally suspected. As Roland tells us, 'music is the expression of a new world'.
More
1
Boillat Thérace Quintet Featuring Benny - A1. Prompt 05:53
2
Boillat Thérace Quintet Featuring Benny - A2. Gibraltar 06:17
3
Boillat Thérace Quintet Featuring Benny - A3. Blue Bossa 06:45
4
Boillat Thérace Quintet Featuring Benny - B1. Le Colin 07:02
5
Boillat Thérace Quintet Featuring Benny - B2. My Greatest Love 05:06
6
Boillat Thérace Quintet Featuring Benny - B3. Gemini 07:05
Vinyl LP: 350gsm sleeve, obi
Tracklisting LP
A1. Prompt 05:53
A2. Gibraltar 06:17
A3. Blue Bossa 06:45
B1. Le Colin 07:02
B2. My Greatest Love 05:06
B3. Gemini 07:05
Info
More Swiss jazz bliss!
We Release Jazz (Ryo Fukui’s Scenery and Mellow Dream, Marc Moulin’s Placebo Live 1971…) is madly happy to unleash another reissue from Geneva’s very own Boillat Thérace Quintet. The My Greatest Love album features none other than bebop and hard-bop legend Benny Bailey and is available for the first time since 1975 on vinyl LP as well as digipack CD.
Galvanized by the creation of the Montreux Jazz Festival in the late 60s and lively local scenes, jazz music was healthy and booming in Switzerland in the 1970s. One band that beautifully captured this energy was Jean-François Boillat and Raymond Thérace’s Boillat Thérace Quintet whose self-titled debut and impressive Montreux appearance set the tone for quality Helvetic jazz in 1974.
Following this first excellent impression, the Boillat-Thérace ensemble connected with American trumpeter Benny Bailey and recorded the magnificent My Greatest Love in May and June of 1975. The modal, hard bop and soul-jazz gem includes first-class takes on Freddie Hubbard’s “Gibraltar”, Kenny Dorham’s “Blue Bossa”, and Jimmy Heath’s “Gemini”, plus deliciously funky originals from the Geneva crew, including the upbeat “Le Colin” and the swaying fan-favorite “Prompt” and its thrilling solos. Bailey is on trumpet and flugelhorn, Boillat on Fender Rhodes and piano, Thérace on saxophone and flute, Roger Vaucher on Fender bass, Eric Wespi on drums, and Rogelio Garcia on percussion and tenor saxophone…heavy sessions and deep vibes!
This is reissued in conjunction with Boillat Thérace Quintet’s self-titled debut album (1974), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, funk, saxophones, flutes, trumpets, Montreux Jazz Festival,Kenny Dorham, Freddie Hubbard, Stuff Combe, Jimmy Heath, Ryo Fukui, delicious Cenovis, Lake Geneva, and the Swiss kind of bliss.
- Reissue of the very rare album by Swiss jazz ensemble Boillat Thérace Quintet featuring the God Benny Bailey.
- 7th release from We Release Jazz, following Ryo Fukui’s Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada’s Through The Looking Glass and Lunar Cruise with Masahiko Sato, MKWAJU ensemble’s KI-Motion, Jun Fukamachi’s Nicole, Bruno Spoerri’s Voice of Taurus and The Sound of the UFOs, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mondo Dei Romani…)
More
Tracklisting LP
A1. Prompt 05:53
A2. Gibraltar 06:17
A3. Blue Bossa 06:45
B1. Le Colin 07:02
B2. My Greatest Love 05:06
B3. Gemini 07:05
Info
More Swiss jazz bliss!
We Release Jazz (Ryo Fukui’s Scenery and Mellow Dream, Marc Moulin’s Placebo Live 1971…) is madly happy to unleash another reissue from Geneva’s very own Boillat Thérace Quintet. The My Greatest Love album features none other than bebop and hard-bop legend Benny Bailey and is available for the first time since 1975 on vinyl LP as well as digipack CD.
