1
Joseph Shabason - I Thought That I Could Get Away With It
2
Joseph Shabason - Deep Dark Divide
3
Joseph Shabason - Dangerous Chemicals
4
Joseph Shabason - Donna Lee
5
Joseph Shabason - Forest Run
6
Joseph Shabason - Fred And Lil
7
Joseph Shabason - Toh Koh
8
Joseph Shabason - November
9
Joseph Shabason - Treat It Like A Win Bar
Anne, the second album By Toronto saxophonist and composer Joseph Shabason, is a tonal essay on degenerative illness. Delicately and compassionately woven with interviews of Shabason's mother from whom the album takes its name, Anne finds its creator navigating a labyrinth of subtle and tragic emotions arising from his mother's struggle with Parkinson's disease. Across the nine vivid postcards of jazz-laden ambience that comprise the album, Shabason unwraps these difficult themes with great care and focus revealing the unseen aspects of degenerative diseases that force us to re-examine common notions of self, identity, and mortality. Shabason's uncanny ability to manoeuvre through such microscopic feelings is mirrored by his capacity to execute a similar tightrope-walk through musical genres. His music occupies a specific space that is as palpable as it is difficult to pin labels to. R.I.Y.L. Brian Eno, Jon Hassell, Beverly Glenn-Copeland, Laraaji, Robert Rich, Harold Budd
More
More records from Joseph Shabason
1
Joseph Shabason - Life With my Grandparents
2
Joseph Shabason - Escape From North York
3
Joseph Shabason - The Fellowship
4
Joseph Shabason - 0-13
5
Joseph Shabason - 13-15
6
Joseph Shabason - 15-19
7
Joseph Shabason - Comparative World Religions
8
Joseph Shabason - So Long
Across eight tracks that mesh jazz-laced, emotive, and spacious composition with fourth-world and adult-contemporary tonality, Toronto saxophonist Joseph Shabason sketches an auditory map of the transcendence, unity, conditioning, and eventual renunciation of his upbringing in an Islamic and Jewish dual-faith household. The resulting album The Fellowship bears the name of the insular Islamic community Shabason’s traditionally Jewish parents belonged to from a time before he was even born; a mental and spiritual push-pull which continued shaping, even controlling, his outlook well into his adulthood. As a listening experience The Fellowship follows a chronological arc that spans three generations covering his parents’ early lives, his own spiritual and physical adolescence, and his subsequent struggle to eschew the problematic habituations of such a conflicted past.
“Life With My Grandparents” commences The Fellowship in overcast hues. A cassette recording of a child’s voice pops in and out of a murmuring brass tone as both elements drift like memories receding forever into the past. “My parents grew up in really difficult households. Both of my father’s parents had just survived the Holocaust only six years before he was born.” Shabason explains, cutting right to the root of what might have led his parents to diverge from their inherited spiritual conventions. "My grandparents were deeply traumatized from having lost so many friends and family members, and even if the war hadn’t happened I don’t think they would have been particularly emotionally available.” Exchanging the gloom for tension, the anxiously experimental “Escape From North York” jolts the cadence forwards and backwards by way of skittering jazz percussion as a nauseated synth melody balloons into full-on terror, all while the melodic elements are ambushed from below by a flash flood of air-rending texture. The title (a play on John Carpenter’s Escape From New York) refers to the area of Toronto where Shabason’s parents were raised, and rebelliously fled in their twenties against their own parents’ wishes. The title track of The Fellowship swings toward relief and reflection, and buoys the mood up to something childlike. It is suffused with saxophone, upright bass, chorus-drenched guitar, and digitized pan flute; the kinds of 90’s jazz timbres that mark a time in Shabason’s adolescence when the dilemmas of his family’s faith were still obscured by comfort, community, and a dash of the forgivable naivete of early youth. At the same time, the piece shows Shabason at his most melodically athletic, darting around chord changes with fervor for the subject at hand.
From here the perspective moves from third to first person as Shabason unpacks his teenage years across a three song suite, the titles of which mark the exact years they are meant to sonically illustrate. Where the previous track floated ever upward on innocence and clarity, “0-13” dispenses with both by its final third at which point things have unraveled into aleatoric unease representing “the first chink in the armour,” as Joseph admits, “and the first time I really started to question everything I’d been taught.” By “13-15” the pendulum is fully back on the side of apprehension as galloping percussion, an unrelenting synthetic marimba, an off-key wood flute, and jittering electric guitar tell a story of doubt and anger, dressed in fourth-world atonality. “By that time,” says Shabason, referring to the age denoted in the track name, “I was smoking weed and really getting into my head. According to my religion, smoking weed was gonna land me in hell, and all my friends who drank were also on the path to hell. The whole thing seemed totally absurd. The idea of a God that was that petty and vengeful made no sense. Those thoughts just swirled and created this background dissonance that existed all throughout my early teens. Middle school was fucked.”
“15-19” is the sadness that follows outrage, when the dust settles and the pieces need putting back together, yet they simply won’t fit in light of a new found perspective. As such, this final movement is bathed in tragic, futile optimism. Under a bed of half-tempo RnB, muted trumpets glow like dying embers catching the wind. Shabason elucidates, “at that point, I’d discovered punk and hardcore and decided to be straight edge. It provided me with a community and a great cover for why I didn’t drink or do drugs. It felt like this really cool disguise. It kept me from questioning why I was doing it in the first place, but underlying it all was sadness. Why were my gay friends going to hell? Why did women have to be modest and not men? Why did God want to punish me for so many things? Was I going to hell because I had sex with my girlfriend? None of it made sense, but I was so completely brainwashed that I never thought to seriously question it. Instead, I just slipped up more and more, did drugs, fooled around, and tried to put the divine ramifications of my actions out of my head.”
