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Krokofant II

SKU: RCD2177CD
Label:
Rune Grammofon
Category:
Jazz Rock
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"This young, semi-improvising power trio – Tom Hasslan (guitars), Axel Skalstad (drums) and Jørgen Mathisen (saxophone) – typify a new and invigorating movement currently sweeping across the Nordic region: hard boiled improvisation and strong instrumental personalities bolted onto rock beats and driving rhythms. Equally powerful on record and on stage, Krokofant pull no punches, sounding off like some unholy three-way marriage of early 70s jazz rock (Mahavishnu Orchestra, Terje Rypdal, Ray Russell), the sprawling progressive odysseys of King Crimson and Henry Cow, and the fierce heat of Peter Brötzmann’s harsh free jazz ensembles. If last years debut was a fresh breath of youthful energy, this follow-up shows a trio very confident of their abilities. They ally a strong discipline with wide, exploratory arcs, Tom’s agile guitar and Jørgen’s snaking sax are always fighting to break out, just held in check by Axel’s tough, rhythmic tumble. Only 22 years old, the young drummer is something of a sensation, combining pure energy with superior technical skills. This is a trio where you can hear the individuals pushing each other to new hights while keeping the solid group foundation intact."

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  • "Once upon a time there was a guitar god who had grown bored with all his fame, riches and glory. He longed for something more than another multi-platinum selling record. He desired not simply acclaim, but respect. He knew to get it he would have to walk away from the distinctive style that made him popular and wealthy. It was a risk to confuse his band and his fans by making a radical change in his musical direction. But he did it anyway and broke up the classic version of his band, alienating much of his audience in the process.It must have seemed worth it at the time to Carlos Santana. Appearing at Woodstock had announced to the world there was a new guitar hero on the scene, a skinny Mexican who fused elements of rock, Latin, jazz and funky R&B in one soul-stirring stew. Santana delivered on the promise with a trilogy of terrific albums.The initial effort in Santana's amazing adventures in fusion, Caravanserai (Columbia, 1972), is the sound of a band uncertain of its music and its leader equally uncertain of the direction he wants to take them. Following Santana III (Columbia, 1971), it must have puzzled executives at Columbia when Santana presented it to them. While it has its definite highs, the low points of Caravanserai are very low.Gregg Rolle was skillful on the organ, acceptable as a vocalist and totally out of his league trying to fake it as a jazz musician. Rolle simply lacked the feel for this dense, hook-free tunes and soon would leave to form Journey, taking guitarist Neal Schon with him.The record is disjointed as Santana can't fully let go of the Latin rock that made him wealthy and famous. Never the strongest vocalist, Rolle sings on three unmemorable songs. The songs aren't strong and neither is the playing. You can almost feel Santana's frustration. If he were going to succeed in this new path he was on he would need something conspicuous in its absence from Caravanserai.He would need better musicians to play the way he wanted and better music for them to play. Carlos took the first step when he joined with guitarist John McLaughlin for Love, Devotion and Surrender (Columbia, 1972). Santana brought along members of his band and teamed with McLaughlin's Mahavishnu Orchestra to produce an eclectic electric guitar summit that perplexed fans, critics and record executives.Welcome solved both problems. David Brown (bass) and Michael Carabello (percussion) were already out by that time and Rollie and Schon were eyeballing the exit sign as well.Santana has always fused the spiritual with the secular and Welcome is as close as the guitarist has ever come to the former with no regard for the latter. Welcome yielded no hit singles and was never conceived as an album rock radio would play. This is Santana's John Coltrane/A Love Supreme moment: creating transcendent, reverent, passionate music conceived and executed by a virtuoso artist without the slightest trace of concern for commercial considerations.The opening drone of the two organs on "Going Home" played by Tom Coster and Richard Kermode build gradually and soar high with grandeur. Santana lays out here and frequently fades into the background entirely. He is finally secure in his own playing and doesn't have to take the lead. His new-found confidence comes from knowing he finally has a band capable of delivering the goods and they do. Welcome is every bit as much of a classic as the first three Santana albums. It sounds great nearly 40 years after its release.The only comparable rock guitarist who altered his sound as drastically as Santana did with Welcome is Jeff Beck, with his career-altering Blow by Blow (Epic, 1975). The critical difference is Beck was taking the next step after a series of unremarkable bands and records that had flopped. Santana was at the peak of his fame when he drastically altered course and followed the path of A Love Supreme in seeking to make music that satisfied his soul, not a record company's ledger sheet.Even Robert Christgau, the noted (and notorious) rock critic/curmudgeon, and former music