Galvanized by the creation of the Montreux Jazz Festival in the late 60s and lively local scenes, jazz music was healthy and booming in Switzerland in the 1970s. One band that beautifully captured this energy was Jean-François Boillat and Raymond Thérace’s Boillat Thérace Quintet whose self-titled debut and impressive Montreux appearance set the tone for quality Helvetic jazz in 1974.
Following this first excellent impression, the Boillat-Thérace ensemble connected with American trumpeter Benny Bailey and recorded the magnificent My Greatest Love in May and June of 1975. The modal, hard bop and soul-jazz gem includes first-class takes on Freddie Hubbard’s “Gibraltar”, Kenny Dorham’s “Blue Bossa”, and Jimmy Heath’s “Gemini”, plus deliciously funky originals from the Geneva crew, including the upbeat “Le Colin” and the swaying fan-favorite “Prompt” and its thrilling solos. Bailey is on trumpet and flugelhorn, Boillat on Fender Rhodes and piano, Thérace on saxophone and flute, Roger Vaucher on Fender bass, Eric Wespi on drums, and Rogelio Garcia on percussion and tenor saxophone…heavy sessions and deep vibes!
This is reissued in conjunction with Boillat Thérace Quintet’s self-titled debut album (1974), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, funk, saxophones, flutes, trumpets, Montreux Jazz Festival,Kenny Dorham, Freddie Hubbard, Stuff Combe, Jimmy Heath, Ryo Fukui, delicious Cenovis, Lake Geneva, and the Swiss kind of bliss.
- Reissue of the very rare album by Swiss jazz ensemble Boillat Thérace Quintet featuring the God Benny Bailey.
- 7th release from We Release Jazz, following Ryo Fukui’s Scenery and Mellow Dream, the soundtrack of Le Cercle Rouge by Eric Demarsan, Stuff Combe 5 + Percussion, and Marc Moulin’s Placebo Live 1971. We Release Jazz is the sister-label of Geneva-based WRWTFWW Records (Midori Takada’s Through The Looking Glass and Lunar Cruise with Masahiko Sato, MKWAJU ensemble’s KI-Motion, Jun Fukamachi’s Nicole, Bruno Spoerri’s Voice of Taurus and The Sound of the UFOs, Piero Umiliani’s Tra Scienza e Fantascienza and Il Mondo Dei Romani…)
More
1
MKWAJU ensemble (Midori Takada) - Wood Dance
2
MKWAJU ensemble (Midori Takada) - Maximum ?
3
MKWAJU ensemble (Midori Takada) - KI-Motion
4
MKWAJU ensemble (Midori Takada) - Angwora Steps
5
MKWAJU ensemble (Midori Takada) - Hot Air
6
MKWAJU ensemble (Midori Takada) - Zindo Zindo
- CD Digipack, Sticker
- MKWAJU ensemble's highly sought-after album reissued on vinyl for the first time since 1981. Also available on LP!
WRWTFWW Records is over the moon to announce the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD.
A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music.
The album takes its conceptual inspiration from the tamarind ( 'mkwaju' in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient…the ideal companion to her majestic Through The Looking Glass opus!
Tracklisting CD
01 Wood Dance
02 Maximum ?
03 KI-Motion
04 Angwora Steps
05 Hot Air
06 Zindo Zindo
More
- MKWAJU ensemble's highly sought-after album reissued on vinyl for the first time since 1981. Also available on LP!
WRWTFWW Records is over the moon to announce the official reissue of legendary album KI-Motion by Japanese percussionist Midori Takada's MKWAJU ensemble, sourced from the original masters and available in two versions: a vinyl LP cut at Emil Berliner Studios and housed in 350g old Stoughton tip-on sleeve, and a digipak CD.
A highly creative and transcendental fusion of marimba, vibraphone, bamboo percussion and synthesizers, KI-Motion was recorded in 1981 and captures the birth of Midori Takada's exploration of minimalism, African rhythmic tradition, and ambient music.