“Comparative World Religions” is a caffeinated gamelan named for the college course that caused Joseph-- and so many other young people engrossed in inherited repressive ideologies-- to see the irreconcilable nature of his beliefs from the outside in. Like the class itself, it stands apart from the backdrop of The Fellowship by replacing the seesaw of religious ecstasy and uncertainty with the type of transcendence that can only be arrived at through factual illumination. Using mournful brass and glassy keys, the aptly titled “So Long” represents the slow walking away that Shabason had to do mentally and emotionally, even long after the illusion had been cracked open. “It took me at least another twelve to fifteen years to fully deprogram myself from all the guilt and shame that was bred into me by religion, but I think that I’m finally free from it,” says Shabason of his present-day outlook. “This song is a final goodbye to that life… an exhale and deep inhale before I start a new chapter.” On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light. More
“Life With My Grandparents” commences The Fellowship in overcast hues. A cassette recording of a child’s voice pops in and out of a murmuring brass tone as both elements drift like memories receding forever into the past. “My parents grew up in really difficult households. Both of my father’s parents had just survived the Holocaust only six years before he was born.” Shabason explains, cutting right to the root of what might have led his parents to diverge from their inherited spiritual conventions. "My grandparents were deeply traumatized from having lost so many friends and family members, and even if the war hadn’t happened I don’t think they would have been particularly emotionally available.” Exchanging the gloom for tension, the anxiously experimental “Escape From North York” jolts the cadence forwards and backwards by way of skittering jazz percussion as a nauseated synth melody balloons into full-on terror, all while the melodic elements are ambushed from below by a flash flood of air-rending texture. The title (a play on John Carpenter’s Escape From New York) refers to the area of Toronto where Shabason’s parents were raised, and rebelliously fled in their twenties against their own parents’ wishes. The title track of The Fellowship swings toward relief and reflection, and buoys the mood up to something childlike. It is suffused with saxophone, upright bass, chorus-drenched guitar, and digitized pan flute; the kinds of 90’s jazz timbres that mark a time in Shabason’s adolescence when the dilemmas of his family’s faith were still obscured by comfort, community, and a dash of the forgivable naivete of early youth. At the same time, the piece shows Shabason at his most melodically athletic, darting around chord changes with fervor for the subject at hand.
From here the perspective moves from third to first person as Shabason unpacks his teenage years across a three song suite, the titles of which mark the exact years they are meant to sonically illustrate. Where the previous track floated ever upward on innocence and clarity, “0-13” dispenses with both by its final third at which point things have unraveled into aleatoric unease representing “the first chink in the armour,” as Joseph admits, “and the first time I really started to question everything I’d been taught.” By “13-15” the pendulum is fully back on the side of apprehension as galloping percussion, an unrelenting synthetic marimba, an off-key wood flute, and jittering electric guitar tell a story of doubt and anger, dressed in fourth-world atonality. “By that time,” says Shabason, referring to the age denoted in the track name, “I was smoking weed and really getting into my head. According to my religion, smoking weed was gonna land me in hell, and all my friends who drank were also on the path to hell. The whole thing seemed totally absurd. The idea of a God that was that petty and vengeful made no sense. Those thoughts just swirled and created this background dissonance that existed all throughout my early teens. Middle school was fucked.”
“15-19” is the sadness that follows outrage, when the dust settles and the pieces need putting back together, yet they simply won’t fit in light of a new found perspective. As such, this final movement is bathed in tragic, futile optimism. Under a bed of half-tempo RnB, muted trumpets glow like dying embers catching the wind. Shabason elucidates, “at that point, I’d discovered punk and hardcore and decided to be straight edge. It provided me with a community and a great cover for why I didn’t drink or do drugs. It felt like this really cool disguise. It kept me from questioning why I was doing it in the first place, but underlying it all was sadness. Why were my gay friends going to hell? Why did women have to be modest and not men? Why did God want to punish me for so many things? Was I going to hell because I had sex with my girlfriend? None of it made sense, but I was so completely brainwashed that I never thought to seriously question it. Instead, I just slipped up more and more, did drugs, fooled around, and tried to put the divine ramifications of my actions out of my head.”
“Comparative World Religions” is a caffeinated gamelan named for the college course that caused Joseph-- and so many other young people engrossed in inherited repressive ideologies-- to see the irreconcilable nature of his beliefs from the outside in. Like the class itself, it stands apart from the backdrop of The Fellowship by replacing the seesaw of religious ecstasy and uncertainty with the type of transcendence that can only be arrived at through factual illumination. Using mournful brass and glassy keys, the aptly titled “So Long” represents the slow walking away that Shabason had to do mentally and emotionally, even long after the illusion had been cracked open. “It took me at least another twelve to fifteen years to fully deprogram myself from all the guilt and shame that was bred into me by religion, but I think that I’m finally free from it,” says Shabason of his present-day outlook. “This song is a final goodbye to that life… an exhale and deep inhale before I start a new chapter.” On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light. More
More records from Western Vinyl
1
Joseph Shabason - Life With my Grandparents
2
Joseph Shabason - Escape From North York
3
Joseph Shabason - The Fellowship
4
Joseph Shabason - 0-13
5
Joseph Shabason - 13-15
6
Joseph Shabason - 15-19
7
Joseph Shabason - Comparative World Religions
8
Joseph Shabason - So Long
Across eight tracks that mesh jazz-laced, emotive, and spacious composition with fourth-world and adult-contemporary tonality, Toronto saxophonist Joseph Shabason sketches an auditory map of the transcendence, unity, conditioning, and eventual renunciation of his upbringing in an Islamic and Jewish dual-faith household. The resulting album The Fellowship bears the name of the insular Islamic community Shabason’s traditionally Jewish parents belonged to from a time before he was even born; a mental and spiritual push-pull which continued shaping, even controlling, his outlook well into his adulthood. As a listening experience The Fellowship follows a chronological arc that spans three generations covering his parents’ early lives, his own spiritual and physical adolescence, and his subsequent struggle to eschew the problematic habituations of such a conflicted past.