editor of The Village Voice smiled upon Welcome."More confident and hence more fun than Caravanserai, this proves that a communion of multipercussive rock and transcendentalist jazz can move the unenlightened—me, for instance. Good themes, good playing, good beat, and let us not forget good singing—Leon Thomas's muscular spirituality grounds each side so firmly that not even Flora Purim can send it out the window."Not everybody completely "got" Welcome in 1973. It wasn't slightly different like Caravanserai, with one foot still in rock and another with a toe dipping lightly into not only jazz fusion, but even free jazz. The signature sizzling guitar solos were there, but more restrained and at times even submerged within the collective of the group.The secret weapon is Michael Shrieve's energetic drumming and the dual keyboard attack of Coster and Kermode. They push and pull Santana to go beyond and stop holding back. Some have called the album disappointingly thin and self-indulgent, but that's a harsh assessment. There are no hit singles or any concessions made to radio here. Maybe an adventuresome jazz station would play "Samba De Sausalito," but even the vocal tracks, "When I Look Into Your Eyes" and "Light of Life" feature Leon Thomas' vocals. Alternating between soulful singing and off-the-wall yodeling, Thomas is perhaps the most polarizing of the many Santana vocalists.The other unique aspect to Welcome band was the band's first female member, Wendy Haas, a vocalist and keyboard player Santana plucked from Azteca, the same band he found a hot-shot 17-yr-old guitarist named Neal Schon, the future guitarist of Journey.If Welcome is the summit of Santana's jazz fusion era, Lotus (Columbia, 1974) and Borboletta (Columbia, 1974) are the sound of that era falling off a cliff. Lotus was a mammoth three-record live set that was only available as a high-priced import, but in 1991 Columbia released it domestically whittling it down to two CDs. It's brilliant, messy and at times, total overkill in overlength and Thomas is inept trying to front Santana standards such as "Black Magic Woman." Borboletta showcases a sullen Santana fronting an equally lethargic band and cursed by the ugliest cover art ever to appear on a Santana record. It's the splat of the band finally hitting the proverbial wall.frustrated by tepid record sales, Santana ditched his dalliance with jazz and returned to Latin rock glory with Amigos (Columbia, 1976). Though he was still billed as "Devadip" Carlos Santana he was drifting away from his guru, Sri Chimoy, and would leave both him and jazz behind for the rest of his career. Blues For Salvador (Columbia, 1987) won a Grammy for Best Instrumental and Santana Brothers (Universal/Polygram, 1994) is good, but these are primarily instrumental recordings and not really jazz.The Swing of Delight (Columbia, 1980) pairs Santana with trumpeter Miles Davis' classic quintet colleagues Herbie Hancock, Tony Williams, Ron Carter and Wayne Shorter, with Santana's blistering guitar leads replacing the lonely fire of Davis' trumpet, but the result isn't as incendiary as might have been hoped for. Most of the songs on The Swing of Delight are merely star-filled jam sessions lacking the structure and passion of Welcome.Santana has continued to release instrumental albums, but they aren't jazz and since the 15 million-selling Supernatural granted him late career superstar status on him in 1999, he has wasted the better part of a decade chasing similar success minus similar results. The bottom of the barrel is Guitar Heaven, which sounds like the name for a video game but is a pandering mess of classic rock covers.At this point in his life, Santana should be financially secure and has married his second wife, jazz drummer Cindy Blackman. In May he released the 22nd Santana album, Shape Shifter (Starfaith, 2012). With the exception of one vocal track it is a recording of instrumentals exclusively, with just the man and his band and no awkward guest stars crow-barred in except his son Salvador playing keyboards.In an interview, Santana explained why he was taking a break from his overly commercial direction of the past decade."In a lot of ways, yes, because I don't need to accommodate lyrics, and I don't need to accommodate artists. I say this in a funny way, but it's more about letting a Mexican play the guitar, you know?""I'm never going to wait so long to brew 'em like this anymore. I'm going to make sure that I do one album like this and then another kind. I remember reading that John Coltrane would do one Pursuance album, and then he'd do a ballads album where he'd hardly play a solo—he'd just play the melody verbatim."Shape Shifter may be a slight retreat for Santana from pop music and a return to pulling power chords from his guitar, but it's not going to be "Welcome: The Sequel." That was a different man making different music in a different time. The Santana of 1973 is not the Santana of 2012, but that man would not be the one he is now had he not chased his inner Coltrane and made a record as bold, brave and eternally beautiful as Welcome."- All About Jazz
    $7.50