The album takes its conceptual inspiration from the tamarind ( 'mkwaju' in Swahili), a drought resistant tree notably used to craft some of the first mallets and marimbas but also known for its culinary and medical uses, an essential symbol of life and identity for the Central African grasslands. Drawing from the region's culture and music as well as the crucial notion that rhythms represent the very fabric of life, Midori Takada leads her ensemble into environmental heaven to create one of the highlights of her recording career and an absolute must-have from the golden age of Japanese ambient…the ideal companion to her majestic Through The Looking Glass opus!
Tracklisting CD
01 Wood Dance
02 Maximum ?
03 KI-Motion
04 Angwora Steps
05 Hot Air
06 Zindo Zindo
More
1
Nucleus - Song For The Bearded Lady (7:22)
2
Nucleus - Sun Child (5:16)
3
Nucleus - Lullaby For A Lonely Child (4:21)
4
Nucleus - We’ll Talk About It Later (6:13)
5
Nucleus - Oasis (9:44)
6
Nucleus - Ballad Of Joe Pimp (3:45)
7
Nucleus - Easter 1916 (8:49)
Format Notes: 2023 reissue, 140g vinyl, remastered from the original Vertigo Master Tapes for this edition by Simon Francis, original gatefold die-cut sleeve replicated in fine detail
Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
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Territories: Worldwide no restrictions
Track List:
A1 : Song For The Bearded Lady (7:22)
A2 : Sun Child (5:16)
A3 : Lullaby For A Lonely Child (4:21)
A4 : We’ll Talk About It Later (6:13)
--
B1 : Oasis (9:44)
B2 : Ballad Of Joe Pimp (3:45)
B3 : Easter 1916 (8:49)
Release Notes:
Their masterpiece? With breaks for dayyyyyys and an almost ambient, heavy jazz atmosphere throughout, *this* is the apex of British jazz-rock fusion. We'll Talk About It Later was first released on Vertigo in 1971 and original copies are now very tricky to score. Like all the Nucleus records, it’s aged ridiculously well and this Be With re-issue, re-mastered from the original analogue tapes, shows off just why this deserves to be back in press.
Genius trumpeter and visionary composer Ian Carr was one of the most respected British musicians of his era. He was a true pioneer and saw the potential in fusing the worlds of jazz with rock, just as Miles Davis and The Tony Williams Lifetime did in the US. In late 1969, following the demise of the Rendell-Carr quintet, and tiring of British jazz, Carr assembled the legendary Nucleus. Regarding music as a continuous process, Nucleus refused to “recognise rigid boundaries” and worked on delivering what they saw as a “total musical experience”. We can get behind that.
Under bandleader Carr, Nucleus existed as a fluid line-up of inventive, skilled musicians. This constant evolution and revolution was all part of the continuous musical exploration and discovery that took jazz to new levels. And the music has kept relevant. To steal a line from a review of our re-issue of Roots, when it comes to anything Nucleus “it’s basically already hip-hop”.
We'll Talk About It Later is arguably Nucleus's best album. Not only that, it's in the top 5 of all fusion albums. By the time Nucleus entered Trident Studios in September 1970 to record Elastic Rock's successor, they had already won a best group award at the Montreux Jazz Festival. Once again presented in a Roger Dean designed die-cut gatefold sleeve it continued to demonstrate the chemistry and interplay that worked so brilliantly on Elastic Rock; Carr's sumptuous trumpet and flügelhorn lines, Karl Jenkins's funk-filled electric keyboards, Chris Spedding's wah-wah guitar, Brian Smith's sax and the rhythmic foundation of drummer John Marshall and bassist Jeff Clyne.
The group work and insane musicianship Nucleus were famed for is in evidence from the off. The intensely funky "Song for the Bearded Lady" is absolute FIRE, blasting out the speakers to leave listeners floored. Counterpoint riffing segues into a spacious groove and a Carr trumpet solo demonstrating the influence of electric Miles from the period. The stop-start funk of "Sun Child" would appeal to Soft Machine devotees whilst the genuinely touching "Lullaby for a Lonely Child" is a lovely downtempo ballad. Featuring an understated, reflective horn line from Carr and Smith and atmospheric, shimmering bouzouki from Spedding, there's an exotic flavour which contributes to the bliss. The ominous, sleazy title track retains a swaggering menace and is not the only track to lend a sort of heavy stoner rock atmosphere. The guitars and bass are deep and low throughout, conjuring heavy psych moments to go with the actual jazz and even funk. To say this album was in conversation with Bitches Brew would not be overstating the sheer brain-frying brilliance.