“Life With My Grandparents” commences The Fellowship in overcast hues. A cassette recording of a child’s voice pops in and out of a murmuring brass tone as both elements drift like memories receding forever into the past. “My parents grew up in really difficult households. Both of my father’s parents had just survived the Holocaust only six years before he was born.” Shabason explains, cutting right to the root of what might have led his parents to diverge from their inherited spiritual conventions. "My grandparents were deeply traumatized from having lost so many friends and family members, and even if the war hadn’t happened I don’t think they would have been particularly emotionally available.” Exchanging the gloom for tension, the anxiously experimental “Escape From North York” jolts the cadence forwards and backwards by way of skittering jazz percussion as a nauseated synth melody balloons into full-on terror, all while the melodic elements are ambushed from below by a flash flood of air-rending texture. The title (a play on John Carpenter’s Escape From New York) refers to the area of Toronto where Shabason’s parents were raised, and rebelliously fled in their twenties against their own parents’ wishes. The title track of The Fellowship swings toward relief and reflection, and buoys the mood up to something childlike. It is suffused with saxophone, upright bass, chorus-drenched guitar, and digitized pan flute; the kinds of 90’s jazz timbres that mark a time in Shabason’s adolescence when the dilemmas of his family’s faith were still obscured by comfort, community, and a dash of the forgivable naivete of early youth. At the same time, the piece shows Shabason at his most melodically athletic, darting around chord changes with fervor for the subject at hand.
From here the perspective moves from third to first person as Shabason unpacks his teenage years across a three song suite, the titles of which mark the exact years they are meant to sonically illustrate. Where the previous track floated ever upward on innocence and clarity, “0-13” dispenses with both by its final third at which point things have unraveled into aleatoric unease representing “the first chink in the armour,” as Joseph admits, “and the first time I really started to question everything I’d been taught.” By “13-15” the pendulum is fully back on the side of apprehension as galloping percussion, an unrelenting synthetic marimba, an off-key wood flute, and jittering electric guitar tell a story of doubt and anger, dressed in fourth-world atonality. “By that time,” says Shabason, referring to the age denoted in the track name, “I was smoking weed and really getting into my head. According to my religion, smoking weed was gonna land me in hell, and all my friends who drank were also on the path to hell. The whole thing seemed totally absurd. The idea of a God that was that petty and vengeful made no sense. Those thoughts just swirled and created this background dissonance that existed all throughout my early teens. Middle school was fucked.”
“15-19” is the sadness that follows outrage, when the dust settles and the pieces need putting back together, yet they simply won’t fit in light of a new found perspective. As such, this final movement is bathed in tragic, futile optimism. Under a bed of half-tempo RnB, muted trumpets glow like dying embers catching the wind. Shabason elucidates, “at that point, I’d discovered punk and hardcore and decided to be straight edge. It provided me with a community and a great cover for why I didn’t drink or do drugs. It felt like this really cool disguise. It kept me from questioning why I was doing it in the first place, but underlying it all was sadness. Why were my gay friends going to hell? Why did women have to be modest and not men? Why did God want to punish me for so many things? Was I going to hell because I had sex with my girlfriend? None of it made sense, but I was so completely brainwashed that I never thought to seriously question it. Instead, I just slipped up more and more, did drugs, fooled around, and tried to put the divine ramifications of my actions out of my head.”
“Comparative World Religions” is a caffeinated gamelan named for the college course that caused Joseph-- and so many other young people engrossed in inherited repressive ideologies-- to see the irreconcilable nature of his beliefs from the outside in. Like the class itself, it stands apart from the backdrop of The Fellowship by replacing the seesaw of religious ecstasy and uncertainty with the type of transcendence that can only be arrived at through factual illumination. Using mournful brass and glassy keys, the aptly titled “So Long” represents the slow walking away that Shabason had to do mentally and emotionally, even long after the illusion had been cracked open. “It took me at least another twelve to fifteen years to fully deprogram myself from all the guilt and shame that was bred into me by religion, but I think that I’m finally free from it,” says Shabason of his present-day outlook. “This song is a final goodbye to that life… an exhale and deep inhale before I start a new chapter.” On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light. More
“Life With My Grandparents” commences The Fellowship in overcast hues. A cassette recording of a child’s voice pops in and out of a murmuring brass tone as both elements drift like memories receding forever into the past. “My parents grew up in really difficult households. Both of my father’s parents had just survived the Holocaust only six years before he was born.” Shabason explains, cutting right to the root of what might have led his parents to diverge from their inherited spiritual conventions. "My grandparents were deeply traumatized from having lost so many friends and family members, and even if the war hadn’t happened I don’t think they would have been particularly emotionally available.” Exchanging the gloom for tension, the anxiously experimental “Escape From North York” jolts the cadence forwards and backwards by way of skittering jazz percussion as a nauseated synth melody balloons into full-on terror, all while the melodic elements are ambushed from below by a flash flood of air-rending texture. The title (a play on John Carpenter’s Escape From New York) refers to the area of Toronto where Shabason’s parents were raised, and rebelliously fled in their twenties against their own parents’ wishes. The title track of The Fellowship swings toward relief and reflection, and buoys the mood up to something childlike. It is suffused with saxophone, upright bass, chorus-drenched guitar, and digitized pan flute; the kinds of 90’s jazz timbres that mark a time in Shabason’s adolescence when the dilemmas of his family’s faith were still obscured by comfort, community, and a dash of the forgivable naivete of early youth. At the same time, the piece shows Shabason at his most melodically athletic, darting around chord changes with fervor for the subject at hand.
From here the perspective moves from third to first person as Shabason unpacks his teenage years across a three song suite, the titles of which mark the exact years they are meant to sonically illustrate. Where the previous track floated ever upward on innocence and clarity, “0-13” dispenses with both by its final third at which point things have unraveled into aleatoric unease representing “the first chink in the armour,” as Joseph admits, “and the first time I really started to question everything I’d been taught.” By “13-15” the pendulum is fully back on the side of apprehension as galloping percussion, an unrelenting synthetic marimba, an off-key wood flute, and jittering electric guitar tell a story of doubt and anger, dressed in fourth-world atonality. “By that time,” says Shabason, referring to the age denoted in the track name, “I was smoking weed and really getting into my head. According to my religion, smoking weed was gonna land me in hell, and all my friends who drank were also on the path to hell. The whole thing seemed totally absurd. The idea of a God that was that petty and vengeful made no sense. Those thoughts just swirled and created this background dissonance that existed all throughout my early teens. Middle school was fucked.”
