{"title":"Jazz","description":null,"products":[{"product_id":"omer-govreen-all-things-equal","title":"Omer Govreen - All Things Equal","description":"\u003cp\u003eAll Things Equal is the second album from a quartet of European millennials who met at Amsterdam's most prestigious conservatory, and it sounds like a band figuring out exactly how much they can trust each other in real time.\u003c\/p\u003e\u003cp\u003eTheir 2018 debut Maya earned enough attention on JMI that the label funded a trip to New York for the follow-up, cut at Reservoir Studios in January 2024. This time Omer Govreen steps forward as the group's clear compositional voice, writing everything and steering the improvisations, with Aleksander Sever's vibraphone, Floris Kappeyne's piano, and Wouter Kuhne's drums building the kind of interplay that only comes from years of actually playing together rather than a session assembled for the occasion.\u003c\/p\u003e\u003cp\u003eThe title track sets the record's tone immediately, patient and conversational, no one instrument rushing to dominate. Comfort lives up to its name with the album's warmest, most settled stretch, Narrowing tightens the group's focus into something more urgent and searching, and Waiting for Wouter closes the record as an affectionate, loose-limbed nod to their own drummer, the kind of in-joke that only a band this close would bother writing down.\u003c\/p\u003e\u003cp\u003eSeven tracks, a conservatory pedigree, and a genuine chemistry that no amount of technical training alone could fake.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356068133,"sku":"850061069252","price":42.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/4419168-3380528.jpg?v=1790416755"},{"product_id":"phi-psonics-expanding-to-one-1","title":"Phi-Psonics - Expanding To One [2LP]","description":"\u003cp\u003eExpanding to One is a meditative instrumental record built almost entirely in the moment, fourteen tracks over two hours cut with a rotating cast of players at Healing Force of the Universe in Pasadena.\u003c\/p\u003e\u003cp\u003ePhi-Psonics work as an LA-based instrumental collective rather than a fixed band, which shows in how loose and unhurried this record feels, music that sounds discovered rather than composed, closer to a group breathing together than one executing a plan. That approach only really works with musicians who trust each other completely, and the fluctuating lineup here plays like people genuinely listening rather than performing over one another.\u003c\/p\u003e\u003cp\u003ePrelude: Expansion opens the record easing listeners in rather than announcing anything, a gentle overture before the album properly begins. Many Paths lets the group's improvisational instincts stretch furthest, following its own logic rather than a set structure. Sounds of the Universe leans into pure atmosphere, synthesizers and space taking priority over melody, and Mysteries of the Dark closes the record on its most patient, unresolved note.\u003c\/p\u003e\u003cp\u003eAn hour of music that never once feels like it's trying to get anywhere in particular. 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A tenth anniversary run of shows for their debut last year clearly reignited something, because this record arrives sounding energised rather than nostalgic, ten songs that trade some of the earlier grit for a wider emotional range without going soft.\u003c\/p\u003e\u003cp\u003eThe title track opens the album setting that broader tone immediately, more reflective than the band's earlier anthems but no less direct. Get You Back is the clearest pop moment here, a genuine hook delivered with real conviction, while What A Woman carries the record's sharpest edge, closer in spirit to the band's early gritty period than anything else on the record. The Next Chapter closes with exactly the kind of quiet confidence its title implies.\u003c\/p\u003e\u003cp\u003eCorbin has always written about ordinary struggle without wallowing in it. Fifteen years in, that instinct hasn't dulled at all.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356264741,"sku":"0676499084656","price":43.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/New_Street_Adventure_-_What_Kind_of_World.jpg?v=1790416764"},{"product_id":"ami-taf-ra-the-prophet-and-the-madman","title":"Ami Taf Ra - The Prophet And The Madman [2LP]","description":"\u003cp\u003eThe Prophet and the Madman turns two of Kahlil Gibran's century-old texts into a debut album, gnawa and spiritual jazz woven together across 2LP.\u003c\/p\u003e\u003cp\u003eAmi Taf Ra, born Fatima Zohra Washington and raised between Morocco and Amsterdam before settling in LA, has spent her career fusing Moroccan gnawa tradition with American jazz and gospel, a combination that sounds obvious only after someone actually pulls it off. For this debut she and producer Kamasi Washington immersed themselves in Gibran's The Madman and The Prophet, transforming that writing into something sung and played rather than read, a meditation on duality and ancestral memory rather than a straightforward setting of the text.\u003c\/p\u003e\u003cp\u003eThe Prophet stretches past eight minutes as the album's central statement, Taf Ra's voice moving through Gibran's language like an incantation. How I Became a Madman brings Kamasi Washington's saxophone in directly, his and her sensibilities clearly built for exactly this kind of collision. Gnawa lets the record's foundational tradition take over completely, hypnotic and circular, and Khalil closes the album at its most expansive, nearly ten minutes reaching for something conclusive without quite needing to resolve.