The Weather Report-adjacent "Oasis" opens Side B, a colossal track featuring nearly 10 minutes of steadily building melodic horns, keys and choppy guitar riffs. So ace, it could easily go on for another 10. Mesmeric. Spedding adds unique vocals to the undeniable groove of "Ballad of Joe Pimp" whilst saxophonist Smith's duet with drummer Marshall at the conclusion of "Easter 1916" - inspired by the Yeats poem about the Irish nationalist uprising in Dublin - adopts the wildness of the most incendiary free jazz.
This Be With edition of We'll Talk About It Later has been re-mastered from the original Vertigo master tapes, Simon Francis’ mastering working together with Cicely Balston's cut at AIR Studios to weave their usual magic with these wonderful recordings. The stunning die-cut sleeve has been restored with the original gatefold window pane depicting the Irish uprising in 1916. Incredible, timeless, guaranteed spine-chills.
More
1
Willie Hutch - A1 : Ain’t Gonna Stop (3:06)
2
Willie Hutch - A2 : You Can’t Miss Something That You Never Had (2:32)
3
Willie Hutch - A3 : A Love That’s Worth Having (2:47)
4
Willie Hutch - A4 : Good To The Last Drop (3:00)
5
Willie Hutch - A5 : That’s What I Call Lovin’ You (1:54)
6
Willie Hutch - A6 : You Gotta Try (2:26)
7
Willie Hutch - B1 : Let Me Give You The Love You Need (2:34)
8
Willie Hutch - B2 : Lucky To Be Loved By You (2:50)
9
Willie Hutch - B3 : Keep On Doin’ What You Do (2:18)
10
Willie Hutch - B4 : Your Love Keeps Liftin’ Me Higher (2:32)
11
Willie Hutch - B5 : Do What You Wanna Do (3:12)
Format Notes: 2022 re-press, 180g vinyl
Track List:
A1 : Ain’t Gonna Stop (3:06)
A2 : You Can’t Miss Something That You Never Had (2:32)
A3 : A Love That’s Worth Having (2:47)
A4 : Good To The Last Drop (3:00)
A5 : That’s What I Call Lovin’ You (1:54)
A6 : You Gotta Try (2:26)
B1 : Let Me Give You The Love You Need (2:34)
B2 : Lucky To Be Loved By You (2:50)
B3 : Keep On Doin’ What You Do (2:18)
B4 : Your Love Keeps Liftin’ Me Higher (2:32)
B5 : Do What You Wanna Do (3:12)
Release Notes:
A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown’s top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.
His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. It features eleven timeless grooves, with a blend of beat ballads and undeniable dancers.
The album’s centrepiece is undoubtedly the iconic, brooding minor-key masterpiece “A Love That’s Worth Having”. The album’s most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw’s Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic “Dreamchaser”. Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener “Ain’t Gonna Stop” is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum ‘n’ conga rhythm whilst the bumping uptown soul of “You Can’t Miss Something That You Never Had” anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of “Good To The Last Drop” whilst “That’s What I Call Lovin’ You” features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of “You Gotta Try” hints at the Blaxploitation that was to come.
Ushering in the flipside, the thundering proto-70s-Motown rhythm of “Let Me Give You The Love You Need” segues neatly into the bouncing Northern Soul favourite “Lucky To Be Loved By You” whilst Hutch’s gutbucket guitar stylings are all over the smouldering "Keep On Doin’ What You Do". “Your Love Keeps Liftin’ Me Higher” is not a rendition of the Jackie Wilson classic; rather, it’s a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic “Do What You Wanna Do” name-checks contemporary dance fads before instructing the listener to just get up and dance.
Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade’s very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Mastered for vinyl by Simon Francis, it has been pressed on 180g vinyl for the first time and features the original artwork and liner notes.
