1
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
More records from Enjoy Jazz Records
1
Jutta Glaser & Claus Boesser-Ferrari - The Sea was Alone (06:27)
2
Jutta Glaser & Claus Boesser-Ferrari - Two Suns That Morning (03:52)
3
Jutta Glaser & Claus Boesser-Ferrari - Return & Crossing (05:05)
4
Jutta Glaser & Claus Boesser-Ferrari - The Princess of Yesteryears (01:29)
5
Jutta Glaser & Claus Boesser-Ferrari - The Sun Darkened (04:40)
6
Jutta Glaser & Claus Boesser-Ferrari - Mount Tamalpais (04:06)
7
Jutta Glaser & Claus Boesser-Ferrari - A Song On Earth (04:14)
8
Jutta Glaser & Claus Boesser-Ferrari - Like A Country Bell (03:21)
9
Jutta Glaser & Claus Boesser-Ferrari - I’m A Bird (02:33)
10
Jutta Glaser & Claus Boesser-Ferrari - Love Is A Forest (01:49)
11
Jutta Glaser & Claus Boesser-Ferrari - Sometimes Big Trees (05:34)
12
Jutta Glaser & Claus Boesser-Ferrari - There’s No Road - Keep Going (01:33)
CD
Track List
1. The Sea was Alone 06:27
2. Two Suns That Morning 03:52
3. Return & Crossing 05:05
4. The Princess of Yesteryears 01:29
5. The Sun Darkened 04:40
6. Mount Tamalpais 04:06
7. A Song On Earth 04:14
8. Like A Country Bell 03:21
9. I’m A Bird 02:33
10. Love Is A Forest 01:49
11. Sometimes Big Trees 05:34
12. There’s No Road - Keep Going 01:33
Info:
They have been working together again and again for more than 20 years and have constantly explored the boundaries of their instructions and not infrequently even expanded them: singer Jutta Glaser and guitarist Claus Boesser-Ferrari. Their current project "Return & Crossing" is a tribute to the Lebanese-American painter, film artist and poet Etel Adnan. An artist of multiple talents, Adnan has exhibited at documenta (13) in 2012 and elsewhere, but has also received several prestigious literary awards. "Her poetry is a kind of sound language for me. It's actually music," Boesser-Ferrari finds. "But you wouldn't do it justice with the usual song structures. And that was exactly our challenge."
So Jutta Glaser and Claus Boesser-Ferrari have opened their music wide to Adnan's poems. In doing so, they have not simply deconstructed their compositions, but, on the contrary, restructured them in a way that floats in the flow of the language, that is, in a peculiarly fluid way. They have deliberately worked in a more sound-painting manner in order to take up the aspect of multiple talents or Etel Adnan's interdisciplinary approach and mirror it in a corresponding art form. "We have been," explains guitarist Boesser-Ferrari, "basically improvising composition. The CD recordings are like a kind of essence in this, but in concerts they always develop in new and different ways, artistically and atmospherically." Just as Adnan's poetry is always read in a new and different way, so is this music, which is so changeable in itself.
Jutta Glaser's singing is a sometimes tender and fragile, sometimes highly expressive, but always respectfully bow to Adnan's texts. Glaser transfers them as virtuously as sensitively into congenial improvisations and alienations, without overstretching the natural richness of the texts' relationships. "Adnan's poetry is, after all, first of all a very high and pure art. To come into contact with it as a singer and to take the freedom to experiment and allow irritation at times, in other words, to work in a way that is both counterpoint and appreciative at the same time, was a very exciting experience."
Claus Boesser-Ferrari, supported by cleverly used electronics, functions here not as an accompanist, but as a second voice in a dialogue of different artistic means and formal languages. The guitarist moves in his usual stylistically confident manner between lyrical sound surfaces, percussive pointing and expressive outbursts.
"Return & Crossing" is a multi-layered dramaturgical production, which not only elaborates the high musicality of Adnan's language, organized in diffuse-open spaces, with love and meticulousness, but also makes it sound as multi-layered as it is rousing.
These recordings thus preserve not least the legacy of the great artist Etel Adnan, who died in Paris in 2021 at the age of 96. For these 12 new pieces are not simply songs, but contributions to the understanding of art.
Jutta Glaser: vocals
Claus Boesser-Ferrari: guitar, electronics
All songs composed by Boesser-Ferrari/Glaser,
except : “The Sea was Alone…” by Bisha/Boesser-Ferrari
All poems by Etel Adnan
Recorded 13.7.2022 & 19.8.2022 at Adax Dörsam Studio, Rimbach
Cover Artwork: Jutta Glaser More
Track List
1. The Sea was Alone 06:27
2. Two Suns That Morning 03:52
3. Return & Crossing 05:05
4. The Princess of Yesteryears 01:29
5. The Sun Darkened 04:40
6. Mount Tamalpais 04:06
7. A Song On Earth 04:14
8. Like A Country Bell 03:21
9. I’m A Bird 02:33
10. Love Is A Forest 01:49
11. Sometimes Big Trees 05:34
12. There’s No Road - Keep Going 01:33
Info:
They have been working together again and again for more than 20 years and have constantly explored the boundaries of their instructions and not infrequently even expanded them: singer Jutta Glaser and guitarist Claus Boesser-Ferrari. Their current project "Return & Crossing" is a tribute to the Lebanese-American painter, film artist and poet Etel Adnan. An artist of multiple talents, Adnan has exhibited at documenta (13) in 2012 and elsewhere, but has also received several prestigious literary awards. "Her poetry is a kind of sound language for me. It's actually music," Boesser-Ferrari finds. "But you wouldn't do it justice with the usual song structures. And that was exactly our challenge."