  • THIS CD HAS BLOWN ME AWAY!!!Nataraja is an incredible new quartet assembled by British guitarist Jack Jennings.  Jennings has extensively studied and taught Indian classical guitar and sitar.  He has taken these influences and migrated them into the world of rock and jazz rock.  The rhythm section is a bit of a surprise as they come from the prog rock work but they fit right in.  John Jowitt (IQ, Frost*, Arena) on bass and Andy Edwards (Robert Plant, IQ, Frost*) are a volcanic rhythmic machine.  I know Andy has deep interest in jazz rock/fusion so he didn't surprise me as much as John's bass work in this genre.  Who knew?  Richard Charles Boxley is credited with "analog modular synthesis".  He contributes a textual, ambient element with drones coming into play in the background.So you have this great foundation for Jack Jennings.   His playing is unbelievable.  His fingers fly - its just burning solos.  He's clearly influenced by Jimi Hendrix and John McLaughlin.  The music he has created is a melding of two worlds - Indian music and jazz rock.  Clearly Mahavishnu Orchestra and Shakti are an influence on his writing.  The band locks in and Jennings' soloing is blistering.  Amazing!  What's more amazing is that this was recorded live.  In fact it may well have been the band's first live gig.This is so unique and so fresh I can't stop raving about it.  If you are tired of hearing the same old stuff and want to hear something that sounds vital you have to check out this album.  I can't say I've heard anything else like it.  Its still early in 2024 but this is my frontrunner for album of the year.BUY OR DIE."Jack Jennings is one the few guitarists to fully adapt Indian Classical Music. He is disciple of sitar virtuoso's Roopa Panesar and Shakir Parvez Khan. He has worked with the legendary Pandit Sanju Sahai, Omar Peunte, Manish Pingle and Gurdain Rayatt and many others. His previous band Ashowka fused Indian Music with Rock/Jazz and was signed to Geoff Barrow’s (of Portishead) label in Bristol.Andy Edwards is a drummer and producer. He has toured the world with rock legend Robert Plant and played on classic prog albums by Frost and IQ. As a drum clinician he has played with Terry Bozzio, Kenny Aronoff, Thomas Lang, Marco Minneman and Mike Portnoy.John Jowitt has been awarded the British Classic Rock Society's award for best bass player seventeen times! He is best known for his work with IQ, with whom he recorded five studio albums, as well as Frost*. He also recorded and played live with Arena, Ark and Jadis, as well as playing bass live for John Wetton, Uriah Heep, Peter Banks (Yes), Tim Bowness and John Young, amongst others.At times otherworldly, the music of electronic composer and modular synthesist Richard Charles Boxley, aka Wave Tenet, takes inspiration from artists such as Brian Eno, Aphex Twin and Four Tet. Sitting firmly within the world of ambient electronic, Richard's music has been described as having "Beautiful haunting sounds..." and "Pure tonal and textural beauty!"."
    $14.00
  • This one is a great deal. Small slipcase edition of the five remastered Soft Machine albums: Third through Seven. Albums are in simple jackets with cover art (there is a link to a website with full album credits). Comes out to 5 bucks a disc - can't beat that!
    $25.00
  • 28 years is a long time for a band to stay together but that's how long Woodenhead has been playing together. They have quietly cultivated a dedicated cult following in New Orleans. Now Free Electric Sound is bringing this extraordinary quartet to a national audience. Woodenhead's music is a spicy gumbo of jazz fusion, symphonic rock and local R 'n' B flavors (sorry for the wordplay!)The group has toured the U.S. and Central America and has played the New Orleans Jazz and Heritage Festival for over 20 years. The band has played with the Dixie Dregs, Mahavishnu Orchestra, Billy Cobham, Chick Corea's Elektrik Band, John McLaughlin Trio, Bela Fleck and The Flecktones, Tuck And Patti, Hugh Masekela, Spyro Gyra, Robben Ford, Johnny Winter, Stevie Ray Vaughn, and John Mayall, and has toured with the Steve Morse Band and Allan Holdsworth."Perseverance", the band's 6th album, was recorded live in New Orleans and captures all the energy and emotional playing of a Woodenhead gig. Augmented by a horn section, the band's music comes across as a blend of the Dixie Dregs, Happy The Man, and Hot Rats-era Zappa. This is an album with broad appeal to fans of jazz rock, prog rock and even Cajun music."At the New Orleans jazz festival, Woodenhead gets a standing ovation for teaching traditional jazz fans just how far imagination and electricity can push the form" - Esquire magazine
    $5.00
  • "The recordings of 'Striptease' were a long time lost. In 1975 Secret Oyster had reached broad acceptance in Danish cultural life and on the music scene. Their 3rd album 'Vidunderlige Kaelling (Astarte)', reissued on vinyl and CD by LongHair, received massive media attention and a big audience. After finishing the rcordings for their 4th album 'Straight To The Krankenhaus' (also reissued on vinyl and CD by LongHair) the band was pleased to work on the recordings for another "ballet" with working title 'Striptease' by famous choreographer Flemming Lindt. The recordings took place in May 1976, 8 tracks, all composed by saxophone and keyboard player Karsten Vogel and further keyboarder Kenneth Knudsen. Musically a mixture of the 3rd and 4th album with the 7 minutes highlight 'Pas De Deux' which features Claus Böhling on guitar at his best. Great atmospheric music, dominated by organ and sax, wonderful melodies: these recordings had that special Secret Oyster feeling; great stuff, intelligent fusion rock with changing moods. Includes liner notes by Karsten Vogel, rare photos and is remastered." 