More
Track List:
A1 : Ain’t Gonna Stop (3:06)
A2 : You Can’t Miss Something That You Never Had (2:32)
A3 : A Love That’s Worth Having (2:47)
A4 : Good To The Last Drop (3:00)
A5 : That’s What I Call Lovin’ You (1:54)
A6 : You Gotta Try (2:26)
B1 : Let Me Give You The Love You Need (2:34)
B2 : Lucky To Be Loved By You (2:50)
B3 : Keep On Doin’ What You Do (2:18)
B4 : Your Love Keeps Liftin’ Me Higher (2:32)
B5 : Do What You Wanna Do (3:12)
Release Notes:
A monumental force firmly rooted in the soul canon, Willie Hutch is most notable for recording two of the best Blaxploitation soundtracks, The Mack and Foxy Brown. Yet his legacy is much greater. Outside of Marvin Gaye, Stevie Wonder and Smokey Robinson, Hutch was arguably Motown’s top male solo artist of the 70s. Prior to his association with Gordy et al, Hutch crafted his opening statements for RCA, two vital LPs that Be With Records is honoured to present today.
His debut, Soul Portrait (1969), is an incredible slice of gritty, Southern-fried soul. Think Stax with a touch of Detroit sparkle. As a whole, the album demonstrates the self-contained act Hutch was; he wrote every tune on the album while also arranging and conducting for it. It features eleven timeless grooves, with a blend of beat ballads and undeniable dancers.
The album’s centrepiece is undoubtedly the iconic, brooding minor-key masterpiece “A Love That’s Worth Having”. The album’s most recognisable track, it's a towering ballad drenched in stylish, sliding horns and elevated by its stunning backing vocalists. It was famously sampled by Madlib to augment his soundtrack for Stones Throw’s Our Vinyl Weighs A Ton as well as 9th Wonder for the Murs classic “Dreamchaser”. Whilst one can understand these iconic beatmakers for leaning on the work of a master, you really need to own the track in its full, unedited glory.
Horn-heavy opener “Ain’t Gonna Stop” is a funk-fuelled monster, Hutch's fatback vocal aided by a vicious drum ‘n’ conga rhythm whilst the bumping uptown soul of “You Can’t Miss Something That You Never Had” anticipates the Motown-vibe that Hutch went on to create. Supple guitar licks propel the loping, head-nod breaks of “Good To The Last Drop” whilst “That’s What I Call Lovin’ You” features gospel piano and plaintive, tender vocal turn. Rounding out Side A, the blazing horns of “You Gotta Try” hints at the Blaxploitation that was to come.
Ushering in the flipside, the thundering proto-70s-Motown rhythm of “Let Me Give You The Love You Need” segues neatly into the bouncing Northern Soul favourite “Lucky To Be Loved By You” whilst Hutch’s gutbucket guitar stylings are all over the smouldering "Keep On Doin’ What You Do". “Your Love Keeps Liftin’ Me Higher” is not a rendition of the Jackie Wilson classic; rather, it’s a powerhouse original that indicates where Hutch would take his sound on The Mack. Closing the album, the anthemic “Do What You Wanna Do” name-checks contemporary dance fads before instructing the listener to just get up and dance.
Brilliantly supported by a heavy roster of studio cats who combined to create a winning combination of horns, strings, and gorgeous female background vocalists, Soul Portrait is as complete a soul album as the decade’s very best. Tricky to find for a number of years, this lovingly produced reissue is certainly welcome. Paired with the soaring follow-up, Season For Love, these recordings shine a new light on the early work of a soul legend. Mastered for vinyl by Simon Francis, it has been pressed on 180g vinyl for the first time and features the original artwork and liner notes.