“15-19” is the sadness that follows outrage, when the dust settles and the pieces need putting back together, yet they simply won’t fit in light of a new found perspective. As such, this final movement is bathed in tragic, futile optimism. Under a bed of half-tempo RnB, muted trumpets glow like dying embers catching the wind. Shabason elucidates, “at that point, I’d discovered punk and hardcore and decided to be straight edge. It provided me with a community and a great cover for why I didn’t drink or do drugs. It felt like this really cool disguise. It kept me from questioning why I was doing it in the first place, but underlying it all was sadness. Why were my gay friends going to hell? Why did women have to be modest and not men? Why did God want to punish me for so many things? Was I going to hell because I had sex with my girlfriend? None of it made sense, but I was so completely brainwashed that I never thought to seriously question it. Instead, I just slipped up more and more, did drugs, fooled around, and tried to put the divine ramifications of my actions out of my head.”
“Comparative World Religions” is a caffeinated gamelan named for the college course that caused Joseph-- and so many other young people engrossed in inherited repressive ideologies-- to see the irreconcilable nature of his beliefs from the outside in. Like the class itself, it stands apart from the backdrop of The Fellowship by replacing the seesaw of religious ecstasy and uncertainty with the type of transcendence that can only be arrived at through factual illumination. Using mournful brass and glassy keys, the aptly titled “So Long” represents the slow walking away that Shabason had to do mentally and emotionally, even long after the illusion had been cracked open. “It took me at least another twelve to fifteen years to fully deprogram myself from all the guilt and shame that was bred into me by religion, but I think that I’m finally free from it,” says Shabason of his present-day outlook. “This song is a final goodbye to that life… an exhale and deep inhale before I start a new chapter.” On The Fellowship, as on prior albums that bear his name, Joseph Shabason does what only the best instrumental music makers can: tell a story with emotional clarity that conveys even the subtlest of feelings, all without singing a single word. As wordless as ever-- with as complex a theme as ever-- this album may be his most emotionally articulate yet. Most importantly, those lost in the woods of repression and self-doubt that organized religion can be at its worst now have The Fellowship to help guide them into a softer light. More
Customers who bought this also bought this
Endlessness is a deep dive into the cycle of existence. The 45-minute album delicately spans 10 tracks with a continuous arpeggio playing throughout, creating an expansive, mesmerising celebration of life cycles and rebirth. Following Sinephro’s critically acclaimed 2021 debut album Space 1.8, Endlessness further elevates her as a transcendent and multi-dimensional composer, beautifully morphing jazz, orchestral, and electronic music.
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.
The album will be available on black 2LP vinyl with d-side etching as well as CD.
- Specs Black 2LP vinyl with etching to d-side in printed inner sleeves in 5mm spine sleeve. Housed in PVC wallet with flap.
Tracklist:
A1. Continuum 1
A2. Continuum 2
B1. Continuum 3
B2. Continuum 4
B3. Continuum 5
B4. Continuum 6
B5. Continuum 7
B6. Continuum 8
C1. Continuum 9
C2. Continuum 10
Praise for Space 1.8:
"An ambient jazz classic" - The Guardian
"A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements." - 8.3 ‘Best New Music’ Pitchfork
"Music so vast could feel lonely, but the sense of smallness one feels listening to Nala’s music is humbling and reassuring; the magnitudes of beauty we can create are unbound." - Jazzwise More
The album was composed, produced, arranged, and engineered by Sinephro. Performing on the album are Sheila Maurice-Grey, Morgan Simpson, James Mollison, Lyle Barton, Nubya Garcia, Natcyet Wakili, and Dwayne Kilvington, joined by Orchestrate’s 21 string players.
The album will be available on black 2LP vinyl with d-side etching as well as CD.
- Specs Black 2LP vinyl with etching to d-side in printed inner sleeves in 5mm spine sleeve. Housed in PVC wallet with flap.
Tracklist:
A1. Continuum 1
A2. Continuum 2
B1. Continuum 3
B2. Continuum 4
B3. Continuum 5
B4. Continuum 6
B5. Continuum 7
B6. Continuum 8
C1. Continuum 9
C2. Continuum 10
Praise for Space 1.8:
"An ambient jazz classic" - The Guardian
"A benchmark in ambient jazz featuring outstanding players and delicately woven arrangements." - 8.3 ‘Best New Music’ Pitchfork
"Music so vast could feel lonely, but the sense of smallness one feels listening to Nala’s music is humbling and reassuring; the magnitudes of beauty we can create are unbound." - Jazzwise 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, 180g, Half Speed Master, Gold Sticker, Obi Tag, Stoughton Sleeve
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 in a
Deluxe Limited Edition 2018 Reissue, 180g, Half Speed Master, Gold Sticker, Obi Tag, Stoughton Sleeve
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. Sonora
2
Ryo Fukui - A2. Stella by Starlight
3
Ryo Fukui - A3. Speak Low
4
Ryo Fukui - A4. Nobody Knows The Trouble I’ve Seen
5
Ryo Fukui - B1. Old Country
6
Ryo Fukui - B2. Soultrane
7
Ryo Fukui - B3. Chasin’ The Bird
8
Ryo Fukui - B4. Be My Love
-NO SALES TO JAPAN-
LP: 180g vinyl, half speed mastered, heavy sleeve, obi
Tracklisting LP
A1. Sonora
A2. Stella by Starlight
A3. Speak Low
A4. Nobody Knows The Trouble I’ve Seen
B1. Old Country
B2. Soultrane
B3. Chasin’ The Bird
B4. Be My Love
Info:
We Release Jazz is delighted to announce the official reissue of Ryo Fukui’s final album, the very personal contemporary jazz offering, A Letter from Slowboat, 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.
Known for his miraculous albums Scenery (1976) and Mellow Dream (1977), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz.
A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui’s jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day.
This is reissued in conjunction with Ryo Fukui’s Ryo Fukui in New York (1999), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, boats, Sapporo, Scenery, jazz clubs and very personal letters.
- Official reissue of the final album by legendary Hokkaido pianist Ryo Fukui.