So Jutta Glaser and Claus Boesser-Ferrari have opened their music wide to Adnan's poems. In doing so, they have not simply deconstructed their compositions, but, on the contrary, restructured them in a way that floats in the flow of the language, that is, in a peculiarly fluid way. They have deliberately worked in a more sound-painting manner in order to take up the aspect of multiple talents or Etel Adnan's interdisciplinary approach and mirror it in a corresponding art form. "We have been," explains guitarist Boesser-Ferrari, "basically improvising composition. The CD recordings are like a kind of essence in this, but in concerts they always develop in new and different ways, artistically and atmospherically." Just as Adnan's poetry is always read in a new and different way, so is this music, which is so changeable in itself.
Jutta Glaser's singing is a sometimes tender and fragile, sometimes highly expressive, but always respectfully bow to Adnan's texts. Glaser transfers them as virtuously as sensitively into congenial improvisations and alienations, without overstretching the natural richness of the texts' relationships. "Adnan's poetry is, after all, first of all a very high and pure art. To come into contact with it as a singer and to take the freedom to experiment and allow irritation at times, in other words, to work in a way that is both counterpoint and appreciative at the same time, was a very exciting experience."
Claus Boesser-Ferrari, supported by cleverly used electronics, functions here not as an accompanist, but as a second voice in a dialogue of different artistic means and formal languages. The guitarist moves in his usual stylistically confident manner between lyrical sound surfaces, percussive pointing and expressive outbursts.
"Return & Crossing" is a multi-layered dramaturgical production, which not only elaborates the high musicality of Adnan's language, organized in diffuse-open spaces, with love and meticulousness, but also makes it sound as multi-layered as it is rousing.
These recordings thus preserve not least the legacy of the great artist Etel Adnan, who died in Paris in 2021 at the age of 96. For these 12 new pieces are not simply songs, but contributions to the understanding of art.
Jutta Glaser: vocals
Claus Boesser-Ferrari: guitar, electronics
All songs composed by Boesser-Ferrari/Glaser,
except : “The Sea was Alone…” by Bisha/Boesser-Ferrari
All poems by Etel Adnan
Recorded 13.7.2022 & 19.8.2022 at Adax Dörsam Studio, Rimbach
Cover Artwork: Jutta Glaser More
1
Yuriy Gurzhy - Vivian Kanner – An allem sind (immer noch) die Juden schuld
2
Yuriy Gurzhy - Geoff Berner – Half-German Girlfriend
3
Yuriy Gurzhy - Daniel Kahn & The Painted Bird – Six Million Germans
4
Yuriy Gurzhy - You Shouldn´t Know From It – Tants, Tants
5
Yuriy Gurzhy - Jewrhythmics – Kinder Yoren
6
Yuriy Gurzhy - Paul Brody´s Sadawi – Mighty Max
7
Yuriy Gurzhy - Solomon & Socalled – Alt. Shul Kale Bazetsn
8
Yuriy Gurzhy - Fayvish – Yeder Yesh
9
Yuriy Gurzhy - Jewdyssee – Beltz, mayn shtetele
10
Yuriy Gurzhy - RotFront – Girl from Bayreuth
11
Yuriy Gurzhy - Forshpil – Meydl in di yorn
12
Yuriy Gurzhy - Jewish Monkeys – All the great things
13
Yuriy Gurzhy - KlezCore – Pferdeporno
14
Yuriy Gurzhy - The Disorientalists – Prince of the Orient
15
Yuriy Gurzhy - Andrea Pancur – Isar
16
Yuriy Gurzhy - Yahoodi – Crazy Ass Jew
17
Yuriy Gurzhy - Frank London´s Klezmer Brass Allstars – Oysgemischt
18
Yuriy Gurzhy - Shazalakazoo/Edi Partizani – Hava Nagila
CD
Earlier this year, Yuriy Gurzhy, former DJ of the legendary "Russendisko" and co-founder of the
multilingual Berlin band RotFront, presented his first book: a fascinating interview volume compiled
in a kind of sampling aesthetic on the subject of "Richard Wagner & and the Klezmer Band. In Search
of the New Jewish Sound in Germany" (Ariella Verlag). The idea for it arose in a conversation
between Gurzhy and Rainer Kern, the director of the Enjoy Jazz Festival. The book quickly attracted
keen interest far beyond the feuilletons. "Suddenly readers were complaining to me that reading it
had made them very keen to hear the music, but they couldn't hear it. What they wanted, and I
thought it was actually quite logical, was a soundtrack to the book."