More
1
Samuel Jonathan Johnson - My Music (5:45)
2
Samuel Jonathan Johnson - What The World Needs Now Is Love (4:28)
3
Samuel Jonathan Johnson - Sweet Love (2:36)
4
Samuel Jonathan Johnson - Because I Love You (4:10)
5
Samuel Jonathan Johnson - It Ain’t Easy (3:54)
6
Samuel Jonathan Johnson - You (4:12)
7
Samuel Jonathan Johnson - Just Us (3:00)
8
Samuel Jonathan Johnson - Yesterdays And Tomorrow (4:25)
9
Samuel Jonathan Johnson - Thank You Mother Dear (3:00)
10
Samuel Jonathan Johnson - Reason For The Reason (3:03)
Territories: Worldwide no restrictions
Format Notes: 2019 re-issue, 140g vinyl
Track List:
A1 : My Music (5:45)
A2 : What The World Needs Now Is Love (4:28)
A3 : Sweet Love (2:36)
A4 : Because I Love You (4:10)
A5 : It Ain’t Easy (3:54)
B1 : You (4:12)
B2 : Just Us (3:00)
B3 : Yesterdays And Tomorrow (4:25)
B4 : Thank You Mother Dear (3:00)
B5 : Reason For The Reason (3:03)
Release Notes:
My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.
This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.
My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).
The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.
After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.
The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.
“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.
Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.
More
Format Notes: 2019 re-issue, 140g vinyl
Track List:
A1 : My Music (5:45)
A2 : What The World Needs Now Is Love (4:28)
A3 : Sweet Love (2:36)
A4 : Because I Love You (4:10)
A5 : It Ain’t Easy (3:54)
B1 : You (4:12)
B2 : Just Us (3:00)
B3 : Yesterdays And Tomorrow (4:25)
B4 : Thank You Mother Dear (3:00)
B5 : Reason For The Reason (3:03)
Release Notes:
My Music is a stellar spiritual soul / jazz-funk gem, recorded by keyboardist-singer Samuel Jonathan Johnson in 1978. The epitome of a cult classic, it didn't do much upon its release but steadily found an audience over the decades that followed. It eventually worked its way into the culture, and latterly the wantlists, of wave after wave of soul aficionados.
This is music that shares the jazzy R&B DNA of contemporaries like Roy Ayers and is an intoxicating blend of mellow moments and more groove-heavy tracks. Spacey keys and lush production give it a luxurious, enveloping warmth.
My Music opens with the gorgeous title track: an indulgent slow jam opus. Introducing us to Johnson’s compelling musical vision, it features a rich mélange of production techniques. Dripping in strings, horns, backing singers, popping funk bass lines and swooshing synth waves, it’s an unusually structured cosmic two stepper that has an irrepressible groove. Accordingly, it’s been a favourite with the diggers and it was sampled by The Alchemist for Jadakiss’s “We Gonna Make It” (and it was also used on Ras Kass’s “Home Sweet Home”… but that’s a story for another time).
The up-tempo “Sweet Love” bubbles over with joy, its uplifting lyrics backed by infectious bass and jazzy Fender Rhodes lines. It follows a cover of “What the World Need’s Now Is Love”, taken at a funereal pace that transforms it into a heartfelt plea for love and understanding. Essential in these dark days.
After a full-minute-long opening of lush cinematic strings and horns, “Because I Love You” makes space for Samuel’s voice, accompanied by some keys and just a sprinkle of guitar. It builds back up and then mellows its way out to a jazz lounge finish (in all the right ways). The feel-good ebullience of the Stevie Wonder-esque “It Ain’t Easy” closes out the LP’s first side.
The second side bursts open with the heavy bounce and disco-funk basslines of “You”, a slightly off-beat string-laden dancer with insistent horns and a piano-assisted groove. Next up is “Just Us”, a legendary steppers track that could be heard oozing out of deep soul radios and funk sound systems back in the late 80s.
“Yesterdays and Tomorrow” is a moving original ballad that is followed by an exquisite high-stepping paean to mom in the form of “Thank You Mother Dear”. The thumping easy-glide of “Reason For The Reason” brings the album to a close.
Respectfully mastered by Simon Francis and cut by the master Pete Norman, this reissue of Samuel Jonathan Johnson’s sole LP sounds as sumptuous as that scarlet gown on the front cover. The sleeve artwork was lovingly restored by the Be With team. My Music is a luxurious and rare collection of songs that now has an opportunity to reach beyond its cult audience.
More