- 8th 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, Marc Moulin’s Pla-cebo 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 Spoerri’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. Sonora
A2. Stella by Starlight
A3. Speak Low
A4. Nobody Knows The Trouble I’ve Seen
B1. Old Country
B2. Soultrane
B3. Chasin’ The Bird
B4. Be My Love
Info:
We Release Jazz is delighted to announce the official reissue of Ryo Fukui’s final album, the very personal contemporary jazz offering, A Letter from Slowboat, 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.
Known for his miraculous albums Scenery (1976) and Mellow Dream (1977), legendary Hokkaido pianist Ryo Fukui, with the help of his wife Yasuko, opened his very own jazz club in Sapporo in 1995, Slowboat. This is where Ryo Fukui spent the latter half of his career, playing again and again, welcoming peers for unforgettable sessions, and perfecting the craft he lived for: jazz.
A Letter from Slowboat is a poetic, soulful, and honest love letter to Hokkaido, to Fukui’s jazz club, and to endless hours of practicing artistry in a place called home. Backed by longtime collaborators Takumi Awaya on bass, and Ittetsu Takemura on drums, Ryo Fukui flows through classics and originals with natural class, fluidity and absolute precision, expressing a smooth balance between skills and heart. Slowboat, full of breathtaking solos and exquisite moments of clarity, is another crucial piece in the career of one of the most fascinating jazzmen to ever grace the piano. It was released in 2016, sadly the year Ryo Fukui passed away, leaving behind a legacy of works that is sure to captivate jazz lovers for generations to come, and Slowboat, where the magic still happens to this day.
This is reissued in conjunction with Ryo Fukui’s Ryo Fukui in New York (1999), also available via We Release Jazz.
Points of interests
- For fans of jazz, soul jazz, modal, hard bop, piano, Japanese jazz, boats, Sapporo, Scenery, jazz clubs and very personal letters.
- Official reissue of the final album by legendary Hokkaido pianist Ryo Fukui.
- 8th 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, Marc Moulin’s Pla-cebo 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 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
ML Buch - Pan Over The Hill
2
ML Buch - Whoosh
3
ML Buch - Flames Shards Goo
4
ML Buch - Somewhere
5
ML Buch - High Speed Calm Air Tonight
6
ML Buch - Fleshless Hand
7
ML Buch - Slide
8
ML Buch - Clearing
9
ML Buch - Well Bucket
10
ML Buch - Big Sun
11
ML Buch - Solid
12
ML Buch - Dust Beam
13
ML Buch - River Mouth
14
ML Buch - Mirror Bridge
15
ML Buch - Working It Out
*Gatefold Sleeve - Double LP**
‘Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions.
With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.
Credits:
Music composed, produced and performed by ML Buch
Mix by ML Buch
Master by Amir Shoat
Lacquer cut by Hari Kishore / Kommunal Dubplate Service
Artwork by ML Buch
Vocals recorded in cars along the Danish coast line
Guitars recorded in various houses and waterfront storage spaces
Reamped through a Peugeot SUV and in Kalundborg swimming pool, sauna, changing room
A1: Pan over the hill (5:23)
A2: Whoosh (2:30)
A3: Flames shards goo (3:48)
A4: Somewhere (3:49)
B1: High speed calm air tonight (4:40)
B2: Fleshless hand (5:53)
B3: Slide (2:54)
C1: Clearing (3:13)
C2: Well bucket (3:16)
C3: Big sun (3:46)
C4: Solid (4:39)
D1: Dust beam (2:06)
D2: River mouth (4:59)
D3: Mirror bridge (0:52)
D4: Working it out (3:39)
More
‘Suntub’ is the second full length album from ML Buch, a double record of 15 pieces by the Danish composer and producer, entering further into the realm of electric guitars and layered vocals along with exploring new instrumental expressions.
With an offset in open tunings on a 7-string Stratocaster, slide and fretless tablet guitars and deep-sampled virtual guitars, the album draws up narratives and locations in a distant time. Props like puddles, well buckets, bone barrels and flesh rags live in these scenes, suspended in air, drifting about, climbing stairs and ladders, all given life through guitar sensibilities and visceral vocals.
Credits:
Music composed, produced and performed by ML Buch
Mix by ML Buch
Master by Amir Shoat
Lacquer cut by Hari Kishore / Kommunal Dubplate Service
Artwork by ML Buch
Vocals recorded in cars along the Danish coast line
Guitars recorded in various houses and waterfront storage spaces
Reamped through a Peugeot SUV and in Kalundborg swimming pool, sauna, changing room
A1: Pan over the hill (5:23)
A2: Whoosh (2:30)
A3: Flames shards goo (3:48)
A4: Somewhere (3:49)
B1: High speed calm air tonight (4:40)
B2: Fleshless hand (5:53)
B3: Slide (2:54)
C1: Clearing (3:13)
C2: Well bucket (3:16)
C3: Big sun (3:46)
C4: Solid (4:39)
D1: Dust beam (2:06)
D2: River mouth (4:59)
D3: Mirror bridge (0:52)
D4: Working it out (3:39)
More
1
Passepartout Duo and Inoyama Land - Strange Clouds
2
Passepartout Duo and Inoyama Land - Abstract Pets
3
Passepartout Duo and Inoyama Land - Simoom
4
Passepartout Duo and Inoyama Land - Tangerine Fields
5
Passepartout Duo and Inoyama Land - Observatory
6
Passepartout Duo and Inoyama Land - Mosaic
7
Passepartout Duo and Inoyama Land - King in a Nutshell
8
Passepartout Duo and Inoyama Land - Xiloteca
9
Passepartout Duo and Inoyama Land - Solivago
10
Passepartout Duo and Inoyama Land - Berceuse
11
Passepartout Duo and Inoyama Land - Axolotl Dreams
1. LTD LP - Territory: WW Minus UK/Eire,Usa, Canada
For fans of: 'Kankyo Ongaku', Hiroshi Yoshimura (Green, Surround), Yasuaki Shimizu, the new album ‘Radio Yugawara’
is a masterclass in 'Kankyo Ongaku' (environmental music), new age and ambient.
-- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Locked Groove
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Electronic / Ambient
3. TRACKLISTS:
Please add track lists for all listed formats.