And that very soundtrack is now available. Yuriy Gurzhy, as a DJ a specialist in the field of compiling,
has knowledgeably selected all the pieces himself. "It was important to me that the music could be
listened to with pleasure even without having read the book. It's a good eclectic mix, ranging from
folk to hip-hop. In the end, however, it will be in many cases that the music will make you want to
listen to the book and vice versa. The two dimensions complement each other perfectly." The 18-
track CD is also the first release from Enjoy Jazz Records, the new "festival label for jazz and more."
At first glance, it may seem irritating that Gurzhy mentions the avowed anti-Semite Richard Wagner
and klezmer, i.e. Jewish folk music, in the same sentence. In the "Jüdische Allgemeine" Gurzhy
answered the question why he included the German composer in the title of his book: "This is just
my little revenge on Wagner, because his anti-Semitism is also a cliché. And for many musicians and
music listeners, klezmer is also a cliché and a synonym for Jewish music, although there is much more
to it than that."
Against this background, by the way, Gurzhy himself provides one of the highlights of the album. For
in the RotFront song "Girl from Bayreuth" he bilingually tells the absurdly convoluted story of how a
man falls unrequitedly in love with a blond German violinist during a Wagner concert in Tel Aviv and
from then on incessantly maltreats his neighbor through the thin walls with a mixture of crying fits
and Wagner music. In addition, there is a wonderfully ironic side-splitting by Geoff Berner,
performed in a children's song ductus ("Half-German Girlfriend"), a Balkanese brass version of the
folk song "Hava Nagila" by Shazalakazoo/Edi Partizani or the organ-soaked rock of Forshpil ("Meydl in
di yorn"), of course with guitar solo.
Both the CD and the book deliberately refuse to give a clear definition of what Jewish music actually
is. But it is precisely from this careful distance to encyclopedic delimitation that an open and exciting
musical discourse emerges. For Gurzhy himself, by the way, Jewish music was first and foremost "the
music that my grandfather played to me on his record player when I was a child in Kharkiv". Since
those days, the Ukrainian-born musician, who has lived in Berlin for almost 30 years, has said: "Music
is a home." And with a wink he adds, "With music it's probably like with love. You can analyze for a
very long time why you feel so comfortable with a person, but to really explain it is difficult."
Yuriy Gurzhy sums up the meaning of this music for himself as follows: "It's the soundtrack to the
search for one's Jewish identity." Because, Gurzhy says, "For me, questions like 'What does it
fundamentally mean to be Jewish?' but also 'What does it mean to be Jewish in 21st century
Germany?' are always connected to music." Thus, this music curated by Gurzhy has at least one
common denominator. Specific musical as well as extra-musical Jewish experiences are collected in it
- in great diversity and filled with the artistic power to permanently renew itself.
Yuriy Gurzhy is available for interviews. Appointment at [email protected]
Track List
1. Vivian Kanner – An allem sind (immer noch) die Juden schuld
2. Geoff Berner – Half-German Girlfriend
3. Daniel Kahn & The Painted Bird – Six Million Germans
4. You Shouldn´t Know From It – Tants, Tants
5. Jewrhythmics – Kinder Yoren
6. Paul Brody´s Sadawi – Mighty Max
7. Solomon & Socalled – Alt. Shul Kale Bazetsn
8. Fayvish – Yeder Yesh
9. Jewdyssee – Beltz, mayn shtetele
10. RotFront – Girl from Bayreuth
11. Forshpil – Meydl in di yorn
12. Jewish Monkeys – All the great things
13. KlezCore – Pferdeporno
14. The Disorientalists – Prince of the Orient
15. Andrea Pancur – Isar
16. Yahoodi – Crazy Ass Jew
17. Frank London´s Klezmer Brass Allstars – Oysgemischt
18. Shazalakazoo/Edi Partizani – Hava Nagila More
Earlier this year, Yuriy Gurzhy, former DJ of the legendary "Russendisko" and co-founder of the
multilingual Berlin band RotFront, presented his first book: a fascinating interview volume compiled
in a kind of sampling aesthetic on the subject of "Richard Wagner & and the Klezmer Band. In Search
of the New Jewish Sound in Germany" (Ariella Verlag). The idea for it arose in a conversation
between Gurzhy and Rainer Kern, the director of the Enjoy Jazz Festival. The book quickly attracted
keen interest far beyond the feuilletons. "Suddenly readers were complaining to me that reading it
had made them very keen to hear the music, but they couldn't hear it. What they wanted, and I
thought it was actually quite logical, was a soundtrack to the book."
And that very soundtrack is now available. Yuriy Gurzhy, as a DJ a specialist in the field of compiling,
has knowledgeably selected all the pieces himself. "It was important to me that the music could be
listened to with pleasure even without having read the book. It's a good eclectic mix, ranging from
folk to hip-hop. In the end, however, it will be in many cases that the music will make you want to
listen to the book and vice versa. The two dimensions complement each other perfectly." The 18-
track CD is also the first release from Enjoy Jazz Records, the new "festival label for jazz and more."