    $24.00
  • Esoteric Recordings are proud to announce the release of a newly re-mastered 6CD clamshell boxed set anthology featuring all the recordings released by Vertigo Records by the legendary jazz-rock group Nucleus and their founder Ian Carr.“Torrid Zone – The Vertigo Recordings 1970 – 1975” features every track from the highly celebrated albums “Elastic Rock”, “We’ll Talk About It Later”, “Solar Plexus”, “Belladonna”, “Labyrinth”, “Roots”, “Under The Sun”, “Snakehips Etcetera” & “Alleycat”, all newly re-mastered from the original Vertigo master tapes.The trumpeter and flugelhorn player Ian Carr was one of the most respected musicians of his era, a true pioneer who saw the potential in fusing the worlds of jazz with some of rock music’s sensibilities. Tiring of the current forms in British jazz, Carr formed Nucleus in 1969, around the same time as Tony Williams was pursuing new paths with his band Lifetime and Miles Davis was experimenting on the album In a Silent Way. With saxophonist and keyboard player Karl Jenkins, drummer John Marshall, saxophonist Brian Smith, bassist Jeff Clyne and guitarist Chris Spedding, the first line-up of Nucleus signed to Vertigo records in late 1969 and recorded the ground-breaking album “Elastic Rock” in January 1970. The original album liner note stated the aims of the band thus; ‘Nucleus is just what the word implies – a small, tightly knit group of musicians. We’re all closely involved with each other musically, and some of us have played together in different contexts before, but this is the first time we’ve met to try and realise our common musical ideals. We see music as a continuous process and have tried to express this on the album. We mean continuous not simply in the physical sense of non-stop sets, but in the general sense that we don’t recognise rigid boundaries, but try to use our total musical experience, whatever it may be’.“Elastic Rock” received praise from both jazz and rock critics and was followed early the following year by the equally innovative album “We’ll Talk About It Later”. The album “Solar Plexus” (also issued in 1971) was credited to Ian Carr & Nucleus and was the last album to feature the original band members. Karl Jenkins and John Marshall would soon join Soft Machine, another innovative group. Following the solo album “Belladonna” (1972), which featured contributions from guitarist Allan Holdsworth, Ian Carr formed a new line up of Nucleus (including among others bassist Roy Babbington, drummer Clive Thacker, keyboard player Dave MacRae and saxophonist Brian Smith who had appeared on “Belladonna”) to record the impressive “Labyrinth” in 1973.Over the next two years and on the albums “Roots”, “Under the Sun”, “Snakehips Etcetera” and “Alleycat” the line-up of Nucleus would fluctuate, but Carr would continue to guide a group of innovative and skilled musicians, creating albums that took jazz to new levels of creativity.This re-mastered 6 CD clamshell box set celebrates the vision and genius of Ian Carr and all the musicians associated with Nucleus During the period the band recorded its most influential work. “Torrid Zone” features an illustrated booklet with an essay by writer Sid Smith and is a fine tribute an innovative force in British jazz.DISC ONE:1. 19162. ELASTIC ROCK3. STRIATION4. TARANKI5. TWISTED TRACK6. CRUDE BLUES (PART ONE)7. CRUDE BLUES (PART TWO)8. 1916 – THE BATTLE OF BOOGALOO9. TORRID ZONE10. STONESCAPE11. EARTH MOTHER12. SPEAKING FOR MYSELF, PERSONALLY, IN MY OWN OPINION, I THINK…13. PERSEPHONE’S JIVETAKEN FROM THE ALBUM “ELASTIC ROCK”14. SONG FOR THE BEARDED LADY15. SUN CHILD16. LULLABY FOR A LONELY CHILD17. WE’LL TALK ABOUT IT LATERTAKEN FROM THE ALBUM “WE’LL TALK ABOUT IT LATER”DISC TWO:1. OASIS2. BALLAD OF JOE PIMP3. EASTER 1916TAKEN FROM THE ALBUM “WE’LL TALK ABOUT IT LATER”4. ELEMENTS I & II5. CHANGING TIMES6. BEDROCK DEADLOCK7. SPIRIT LEVEL8. TORSO9. SNAKEHIPS’ DREAMTAKEN FROM THE ALBUM “SOLAR PLEXUS”DISC THREE:1. BELLADONNA2. SUMMER RAIN3. REMADIONE4. MAY DAY5. SUSPENSION6. HECTOR’S HOUSETAKEN FROM THE ALBUM “BELLADONNA”7. ORIGINS8. BULL DANCE9. ARIADNE10. ARENATAKEN FROM THE ALBUM “LABYRINTH”DISC FOUR:1. EXULTATION2. NAXOSTAKEN FROM THE