A1. Strange Clouds
A2. Abstract Pets
A3. Simoom
A4. Tangerine Fields
A5. Observatory
B1. Mosaic
B2. King in a Nutshell
B3. Xiloteca
B4. Solivago
B5. Berceuse
B6. Axolotl Dreams
4. SHORT INFO:
Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.
Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."
Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.
"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."
More
For fans of: 'Kankyo Ongaku', Hiroshi Yoshimura (Green, Surround), Yasuaki Shimizu, the new album ‘Radio Yugawara’
is a masterclass in 'Kankyo Ongaku' (environmental music), new age and ambient.
-- Limited Edition (300 copies worldwide)
- Transparent Clear vinyl
- Locked Groove
- Printed on heavyweight board outer sleeve
- Vinyl comes in black poly-lined protective bag
- Housed in a heavyweight PVC protective outer sleeve
- Hype front sticker
- Vinyl pressed at Optimal media GmbH
- Printed at Delga in the UK
2. GENRE/S: Electronic / Ambient
3. TRACKLISTS:
Please add track lists for all listed formats.
A1. Strange Clouds
A2. Abstract Pets
A3. Simoom
A4. Tangerine Fields
A5. Observatory
B1. Mosaic
B2. King in a Nutshell
B3. Xiloteca
B4. Solivago
B5. Berceuse
B6. Axolotl Dreams
4. SHORT INFO:
Kindred spirits Passepartout Duo and Inoyama Land embody the essence of play - charting a new chapter and reinvigorating the environmental music and electronic landscape.
Passepartout Duo is formed of Nicoletta Favari (IT) and Christopher Salvito (IT/US), who since 2015 have been on a continuous journey travelling the world's corners, engaged in a creative process they term "slow music". Having been guests of many notable artist residencies and with live performances in cultural spaces and institutions, their evocative music escapes categorisation. With no fixed abode their musical pilgrimage brought them to Japan first in 2019, which prompted a deep connection to Kanky? Ongaku 'environmental music', a genre in which Inoyama Land is often associated with, soundtracking the duo's first immersive experience. In 2023 the duo revisited Japan and set out to reconnect in particular with the music of Inoyama Land, performed by Makoto Inoue and Yasushi Yamashita. The highly revered album 'Danzindan-Pojidon' (1983) produced by Haruomi Hosono amongst other well publicized and acclaimed reissues (Light in The Attic Records' Grammy-nominated compilation 'Kanky? Ongaku'), produced a global resurgence and admiration of the environmental music movement. Nicoletta took the lead to seek out Inoyama Land and in making contact successfully their intrigue and eagerness to meet was warmly reciprocated, and the group scheduled to meet in the form of a spontaneous improvisation session. "We're deeply concerned with what it means to be a duo, and what it means for people to connect through music."
Radio Yugawara is a unique one-off transmission from a specific place and point in time, unlikely to ever occur again. The respective duo's approach can really be described as "tuning in", a tuning into each other, to themselves, and to the surrounding nature of Yugawara. Like waves that travel off-world, sounds travel through the universe and can be lost forever if we don't seek them out. In finding a harmonic affinity within their instruments and a spiritual kinship in their interwoven performance, Radio Yugawara at its core is an interpretation of feeling, of close human interaction and the true essence of discovery.
"The album is both a transmission from a location, but also a tuning into the surroundings and to each other. Music in this kind of ephemeral moment is much less about active creation and more about discovering something which is already there in the air."
More
Label:We Release Jazz
Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Jazz / Nu Jazz
Configuration:LP Excl
Label:We Release Jazz
Cat-No:WRJ010LTD
Release-Date:16.07.2021
Genre:Jazz / Nu Jazz
Configuration:LP Excl
1
Hiroshi Suzuki - A1. Shrimp Dance
2
Hiroshi Suzuki - A2. Kuro To Shiro
3
Hiroshi Suzuki - B1. Walk Tall
4
Hiroshi Suzuki - B2. Cat
5
Hiroshi Suzuki - B3. Romance
No sales to Japan!
LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), 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. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, 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, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
More
LP: 180g vinyl, half speed mastered, heavy sleeve, obi, gold ink
Genre: Jazz, Fusion, Funk
Tracklisting LP
A1. Shrimp Dance
A2. Kuro To Shiro
B1. Walk Tall
B2. Cat
B3. Romance
Info
We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki's glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), 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. Both versions come with liner notes by Teruo Isono.
Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown.
The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka's heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums).
Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui's Scenery, has fascinated old and young generations alike.
Points of interests
- For fans of jazz, fusion, funk, trombone, Japanese jazz, smooth rides, cats, allure.
- Official reissue of the glorious jazz-fusion album by Japanese trombonist extraordinaire Hiroshi "Neko" Suzuki.
- 10th release from We Release Jazz, following Ryo Fukui's Scenery, Mellow Dream, A Letter from Slowboat, and Ryo Fukui in New York, 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, Pierre Barouh's Le Pollen, Jun Fuka-machi's Nicole, Grauzone's discography, …)
More
1
Hiroshi Yoshimura - Time After Time
2
Hiroshi Yoshimura - Surround
3
Hiroshi Yoshimura - Something Blue
4
Hiroshi Yoshimura - Time Forest
5
Hiroshi Yoshimura - Water Planet
6
Hiroshi Yoshimura - Green Show
Repress!
If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.
— Hiroshi Yoshimura
Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces.
In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way.
A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.
* First-ever official reissue of the pioneering 1986 ambient work
* Produced in full cooperation with Hiroshi Yoshimura’s estate
* New liner notes by original album producer Hiroyoshi Shiokawa
* Includes Yoshimura’s original notes in Japanese & English
* Remastering and lacquer cutting by John Baldwin
* Vinyl pressed at Gotta Groove Records
Original credits:
COMPOSED & PERFORMED Hiroshi Yoshimura
RECORDED Hiroo 806 Studio, Kojima Recording Studio
RECORDING ENGINEER Yukio Kojima
DESIGN Toshikazu Ota
PHOTO Yoichi Nagata
PRODUCTION Misawa Homes Institute of Research and Development
Reissue credits:
REISSUE PRODUCERS Yosuke Kitazawa & Patrick McCarthy
REMASTERING & LACQUERING John Baldwin
VINYL PRESSING Gotta Groove Records
REISSUE DESIGN & LAYOUT Ella Gold
ARTWORK SCANNING Satomi Sugiyama
RETOUCHING Ward Long
REISSUE LINER NOTES Hiroyoshi Shiokawa
TRANSLATION Yosuke Kitazawa
SPECIAL THANKS Yoko Yoshimura More
If Surround can be listened to as music that’s as close to air itself, allowing us to enter each listener’s sound scenery, or as something that exists within a new perspective, expanding the middle ground between sound and music, and transforming it into a comfortable space, it would be much appreciated.