At first glance, it may seem irritating that Gurzhy mentions the avowed anti-Semite Richard Wagner
and klezmer, i.e. Jewish folk music, in the same sentence. In the "Jüdische Allgemeine" Gurzhy
answered the question why he included the German composer in the title of his book: "This is just
my little revenge on Wagner, because his anti-Semitism is also a cliché. And for many musicians and
music listeners, klezmer is also a cliché and a synonym for Jewish music, although there is much more
to it than that."
Against this background, by the way, Gurzhy himself provides one of the highlights of the album. For
in the RotFront song "Girl from Bayreuth" he bilingually tells the absurdly convoluted story of how a
man falls unrequitedly in love with a blond German violinist during a Wagner concert in Tel Aviv and
from then on incessantly maltreats his neighbor through the thin walls with a mixture of crying fits
and Wagner music. In addition, there is a wonderfully ironic side-splitting by Geoff Berner,
performed in a children's song ductus ("Half-German Girlfriend"), a Balkanese brass version of the
folk song "Hava Nagila" by Shazalakazoo/Edi Partizani or the organ-soaked rock of Forshpil ("Meydl in
di yorn"), of course with guitar solo.
Both the CD and the book deliberately refuse to give a clear definition of what Jewish music actually
is. But it is precisely from this careful distance to encyclopedic delimitation that an open and exciting
musical discourse emerges. For Gurzhy himself, by the way, Jewish music was first and foremost "the
music that my grandfather played to me on his record player when I was a child in Kharkiv". Since
those days, the Ukrainian-born musician, who has lived in Berlin for almost 30 years, has said: "Music
is a home." And with a wink he adds, "With music it's probably like with love. You can analyze for a
very long time why you feel so comfortable with a person, but to really explain it is difficult."
Yuriy Gurzhy sums up the meaning of this music for himself as follows: "It's the soundtrack to the
search for one's Jewish identity." Because, Gurzhy says, "For me, questions like 'What does it
fundamentally mean to be Jewish?' but also 'What does it mean to be Jewish in 21st century
Germany?' are always connected to music." Thus, this music curated by Gurzhy has at least one
common denominator. Specific musical as well as extra-musical Jewish experiences are collected in it
- in great diversity and filled with the artistic power to permanently renew itself.
Yuriy Gurzhy is available for interviews. Appointment at [email protected]
Track List
1. Vivian Kanner – An allem sind (immer noch) die Juden schuld
2. Geoff Berner – Half-German Girlfriend
3. Daniel Kahn & The Painted Bird – Six Million Germans
4. You Shouldn´t Know From It – Tants, Tants
5. Jewrhythmics – Kinder Yoren
6. Paul Brody´s Sadawi – Mighty Max
7. Solomon & Socalled – Alt. Shul Kale Bazetsn
8. Fayvish – Yeder Yesh
9. Jewdyssee – Beltz, mayn shtetele
10. RotFront – Girl from Bayreuth
11. Forshpil – Meydl in di yorn
12. Jewish Monkeys – All the great things
13. KlezCore – Pferdeporno
14. The Disorientalists – Prince of the Orient
15. Andrea Pancur – Isar
16. Yahoodi – Crazy Ass Jew
17. Frank London´s Klezmer Brass Allstars – Oysgemischt
18. Shazalakazoo/Edi Partizani – Hava Nagila More
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Infotext:
It's been quite a while since we've last seen our next artist on Watergate Records. It was 2014 when he dropped his Watergate mix and EP so it is with great pleasure that we welcome back the legendary Kerri Chandler.
'Checkmate' is the epitome of a Kerri Chandler classic and has all the makings of a timeless future classic. With bold, soulful keys and massive analog drums 'Checkmate' elevates any dance floor's intensity to meteoric levels. To give an extra perspective to the single we invited another icon, Steve Rachmad to remix the original and he delivers an incredibly soulful Techno revision while Watergate mainstay Cinthie hands over a expertly crafted modern twist with classic appeal. No matter what your searching for, there is a gem for you here. Welcome back Kerri!
More
Tracklist:
A1) Checkmate
A2) Checkmate (Cinthie Remix)
B1) Checkmate (Steve Rachmad Remix)
Infotext:
It's been quite a while since we've last seen our next artist on Watergate Records. It was 2014 when he dropped his Watergate mix and EP so it is with great pleasure that we welcome back the legendary Kerri Chandler.
'Checkmate' is the epitome of a Kerri Chandler classic and has all the makings of a timeless future classic. With bold, soulful keys and massive analog drums 'Checkmate' elevates any dance floor's intensity to meteoric levels. To give an extra perspective to the single we invited another icon, Steve Rachmad to remix the original and he delivers an incredibly soulful Techno revision while Watergate mainstay Cinthie hands over a expertly crafted modern twist with classic appeal. No matter what your searching for, there is a gem for you here. Welcome back Kerri!
More
1
Tom Wax & Rico Puestel present ROMPAX - Sunotirt
2
Tom Wax & Rico Puestel present ROMPAX - Enotirt
3
Tom Wax & Rico Puestel present ROMPAX - Die Neue vom Sven
4
Tom Wax & Rico Puestel present ROMPAX - Ein treuer Freund ist wie ein festes Zelt
5
Tom Wax & Rico Puestel present ROMPAX - Emollbruecken
Genre: Techno
Tracklist 12":
A1 – Sunotirt
B1 – Enotirt
C1 – Die Neue vom Sven
D1 – Ein treuer Freund ist wie ein festes Zelt
D2 – Emollbruecken
Info:
Tom Wax & Rico Puestel team up as ROMPAX on this special double vinyl bundle to showcase their unique teamwork and avantgarde Techno sound!