ALBUM “LABYRINTH”3. ROOTS4. IMAGES5. CALIBAN6. WHAPATITI7. CAPRICORN8. ODOKAMONA9. SOUTHERN ROOTS AND CELEBRATIONTAKEN FROM THE ALBUM “ROOTS”10. IN PROCESSION11. THE ADDISON TRIP12. PASTORAL GRAFFITI13. NEW LIFE14. A TASTE OF SASPARILLATAKEN FROM THE ALBUM “UNDER THE SUN”DISC FIVE:1. THEME 1 – SASPARILLA2. THEME 2 – FEAST ALFRESCO3. THEME 3 – RITES OF MANTAKEN FROM THE ALBUM “UNDER THE SUN”4. RAT’S BAG5. ALIVE AND KICKING6. RACHEL’S TUNE7. SNAKEHIPS ETCETERA8. PUSSYFOOT9. HEYDAYTAKEN FROM THE ALBUM “SNAKEHIPS ETCETERA”DISC SIX:1. PHAIDEAUX CORNER2. ALLEYCAT3. SPLAT4. YOU CAN’T BE SURE5. NOSEGAYTAKEN FROM THE ALBUM “ALLEYCAT”
    $42.00
  • "Leading up to its fifth studio album, Accordo dei Contrari had one simple yet ambitious goal: to make music that was “original, challenging, and beautiful at the same time”. By that measure, UR- is a resonant success [and an impressive introduction to North American listeners]. Laced with sky-soaring melodies, complex polyrhythms, and dark riffage, the Bologna-based art-rock ensemble’s latest music – released in the band’s 20th year – invokes elements of the musical past while sounding distinctly Italian, undeniably sophisticated, and utterly new. One obvious touchstone for Accordo dei Contrari is the ecstatic energy of the Mahavishnu Orchestra’s Birds of Fire. In fact, the title of UR-’s second track, “Così respirano gli incendi del tempo”, even makes a veiled allusion to the pioneering fusion ensemble’s masterwork; it translates as “This is how the fires of time breathe”. Here, the musical story-telling is almost filmic—as it often is, according to leader and primary composer Giovanni Parmeggiani. “My writing takes inspiration from imaginary scenes or dreams,” the keyboardist explains. A further key to Ur- can be found in the structural elements Parmeggiani builds into his compositions. He’s especially fond of basing certain passages—the new record’s “Secolo breve” would be a good example—on a repeated keyboard ostinato, something he describes as both a considered nod towards minimal composition and a playful elaboration on the hard-rock riff. Parmeggiani admits that as Accordo dei Contrari’s bandleader and principal composer, he can occasionally “act like a tyrant”. Tyrant or not, Parmeggiani is also generous in his praise. “The present lineup is the best group I have worked with so far,” he enthuses. “Accordo dei Contrari now sounds more cohesive than ever, and it is a very solid band.” "
    $15.00
  • Two classic albums "Paratyphus B" and "Inactin" from the great Polish violinist's early 70s jazz rock ensemble reissued along with a previously unreleased Radio Bremen live broadcast.  The Michal Urbaniak Group featured Adam Makovicz on electric piano and of course Urbaniak's wife Urszula Dudziak on wordless vocalizing.  If you are a fan of Jean-Luc Ponty's work or even Soft Machine you need to hear this set.  It will really open your ears.  BUY OR DIE!Multi-instrumentalist Michal Urbaniak (violin, saxophone, lyricon). was born in Warsaw in1943 but grew up in Lodz, of which he is an ambassador and honorary citizen. In 1962 he traveled to the United States for the first time, performing at various jazz festivals with Andrzej Trzaskowski's quintet The Wreckers in Washington DC, Newport, New Orleans and New York. He received rave reviews, including in the New York Times. From 1969, he led the Michal Urbaniak Group, which consisted primarily of Polish jazz artists, namely Adam Makovicz (electric piano), Paweł Jarcębski (bass), Czesław Bartkowski (drums) and his wife Urszula Dudziak (vocals). The present Radio Bremen concert was recorded with this line-up as well.After that, he and his wife moved back to the United States, where he performed in numerous clubs and concert halls (f.e. Carnegie Hall, Beacon Theatre) with jazz stars such as Herbie Hancock, Chick Corea and Billy Cobham. In 1985, he participated in a recording session with Miles Davis for the album "Tutu!". He was a co-founder of the so-called UrbJazz fusion jazz in New York. As the first creator of fusion music, he introduced rock, rap and hip-hop into jazz by forming the band Urbanator in 1989 and the UrbSymphony Project in 1995. In the 2000s, he wrote music for 25 American movies, among others, and also appeared as an actor.To date, the exceptional Polish artist has released over 60 albums.Two original albums from Michal Urbaniak's early days and a unique live recording from Radio Bremen, where he presented the tracks from the two albums "Paratyphus B" and "Inactin" before they were released on vinyl a couple of months later