— Hiroshi Yoshimura
Originally released as an album in January 1986, Surround was recorded by Yoshimura as a commission from home builder Misawa Homes, intended to function as an “amenity” designed to enhance the company’s newly built living spaces.
In his original notes for the album, Yoshimura recommends that Surround be placed in the same family of sounds “as the vibration of footsteps, the hum of an air conditioner, or the clanging of a spoon inside a coffee cup.” And, as he suggests, “with the addition of city noise from outside the window,” you may hear Surround in a completely new way.
A pioneer in the field of environmental music, Yoshimura’s previous works included Music For Nine Post Cards (1982), originally produced to be played back inside a museum space, and designing sound environments for public spaces and subway systems. Surround was recorded almost concurrently with the acclaimed and popular GREEN (1986); the two albums are described by Hiroyoshi Shiokawa in his liner notes as being Yoshimura’s yin and yang.
* First-ever official reissue of the pioneering 1986 ambient work
* Produced in full cooperation with Hiroshi Yoshimura’s estate
* New liner notes by original album producer Hiroyoshi Shiokawa
* Includes Yoshimura’s original notes in Japanese & English
* Remastering and lacquer cutting by John Baldwin
* Vinyl pressed at Gotta Groove Records
Original credits:
COMPOSED & PERFORMED Hiroshi Yoshimura
RECORDED Hiroo 806 Studio, Kojima Recording Studio
RECORDING ENGINEER Yukio Kojima
DESIGN Toshikazu Ota
PHOTO Yoichi Nagata
PRODUCTION Misawa Homes Institute of Research and Development
Reissue credits:
REISSUE PRODUCERS Yosuke Kitazawa & Patrick McCarthy
REMASTERING & LACQUERING John Baldwin
VINYL PRESSING Gotta Groove Records
REISSUE DESIGN & LAYOUT Ella Gold
ARTWORK SCANNING Satomi Sugiyama
RETOUCHING Ward Long
REISSUE LINER NOTES Hiroyoshi Shiokawa
TRANSLATION Yosuke Kitazawa
SPECIAL THANKS Yoko Yoshimura More
(Gatefold 2LP with obi strip) This is a completely unreleased live recording from June 8, 1977
"The pleasure in listening to this was vast an unreleased trio recording by Ryo Fukui during these times of global pandemics this is the healing force we all need." Gilles Peterson
TRACKLIST
A1.Mellow Dream
B1.Speak Low
B2.Body And Soul
C1.Love For Sale
D1.Mr. P.C.
D2.My Foolish Heart
INO
This is a completely unreleased live recording from June 8, 1977.
The recording was made at the Sapporo live house “Vidro” by Masataka Ito, the producer of Fukui’s “Scenery” and “Mellow Dream”.
This is the performance of the Fukui Trio at that time, but at the same time, it has an overwhelming amount of heat and freshness that you don’t find in-studio recordings, and it is very exciting. Not to mention the brilliant 16-minute “Mellow Dream”, the dynamic “Speak Low”, the lustrous “Body & Soul”, the galloping “Love For Sale”, the profound “Mr. P.C.”, and the spilling “My Foolish Heart”. It was an amazing performance. More
"The pleasure in listening to this was vast an unreleased trio recording by Ryo Fukui during these times of global pandemics this is the healing force we all need." Gilles Peterson
TRACKLIST
A1.Mellow Dream
B1.Speak Low
B2.Body And Soul
C1.Love For Sale
D1.Mr. P.C.
D2.My Foolish Heart
INO
This is a completely unreleased live recording from June 8, 1977.
The recording was made at the Sapporo live house “Vidro” by Masataka Ito, the producer of Fukui’s “Scenery” and “Mellow Dream”.
This is the performance of the Fukui Trio at that time, but at the same time, it has an overwhelming amount of heat and freshness that you don’t find in-studio recordings, and it is very exciting. Not to mention the brilliant 16-minute “Mellow Dream”, the dynamic “Speak Low”, the lustrous “Body & Soul”, the galloping “Love For Sale”, the profound “Mr. P.C.”, and the spilling “My Foolish Heart”. It was an amazing performance. More
1
Parasite Jazz - pi dub (10:29)
2
Parasite Jazz - Alarm Twist (2:44’)
3
Parasite Jazz - Damn Spring (3:36’)
4
Parasite Jazz - Terciopelo (3:33’)
5
Parasite Jazz - Carton Jazz (2:01’)
6
Parasite Jazz - Glissement de terrain (8:11’)
7
Parasite Jazz - Untitled (Live à Gigors) (9:54’)
Territories: WW minus FR and BENELUX
Tracklist
A1. pi dub (10:29’)
A2. Alarm Twist (2:44’)
A3. Damn Spring (3:36’)
A4. Terciopelo (3:33’)
B1. Carton Jazz (2:01’)
B2. Glissement de terrain (8:11’)
B3. Untitled (Live à Gigors) (9:54’)
Release Info:
First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad
French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).
Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.
All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes
Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering
Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).
Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.