More
Tracklist 12":
A1 – Sunotirt
B1 – Enotirt
C1 – Die Neue vom Sven
D1 – Ein treuer Freund ist wie ein festes Zelt
D2 – Emollbruecken
Info:
Tom Wax & Rico Puestel team up as ROMPAX on this special double vinyl bundle to showcase their unique teamwork and avantgarde Techno sound!
More
1
Riccardo De Polo - Ascension
2
Riccardo De Polo - Wahnstimmung
3
Riccardo De Polo - Inception
Tracklist:
(1) Riccardo De Polo – Ascension (DE-Q20-24-00011)
(2) Riccardo De Polo – Wahnstimmung (DE-Q20-24-00012)
(3) Riccardo De Polo – Inception (DE-Q20-24-00013)
The epochal energy of "Ascension" captivated us from the very first moment, making it an ideal intro track. With its cinematic soundtrack reminiscent of "Vangelis", Italian producer Riccardo De Polo has crafted a sublimely ethereal experience that transports listeners into the vast expanse of space. As stars and planets drift by, the music beckons us to explore further, to surrender ourselves to the moment. The low strings serve as a booster until the rocket engine roars to life and the spaceship disappears into another galaxy.
Subsequently the polyrhythmic sequence of "Wahnstimmung" spirals abstractly far below the cerebral cortex. The driving bass drum, paired with shakers and percussion, propels the composition forward at a steady pace. The tension intensifies, painting a picture of liquid metal pouring into a melting pot.
Pure, stripped-down techno as we know it from its origins.
"Inception" hypnotically takes you into a deep state of trance, engulfing you in a tribe's energy. It’s truly a classic Cocoon sound that has its very own place in Sven's sets. The vigor is palpable, the shimmering sequence will make the dust visibly glow above the open-air dance floors while the air begins to shimmer. Noisy snare drums heat the narrowed arrangement to the absolute boiling point. This is the energy we have been looking for!
More
(1) Riccardo De Polo – Ascension (DE-Q20-24-00011)
(2) Riccardo De Polo – Wahnstimmung (DE-Q20-24-00012)
(3) Riccardo De Polo – Inception (DE-Q20-24-00013)
The epochal energy of "Ascension" captivated us from the very first moment, making it an ideal intro track. With its cinematic soundtrack reminiscent of "Vangelis", Italian producer Riccardo De Polo has crafted a sublimely ethereal experience that transports listeners into the vast expanse of space. As stars and planets drift by, the music beckons us to explore further, to surrender ourselves to the moment. The low strings serve as a booster until the rocket engine roars to life and the spaceship disappears into another galaxy.
Subsequently the polyrhythmic sequence of "Wahnstimmung" spirals abstractly far below the cerebral cortex. The driving bass drum, paired with shakers and percussion, propels the composition forward at a steady pace. The tension intensifies, painting a picture of liquid metal pouring into a melting pot.
Pure, stripped-down techno as we know it from its origins.
"Inception" hypnotically takes you into a deep state of trance, engulfing you in a tribe's energy. It’s truly a classic Cocoon sound that has its very own place in Sven's sets. The vigor is palpable, the shimmering sequence will make the dust visibly glow above the open-air dance floors while the air begins to shimmer. Noisy snare drums heat the narrowed arrangement to the absolute boiling point. This is the energy we have been looking for!
More
1
Tiger & Woods - Cotton & Silk feat. ‘Em
2
Tiger & Woods - Mary Babe
3
Tiger & Woods - Cotton & Silk (Instrumental)
4
Tiger & Woods - Emotional Frequency
5
Tiger & Woods - Danzin’ Dayzz
Tracklist
A1. Cotton & Silk feat. ‘Em
A2. Mary Babe
A3. Cotton & Silk (Instrumental)
B1. Emotional Frequency
B2. Danzin’ Dayzz
Cotton and Silk compliment each other like cookies and milk, you and your lover or Tiger & Woods. The new leading track of Dancing without Headphones by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of ’Em and meaningful lyrics. Hardcore boogie peak time vibes!
The rest of the record suits these needs and follows Larry Tiger's and David Woods‘ highest production standards.. Play- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!
More
A1. Cotton & Silk feat. ‘Em
A2. Mary Babe
A3. Cotton & Silk (Instrumental)
B1. Emotional Frequency
B2. Danzin’ Dayzz
Cotton and Silk compliment each other like cookies and milk, you and your lover or Tiger & Woods. The new leading track of Dancing without Headphones by the always reliable Italian duo. Now featuring the tried and tested heavenly vocal chords of ’Em and meaningful lyrics. Hardcore boogie peak time vibes!
The rest of the record suits these needs and follows Larry Tiger's and David Woods‘ highest production standards.. Play- and powerful, formidable and floor-shaking, you will be hard-pressed to find the same quality somewhere else. With or without headphones: essential listening!