    $25.00
  • We got a bit of a deal on this stunning album so even though its six years old (already!) I felt it was worthy of everyone's attention.Verneri Pohjola is a great Finnish trumpeter and also the son of the late bassist Pekka Pohjola.  As everyone knows Pekka was the bassist in Wigwam and also had an illustrious solo career.  "Pekka" is his son's tribute to his father.  It is a reinterpretation of his dad's music but stays true to form.  Edition Records is more of a contemporary jazz label so it must have opened some ears their to hear a real jazz rock album.  Highly recommended."‘Pekka’ is the new, epochal album in Finnish trumpeter/composer Verneri Pohjola’s already illustrious and prolific career. An album that promises to be a defining moment in Finnish culture, Pekka reinterprets the music of Verneri’s late father Pekka Pohjola, the internationally acclaimed and revered prog-rock bassist and composer, through the prism of his son’s unique vision. Due for release worldwide on 2 June 2017, Pekka is one of the most anticipated albums to emerge from the Finnish progressive, rock and jazz scenes for some time. Seeking to combine Pekka’s music, adored in Finland and internationally during the last four decades, with Verneri’s powerful sense of music making, ‘Pekka’ is an album that will excite, inspire and move many fans across borders, generations and genres. Approaching his 40th birthday, Verneri is in his musical prime. With an undeniably unique trumpet sound and a gift for blending raw emotion, technical finesse and control and with an ear adept at finding the middle way between accessibility and the avant-garde, he has developed an impressive profile in his home country and internationally as a leading European jazz performer, bandleader andcomposer. Born into a Finnish musical dynasty, Verneri was destined for a musician's life. His grandfather, Ensti Pohjola, was a well respected and highly active ametuer conductor and cellist and his father’s cousin is the conductor Sakari Oramo. His father, Pekka Pohjola, climbed to international fame in the 1970’s playing with Finnish prog group Wigwam and leading his own groups in the progressive rock, rock and jazz scenes. In 2008, aged 56, Pekka Pohjola passed away leaving behind an extensive catalogue of music and a dedicated international fanbase: a void and a vital legacy in the Finnish music scene. The impact of his work and his fame on him as family man and father was more problematic. Leaving the family home to embark on years of touring, recording and composition, Pekka had intermittent contact with the young Verneri and his brother Ilmari (now a trombonist with Edition group Oddarrang). To them he must have seemed a distant father as well as legendary bassist. With Pekka’s passing, there has been huge anticipation from fans and media, particularly in Finland, that Verneri would perform his father’s music. Finally, following an invitation from friend and mentor Jukka Perko to appear at his festival Viapori in 2016, Verneri felt ready and comfortable to immerse himself in his legacy. Performing with Tuomo Prättälä on Fender Rhodes, Teemu Viinikainen (Guitar), Mika Kallio (Drums), Antti Lötjönen (Bass) he knew instantly that this was the right combination of musicians and instrumentation to make the album. He had the band and the inspiration. The moment was right at last.Verneri’s previous album Bullhorn, released in Feb 2015, received massive praise internationally. Jazzwise Magazine said: ‘...this album takes its place among the truly finest albums of recent times and sees him graduating from the star-in-the-making mantle he has carried for so long in European Jazz, to fully-fledged star”. To follow such success is no easy task. To do so with such grace, emotion, respect and poise is a rare