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Tracklist
A1. pi dub (10:29’)
A2. Alarm Twist (2:44’)
A3. Damn Spring (3:36’)
A4. Terciopelo (3:33’)
B1. Carton Jazz (2:01’)
B2. Glissement de terrain (8:11’)
B3. Untitled (Live à Gigors) (9:54’)
Release Info:
First release on the new french label Disques de la Spirale, featuring an experimental motorik-kraut-dub infused, semi-improvised live act built by Tamara Goukassova, Axel Larsen & Théo Delaunay (Panoptique, Succhiamo, Violent Quand on Aime, Radiante Pourpre..) from Simple Music Experience ; featuring Maoupa Mazzocchetti, Fiesta en el Vacío, Ventre de Biche, Kyle Knapp (Deliluh) …
For fans of Faust, Tomaga, Tony Conrad
French non-jazz trio overflowed by Simple Music Experience’s funders Tamara Goukassova, Théo Delaunay & Alexandre Larcier, offering a 40mn of non-simple music madness, and navigating between a dozen of etiquettes from undecided space rock to motorik-infused-dub, medieval folk, cartoon trance; everything under the seal of psychedelia and half-improvisation.
Built from drums, violin, springs, samples, reiterations, overdubs, trumpets, synths, distortions; and the appearances of L. Cedrón (Fiesta en el Vacío), L. Retraite (Ventre de Biche), K. Knapp (Deliluh), F. Mazzocchetti (Maoupa Mazzocchetti).
Chimera embraced by three members of the Simple Music Experience label, also (co-) liable at one point for the acts of Axel Larsen, (The) Simplists, Violent Quand On Aime, Constance Chlore, T. Goukassova, Radiante Pourpre, Succhiamo or Panoptique; Parasite Jazz emerged in 2016 in the smoke of a suspicious performance on Simple Music TV. An improvised and protean artifact at birth, the project settled down at the end of 2020 as a trio (Axel Larsen, Constance Chlore, Tamara Goukassova) in Marseille, then as a sextet during the Illusio festival in the summer of 2021. A series of concerts with a shifting line-up followed - Kyle Knapp, Luca Retraite and Luna Cedrón sometimes appeared and with them, spontaneous incandescences. This first series of collective hallucinations took the form of an album during a perilous recording at Grrrnd Zero (Lyon) in October 2021, and is completed by live recordings gleaned over the course of the summer episodes.
All tracks are composed and performed by Parasite Jazz:
Alexandre Larcier: bands, FX, springs
Tamara Goukassova: violin
Théo Delaunay: drums, percussion, synthesizer, tapes
Florent Mazzocchetti: trumpet on "Carton Jazz" and "Alarm Twist" (sampled)
Luca Retraite: bass on “Terciopelo” and guitar on “Alarm Twist”
Luna Cedron: vocals on “Terciopelo”
Kyle Knapp: lap steel on “Terciopelo” and “Untitled live at Gigors”
Around Function: Sketches, band lettering
Recorded and mixed by Théo Delaunay at Grrrnd Zero (Lyon) and l'Embobineuse (Marseille) except "Terciopelo" recorded at Illusio (Pradelles) and "Untitled live at Gigors" at La Sye Electric (Gigors-et-Lozeron).
Mastering: Rupert Clerveaux
Cover: Diane Malatesta
Design: Alan Briand
Parasite Jazz thanks: Quentin Mosko, the Groovedge/Illusio crew, Théo & Clyde, Maoupa Mazzocchetti, the 3 jokers Luna Luca and Kyle, Grrrnd & the Embobineuse.
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
Cortex - Californie
2
Cortex - Moanion
3
Cortex - Stevie
4
Cortex - Stevie
5
Cortex - The sky is grey i'm so blue
6
Cortex - Psychose
7
Cortex - Mary & Jeff (Fender Rhodes Version 77')
8
Cortex - Les oiseaux morts
“RARE & LOST TAPES” is a collection of singles by the legendary group CORTEX never released on album.
This album brings together previously unreleased and rare recordings such as "Les Oiseaux Morts" (Alternative Take 76) released only as a Test Pressing, "Mary & Jeff" (Fender Rhodes Version 77) recorded for TV, or "Californie" & "Stevie" released for the Side Project CARIBOU in 7Inch...
A1 - Californie
A2 - Moanion
A3 - Stevie
A4 - The sky is grey i'm so blue
B1 - Psychose
B2 - Mary & Jeff (Fender Rhodes Version 77')
B3 - Les oiseaux morts
B4 - Les oiseaux morts (Alternative Take 76') More
This album brings together previously unreleased and rare recordings such as "Les Oiseaux Morts" (Alternative Take 76) released only as a Test Pressing, "Mary & Jeff" (Fender Rhodes Version 77) recorded for TV, or "Californie" & "Stevie" released for the Side Project CARIBOU in 7Inch...
A1 - Californie
A2 - Moanion
A3 - Stevie
A4 - The sky is grey i'm so blue
B1 - Psychose
B2 - Mary & Jeff (Fender Rhodes Version 77')
B3 - Les oiseaux morts
B4 - Les oiseaux morts (Alternative Take 76') More
1
Cousin - Catsu
2
Cousin - Overpass
3
Cousin - 3 x a Charm
4
Cousin - Muster
5
Cousin - Citta
Repress!
On New Year's morning, Cousin took a weary-eyed walk... ‘HomeSoon’ he thought, whilst cutting to the path by the Angophora Forest. As he made it down to the overgrown sidewalk, he caught a sudden sense of warmth from the surrounding flora. On closer focus, it was as if the plants and flowers had come alive...pulsing forward down the path as they bounced, smiled, and sneered all around him. Against logic, he was struck by an almost Garsonian desire to communicate with them.
This feeling lingered, persisting through several studio sessions. The music written over this period makes up this EP. How directly this experience informed the music is hard to say. What effect it had on the surrounding plant life is even harder to tell… we do hope, however, through listening to it, you’re a little more tuned in to them. More
On New Year's morning, Cousin took a weary-eyed walk... ‘HomeSoon’ he thought, whilst cutting to the path by the Angophora Forest. As he made it down to the overgrown sidewalk, he caught a sudden sense of warmth from the surrounding flora. On closer focus, it was as if the plants and flowers had come alive...pulsing forward down the path as they bounced, smiled, and sneered all around him. Against logic, he was struck by an almost Garsonian desire to communicate with them.
This feeling lingered, persisting through several studio sessions. The music written over this period makes up this EP. How directly this experience informed the music is hard to say. What effect it had on the surrounding plant life is even harder to tell… we do hope, however, through listening to it, you’re a little more tuned in to them. More