More
1
Turist - Skeet
2
Turist - Ez Up
Format: 7” inch – Black Vinyl
Packaging: coming in a plastic sleeve with Printed Cardboard
Tracklisting:
A – Turist - Skeet
B – Turist – Ez Up
Description:
Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!
Credits:
Pata – Drum / Percussions
Tom Wood – Guitar / Synths
Nicole Kiruka – Bass
Gianluca – Guitar
Recorded by Rory Ohm at Audiomanufaktur
Mixed by Tom Wood
Mastered by Simone Squillario
Artwork by Vitus Vogl-Fernheim
Made with Love by Little Beat More 2024
“We Dance We Think”
More
Packaging: coming in a plastic sleeve with Printed Cardboard
Tracklisting:
A – Turist - Skeet
B – Turist – Ez Up
Description:
Little Beat More is proud to present you a two-track EP by Turist, a Vienna based psychedelic Dembow project, founded to combine the energy of a live band with the tightness of an overdub session. ?Turist made it their mission to revive handmade music from the 60's and 70's aiming for the dancefloors of today!
The two tracks demonstrate how they interlace heavy basslines, colorfully echoing guitars and driving drums, drawing inspirations spanning from Ghanian highlife to Peruvian cumbia.
“Skeet”, on Side A, is the band’s manifesto with their special blend of Caribbean dance rhythms and Californian surf music psychedelia. Side B's "Ez Up" is a straightforward champeta song, the Afro-Colombian style that fuses sweet soukous guitar lines with uplifting soca rhythms, making you want to immediately look for the nearest Pico Soundsystem.
Set off on a rhythmic journey following Turist in their musical nomadism with us!
Credits:
Pata – Drum / Percussions
Tom Wood – Guitar / Synths
Nicole Kiruka – Bass
Gianluca – Guitar
Recorded by Rory Ohm at Audiomanufaktur
Mixed by Tom Wood
Mastered by Simone Squillario
Artwork by Vitus Vogl-Fernheim
Made with Love by Little Beat More 2024
“We Dance We Think”
More
Label:Systematic Recordings
Cat-No:syst0141-6
Release-Date:24.05.2024
Genre:Techno
Configuration:12" Excl
Label:Systematic Recordings
Cat-No:syst0141-6
Release-Date:24.05.2024
Genre:Techno
Configuration:12" Excl
1
Stephan Bodzin x Marc Romboy - The Alchemist (Marc Romboy Remix)
2
Stephan Bodzin x Marc Romboy - The Alchemist (Remastered)
12“ Vinyl
GENRE/S: Electro/Techno
TRACKLISTS:
A1) Stephan Bodzin & Marc Romboy „The Alchemist“ (Marc Romboy Remix)
B1) Stephan Bodzin & Marc Romboy „The Alchemist“ (Remastered)
Reissue of Stephan Bodzin and Marc Romboy´s iconic „The alchemist“ which was released on Ralph Lawson´s legendary 20:20 Vision in 2006 and has been played by loads of jocks.
Here you find a brand new Marc Romboy remix which has been already massively supported by the likes of Laurent Garnier, Oliver Huntemann, John Digweed and Raxon and which can be considered as a, let´s say tasteful sure shot.
This powerful vinyl release is a must-have for enthusiasts of cutting-edge electronic music.
VITAL SALES POINTS:
Reissue of the 20 years old iconic Bodzin/Romboy track, with brand new Marc Romboy remix
Strictly limited vinyl (300 only)
Individual cover design by Anne-Marie Pappas Design (Hamburg) More
GENRE/S: Electro/Techno
TRACKLISTS:
A1) Stephan Bodzin & Marc Romboy „The Alchemist“ (Marc Romboy Remix)
B1) Stephan Bodzin & Marc Romboy „The Alchemist“ (Remastered)
Reissue of Stephan Bodzin and Marc Romboy´s iconic „The alchemist“ which was released on Ralph Lawson´s legendary 20:20 Vision in 2006 and has been played by loads of jocks.
Here you find a brand new Marc Romboy remix which has been already massively supported by the likes of Laurent Garnier, Oliver Huntemann, John Digweed and Raxon and which can be considered as a, let´s say tasteful sure shot.
This powerful vinyl release is a must-have for enthusiasts of cutting-edge electronic music.
VITAL SALES POINTS:
Reissue of the 20 years old iconic Bodzin/Romboy track, with brand new Marc Romboy remix
Strictly limited vinyl (300 only)
Individual cover design by Anne-Marie Pappas Design (Hamburg) More
1
Le Tseu Pocir - Bordeaux
2
Le Tseu Pocir - Limoges
3
Le Tseu Pocir - Poitiers
4
Le Tseu Pocir - La Rochelle
5
Le Tseu Pocir - Pau
Genre: House
Tracklist 12":
A1 – Bordeaux
A2 – Limoges
B1 – Poitiers
B2 – La Rochelle
B3 – Pau
Info:
LE TSEU POCIR (read it backwards) brings back the groove, some true soul and a right feeling – sampling his own work and bringing back the beauty of French House!