confirmation of this talent.The music on Pekka, is taken from albums spanning over two decades. As Verneri explains. ‘Of course I had grown up with Pekka’s music and I had my favourites such as Benjamin, First Morning and The Dragon that I wanted to record. Often I was surprised to find music I did not know but I knew I wanted to find a balance to the whole album. Rediscovering the music was an emotional and therapeutic exercise for me and recording the album provided me with the perfect way to remember him as a father and musician’. Pekka is the album that the many fans of Verneri Pohjola, Pekka Pohjola and Wigwam have long waited for and will command huge attention and adoration from audiences not just in Finland, the UK (where Wigwam’s singles were released on Virgin) and the States (on Verve) but internationally as well."Verneri Pohjola TrumpetTuomo Prättälä Fender RhodesTeemu Viinikainen GuitarMika Kallio DrumsAntti Lötjönen Bass
    $12.00
  • "Ginger Baker and Graham Bond, live from Bremn, Germany on October 24th, 1970. Back together for the first time since their powerhouse days in the Graham Bond Organisationwith Jack Bruce, Ginger Baker, and Graham Bond join forces again in Ginger Baker's Air Force. Having unknowingly and single-handedly invented jazz-rock fusion, Bond was not only revered by all, but was a widely admired and respected figure, but one that was also deeply troubled. Coupled with Baker's explosive talent and transatlantic fame, this was going to be an incredible meeting of minds. However, when Baker's co-operative project came to an abrupt end in 1971, it would also signal the tragic and untimely death of Bond, aged just 36. This powerhouse performance from 1970 is a true gem of British jazz-rock fusion, performed in its infancy and by its original authors whose combined talent marks a milestone in British blues, jazz, R&B and rock. Rox Vox present for the first time ever, Ginger Baker's Air Force, live from Bremen, Germany, 24th October 1970, broadcast on EDF-TV. Remastered with expansive liners and rare archival images. 16-page booklet."
    $7.00
  • Authorized reissue of the 1976 album from the great (sadly now deceased) Japanese guitarist.  Kawasaki had moved to NYC and recorded Juice there.  Its a product of its time - he added a touch of funk to his sound but it features blazing guitars and some cool keyboard work from Tom Coster.  If you are a fan of Jeff Beck's "Wired" you might find this to be up your alley."Classic jazz-funk fusion from the late, great Japanese guitarist Ryo Kawasaki. Recorded in New York, and originally released in 1976, 'Juice' presents Ryo at the height of his powers. Born in Japan in 1947, Ryo had a long and stellar career recording and releasing music up until his passing on 13 April 2020, in Tallinn, Estonia. Ryo is one of the pioneers of the jazz fusion genre, with the Japanese jazz fusion / funk sound becoming extremely influential within the 80s UK club scene and amongst its DJs. His track 'Trinkets & Things' became a bonafide underground classic. In the US he worked with some of the greats of jazz, such as Elvin Jones, Chico Hamilton and Bobbi Humphrey, to name but a few. A forward-thinking and ever-evolving musician, Ryo collaborated with the Roland Corporation and Korg on the 'guitar synthesizer' and later wrote music software for computers. Later in life he relocated to Estonia and worked there, as well as Finland, Sweden, and the Baltic states. 'Juice' has become a much-loved album for crate diggers and jazz-funk enthusiasts, with its tracks frequently being sampled and re-imagined in hip-hop. The smokey, beat-down, spiritual funk jam 'Bamboo Child' has been flipped by Diamond D, Puff Daddy, and Kool G Rap. The album was released in 1976 on RCA Records and features the musicians' drummer Jimmy Young, rhythm guitarist Hugh McCracken, and bassist Stu Woods amongst other luminaries. A solid album throughout that incorporates a heavy dose of tripped-out synths alongside the emerging disco sound of the time. Tracks such as the opener ‘Raisins’, with its drum beat intro and bubbling bass-line, rivals The Headhunters at their finest. A superb album from an underground legend."