More
Tracklist 12":
A1 – Bordeaux
A2 – Limoges
B1 – Poitiers
B2 – La Rochelle
B3 – Pau
Info:
LE TSEU POCIR (read it backwards) brings back the groove, some true soul and a right feeling – sampling his own work and bringing back the beauty of French House!
More
1
Quintessence - Between Thoughts
2
Quintessence - Breeze
3
Quintessence - In My Apartment
4
Quintessence - Marketplace
5
Quintessence - Can't Stop Now
6
Quintessence - Moments Of Silence
7
Quintessence - Why Must I Go (Through These Changes)
DELUXE HARD-CARDBOARD SLEEVE COVER + 180g VINYL + OBI + DOWNLOAD CARD
Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.
Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.
If you are into Fender Rhodes, this is an LP to be collected. More
Mad About Records officially reissues super rare private press Quintessence’s 1981 LP. With every famous jazz recording, many others remained on the shelf of oblivion without ever receiving the recognition they deserved, and this is the case of Quintessence.
Led by Ron Ancrum, with George Sovak, David Gaedeke, Winston Johnson and Steve Muse recorded an exceptional and fundamental album of 80's jazz.
If you are into Fender Rhodes, this is an LP to be collected. More
1
Sophia Jani, Teresa Allgaier - Prelude (02:42 min)
2
Sophia Jani, Teresa Allgaier - I. Scordatura (05:57 min)
3
Sophia Jani, Teresa Allgaier - II. Arpeggio (08:05 min)
4
Sophia Jani, Teresa Allgaier - III. Triads (06:12 min)
5
Sophia Jani, Teresa Allgaier - IV. Capriccio (03:56 min)
6
Sophia Jani, Teresa Allgaier - V. Grandezza (06:33 min)
7
Sophia Jani, Teresa Allgaier - VI. Ricochet (07:52 min)
LP
Special remarks: 180g
Tracklist:
A1) Prelude 02:42 min
A2) I. Scordatura 05:57 min
A3) II. Arpeggio 08:05 min
A4) III. Triads 06:12 min
B1) IV. Capriccio 03:56 min
B2) V. Grandezza 06:33 min
B3) VI. Ricochet 07:52 min
Info:
Contemporary classical composer Sophia Jani and violinist Teresa Allgaier announce their new collaborative work Six Pieces for Solo Violin on Squama Recordings. Characterized by its calmness and poise, each movement focuses on a particular technical aspect, bending the boundaries of the instrument while maintaining the illusion of simplicity.
Sometimes the most complicated thing anyone can do is to try to create something that feels uncomplicated. Arvo Pärt, ballet, a delicious meal we didn’t cook ourselves, Ella Fitzgerald, a safe place to lay our heads at night, a quiet pine forest – […] In all these things, it takes a lot of effort to make us feel as if something is effortless.
– David Lang (from the liner notes)
More
Special remarks: 180g
Tracklist:
A1) Prelude 02:42 min
A2) I. Scordatura 05:57 min
A3) II. Arpeggio 08:05 min
A4) III. Triads 06:12 min
B1) IV. Capriccio 03:56 min
B2) V. Grandezza 06:33 min
B3) VI. Ricochet 07:52 min
Info:
Contemporary classical composer Sophia Jani and violinist Teresa Allgaier announce their new collaborative work Six Pieces for Solo Violin on Squama Recordings. Characterized by its calmness and poise, each movement focuses on a particular technical aspect, bending the boundaries of the instrument while maintaining the illusion of simplicity.
Sometimes the most complicated thing anyone can do is to try to create something that feels uncomplicated. Arvo Pärt, ballet, a delicious meal we didn’t cook ourselves, Ella Fitzgerald, a safe place to lay our heads at night, a quiet pine forest – […] In all these things, it takes a lot of effort to make us feel as if something is effortless.
– David Lang (from the liner notes)
More
1
Cedar Walton - Blue Trane
2
Cedar Walton - Soho
3
Cedar Walton - Off Minor
4
Cedar Walton - The Maestro
5
Cedar Walton - Road Island Red
Format Notes:
2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Blue Trane
A2 Soho
B1 Off Minor
B2 The Maestro
B3 Road Island Red
Release Notes:
Don't judge a book by its cover. Judge a record by its cover.
And, perhaps, its title.
Cedar Walton's Mobius is as outrageously, disorientatingly brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from - essentially - one *hell* of a SUPERBAND.
Yes, in addition to Walton's Fender Rhodes wizardry, Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax. Oh and did we mention STEVE GADD ON DRUMS?!?!
Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Walton, a giant in the jazz world, got quite the workout every time he played, from piano to arp synthesizer to clarinet to electric piano to mini-moog and back again.
Mobius was Cedar Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Coltrane's "Blue Trane" is the first classic to be given the funkafied Mobius treatment, Ryo Kawasaki let loose all over neck-snapping Gadd-drum gold before the horns take a fiery turn and subsequently give way to Cedar's virtuosity. A sparkling b-boy break version of Thelonious Monk's "Off Minor" (featuring an absolutely *fire* solo from Walton) really sets proceedings alight. Of the three original pieces, the shuffling, percussive power of "Soho" is just absolutely mind bending Latin-influenced jazzy soul whilst the mellow vibes of "The Maestro" bring elegant, sumptuous soul. And then there's the effortlessly funky "Road Island Red". Just too, too good.
Cedar Walton was born in Dallas, Texas, on January 17, 1934 and began his professional career in 1959 when he began touring for several years with the J.J. Johnson Quintet. He later joined the Art Farmer-Benny Golson Jazztet and then Art Blakey's Jazz Messengers. Pretty solid credentials, right? While based in New York City, Cedar played with such luminaries as Donald Byrd, Eddie Harris, Blue Mitchell, Kenny Dorham, Lee Morgan, Freddie Hubbard, Jimmy Heath and Milt Jackson. Without question, he was one of the most complete and gifted musicians of his time and Mobius provides proof of that. The fresh, danceable tracks, all firmly rooted in the living tradition of blues and gospel, are skilfully presented by a master who enjoyed keeping abreast of contemporary tastes and was always keen to renew his language.
As the album notes state: “Mobius, which is the theoretical shape of the infinite universe, makes use of the most modern recording techniques and synthesizers. We mastered and mixed so that it’s hotter than the competition, which should help radio play and in-store demonstration.” Indeed. Mobius is really gorgeous mid-70s fusion, ranging from the funky to the ecstatic. It's an absolute MONSTER that will completely blow you away; and, yes, it's as wild and hypnotic as the cover. The audio for Mobius has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
More
2024 first time vinyl reissue, remastered audio with original artwork, 140g vinyl
Track List:
A1 Blue Trane
A2 Soho
B1 Off Minor
B2 The Maestro
B3 Road Island Red
Release Notes:
Don't judge a book by its cover. Judge a record by its cover.
And, perhaps, its title.
Cedar Walton's Mobius is as outrageously, disorientatingly brilliant as the stunning jacket design, featuring the legendary jazz pianist morphing into a mobius strip, set against a beautiful sky filled with cumulus clouds. A proper jazz-funk fusion slapfest, Mobius is a stellar electric set from - essentially - one *hell* of a SUPERBAND.
Yes, in addition to Walton's Fender Rhodes wizardry, Mobius is elevated by Ryo Kawasaki's stinging electric guitar, pristinely clear vocals by Adrienne Albert and Lani Groves, rootsy percussion by Ray Mantilla and Omar Clay, alto and baritone from Charles Davis, trumpet from Roy Burrowes, Gordon Edwards on bass and Frank Foster's tenor sax. Oh and did we mention STEVE GADD ON DRUMS?!?!
Gem after gem of looping, bliss-inducing gold, it's an incredibly revelatory album. It presents a thrilling synthesis of R&B, funk, blues and hard bop (with a hint of rock), all driven by an idiosyncratic electronic keyboard. Walton, a giant in the jazz world, got quite the workout every time he played, from piano to arp synthesizer to clarinet to electric piano to mini-moog and back again.
Mobius was Cedar Walton's debut for RCA in 1975. The versatile artist confirmed his abilities as a player, composer, interpreter and arranger with this stunning record, and his own bright compositions offered a springboard for the improvisations of the different soloists. Coltrane's "Blue Trane" is the first classic to be given the funkafied Mobius treatment, Ryo Kawasaki let loose all over neck-snapping Gadd-drum gold before the horns take a fiery turn and subsequently give way to Cedar's virtuosity. A sparkling b-boy break version of Thelonious Monk's "Off Minor" (featuring an absolutely *fire* solo from Walton) really sets proceedings alight. Of the three original pieces, the shuffling, percussive power of "Soho" is just absolutely mind bending Latin-influenced jazzy soul whilst the mellow vibes of "The Maestro" bring elegant, sumptuous soul. And then there's the effortlessly funky "Road Island Red". Just too, too good.
Cedar Walton was born in Dallas, Texas, on January 17, 1934 and began his professional career in 1959 when he began touring for several years with the J.J. Johnson Quintet. He later joined the Art Farmer-Benny Golson Jazztet and then Art Blakey's Jazz Messengers. Pretty solid credentials, right? While based in New York City, Cedar played with such luminaries as Donald Byrd, Eddie Harris, Blue Mitchell, Kenny Dorham, Lee Morgan, Freddie Hubbard, Jimmy Heath and Milt Jackson. Without question, he was one of the most complete and gifted musicians of his time and Mobius provides proof of that. The fresh, danceable tracks, all firmly rooted in the living tradition of blues and gospel, are skilfully presented by a master who enjoyed keeping abreast of contemporary tastes and was always keen to renew his language.
As the album notes state: “Mobius, which is the theoretical shape of the infinite universe, makes use of the most modern recording techniques and synthesizers. We mastered and mixed so that it’s hotter than the competition, which should help radio play and in-store demonstration.” Indeed. Mobius is really gorgeous mid-70s fusion, ranging from the funky to the ecstatic. It's an absolute MONSTER that will completely blow you away; and, yes, it's as wild and hypnotic as the cover. The audio for Mobius has been carefully remastered by Be With regular Simon Francis, ensuring it sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the records have been pressed to the highest possible standard at Record Industry in Holland. The original, iconic sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.
More