    $12.00
  • Radio broadcast from Berkeley Community Theater , California , Nov 9th , 1972.Tracklist1-1 Birds Of Fire1-2 Miles Beyond1-3 You Know, You Know1-4 Dream2-1 One Word2-2 The Dance Of Maya2-3 Sanctuary
    $19.00
  • One of the great European jazz-rock/fusion albums reissued from the original master tapes!"A 20th Century Renaissance man, cartoonist, film director, author, radio personality, record company owner, German guitarist Volker Kriegel played an important role in the European jazz-rock and fusion movements. Co-founder of the United Jazz and Rock Ensemble, Kriegel’s own groups and collaborations with American vibraphonist Dave Pike gained him a world-wide audience, as his 14 albums for MPS as leader and 15 as sideman can attest.Volker Kriegel assembled a band of some of the leading musical visionaries on the European jazz scene for this 1972 double album. The first album contains four extended pieces in a hip mix of rock & jazz with pulsating arrangements and distinctive solos. Take a listen to Kriegel’sclassy play on Slums on Wheels, with trombone icon Albert Mangelsdorff’s flashy solo followed by English saxophone giant Alan Skidmore’s scintillating soprano. The piece moves into an up-tempo jazz feel and German saxophone master Heinz Sauer’s passionate solo. The “E” Againfeatures English keyboard legend John Taylor’s electrifying play, and Kriegel’s majestic solo. The Afro-jazz-rock of Zanzibar features powerful solos from the entire band. Freely interpreted ethno influences on Missing Link move into an English pop-rock mode with a mellow-toned trombone and intense guitar and sax solos. The horns take a seat on the last six pieces as Kriegel and Taylor shine in the spotlight. Für Hector is a jazzy up-tempo romp, and Remis hints of something south of the border. The exotic warmth of India pervades German bass great Eberhard Weber’s Tarang as he picks up the Indian instrument of the same name and then takes an expressive bass solo. Kriegel catches the melancholy ambiance of Brazillian icon Caetano Veloso’s poignant ballad Janellas Abertas. Plonk Whenever swings fast and furiously into the realm of free jazz, whereas on Kriegel’s Definitely Suspicious, an unaccompanied acoustic guitar bookends propulsive electric guitar and keyboard solos. On Finale Kriegelplays a filigree 14-second melodic strain. Exciting top-flight fusion!"
    $16.00
  • "STUNNING BLOW BY BLOW PERFORMANCE FROM DETROIT 1975 • Following the demise of Beck, Bogart and Appice in April 1974, Beck entered Underhill Studio and met with the group Upp, whom he recruited as backing band for his appearance on the BBC TV programme Guitar Workshop in August ‘74. Beck produced and played on their self-titled debut album and their second album This Way Upp. In October Beck began to record instrumentals at AIR Studios with Max Middleton, bassist Phil Chen and drummer Richard Bailey, using George Martin as producer and arranger. • Jeff Beck's next solo album Blow by Blow evolved from these sessions and showcased Beck's technical prowess in jazz-rock. The album reached number four in the charts and remains Beck's most commercially successful release. Fastidious about overdubs and often dissatisfied with his solos, he returned regularly to AIR Studios until he was satisfied. A couple of months after the sessions had finished producer George Martin received a telephone call from Beck, who wanted to record a solo section again. Bemused, Martin replied: "I'm sorry, Jeff, but the record is in the shops! Beck put together a live band for a US tour, preceded by a small and unannounced gig at The Newlands Tavern in Peckham, London. He toured through April and May 1975, mostly supporting the Mahavishnu Orchestra, retaining Max Middleton on keyboards but with a new rhythm section of bassist Wilbur Bascomb and noted session drummer Bernard "Pretty" Purdie. • On 9th May 1975 Jeff and group performed at the Masonic Temple Theatre in Detroit, where they put on a show that for many fans was the finest of the tour. With Beck on superb form and the entire group playing as though their very lives relied on it, the concert was magnificent. Recorded for live radio broadcast, this show is now available on this new CD for the first time."Track list: 1. Constipated Duck 4:26 2. She’s A Woman 5:54 3. Freeway Jam / Definitely Maybe 14:09 4. Superstition 3:27 5. Cause We’ve Ended As Lovers 8:24 6. Power 5:11 7. Got The Feeling 6:10 8. Diamond Dust 4:03 9. You Know What I Mean 3:02
    $14.00