\u003c\/p\u003e\u003cp\u003eA hundred years after Gibran wrote these words, someone finally found the right frequency to sing them at.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356428581,"sku":"5054429202670","price":44.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/Ami_Taf_Ra-The_Prophet_And_The_Madman_2LP.jpg?v=1790416772"},{"product_id":"geoff-mann-underground","title":"Geoff Mann - Underground [Turquoise]","description":"\u003cp\u003eUnderground is Geoff Mann rebuilding his father's most famous record from the inside, six tracks pressed to turquoise vinyl.\u003c\/p\u003e\u003cp\u003eHerbie Mann's 1969 Memphis Underground is one of the foundational fusion records, jazz soloists like Roy Ayers and Larry Coryell dropped into Memphis' American Sound Studio rhythm section under Tom Dowd's production, a combination so unlikely it became one of the best-selling jazz albums ever made. Geoff grew up as his son, and this is not a cover album in any straightforward sense, it's a reinterpretation from someone who has spent a lifetime inside the material's DNA, playing vibraphone, percussion, drums, and guitar himself alongside Marcos Garcia, Victor Axelrod, and Latin Grammy winner Domenica Fossati on flute.\u003c\/p\u003e\u003cp\u003eMemphis Underground carries the same deep groove as the original while sounding unmistakably reimagined, flute lines threading through a rhythm section built for 2025 rather than 1969. Chain of Fools gets pulled fully into instrumental territory, all tension and release, and Muscle Shoals Nitty Gritty, pulled from a different Herbie Mann record entirely, expands the tribute beyond a single album's borders. Battle Hymn of the Republic closes things at its strangest and most audacious.\u003c\/p\u003e\u003cp\u003eA son taking his father's most celebrated alchemy and proving it still works, filtered through his own hands this time.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356690725,"sku":"199284140073","price":45.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/Geoff_Mann-Underground_Turquoise.jpg?v=1790416784"},{"product_id":"alfa-mist-roulette","title":"Alfa Mist - Roulette [2LP]","description":"\u003cp\u003eRoulette is Alfa Mist building an entire imagined future to explore an old question, spread across 2LP and structured so every song lands like a different spin of the wheel.\u003c\/p\u003e\u003cp\u003eAcross five albums Alfa Mist has never been afraid of a big idea, but this sixth record commits harder than usual, a near-future dystopia where reincarnation turns out to be real and provable, and the discovery immediately curdles into a struggle over who gets to keep their memories and who gets to control them. Fifteen tracks, each one framed as its own character and its own spin, held together by his usual toolkit, lambent keys, jazz improvisation that never feels showy, a rhythm section built to breathe, now filtered through a smokier, more psychedelic haze than his earlier records allowed themselves.\u003c\/p\u003e\u003cp\u003eReincarnation opens the record with Homeboy Sandman in tow, setting the whole premise in motion. The title track is the clear centrepiece, eight minutes that shift time signature without ever feeling disjointed, because, as Mist puts it, life isn't linear either. All Time brings Tawiah in for one of the record's warmest turns, and Black Snow closes the album on its bleakest, most unresolved note.\u003c\/p\u003e\u003cp\u003eOne of UK jazz's most restless minds, still finding new ways to make a big idea feel personal rather than academic.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356723493,"sku":"5056321696434","price":46.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/4438294-3409543.jpg?v=1790416785"},{"product_id":"chick-corea-chick-corea-elektric-band","title":"Chick Corea - Chick Corea Elektric Band (Gatefold) [2LP]","description":"\u003cp\u003eThe Chick Corea Elektric Band is where a jazz legend went fully electric and assembled a band good enough to make it the beginning of a whole new career, now on 2LP.\u003c\/p\u003e\u003cp\u003eCorea had already reshaped fusion once with Return to Forever, but by 1986 he wanted something faster and more virtuosic, so he built a group from players still mostly unknown outside the session circuit: Dave Weckl on drums, John Patitucci on bass, guitar handled by Scott Henderson or Carlos Rios depending on the track. Weckl and Patitucci would go on to become two of the most influential rhythm section players of their generation, and you can hear exactly why on this record, technical to the point of showing off but never losing the groove underneath it.\u003c\/p\u003e\u003cp\u003eRumble opens the album at full velocity, keyboards and rhythm section locking into something closer to a sprint than a tune. Got a Match? lets Patitucci's bass carry real melodic weight rather than just holding time, Cool Weasel Boogie earns its ridiculous title with a strut that refuses to take itself too seriously, and Elektric City closes the record on the most purely synth-driven statement Corea makes here.\u003c\/p\u003e\u003cp\u003eThe band Corea built for this record stayed together for years after. This is where that story starts, all velocity and no apology for it.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356887333,"sku":"708857330218","price":45.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/4335851-3166071.jpg?v=1790416793"},{"product_id":"spike-jones-in-stereo-a-spook","title":"Spike Jones - In Stereo: A Spooktacular In Screaming Sound! [Green]","description":"\u003cp\u003eIn Stereo: A Spooktacular in Screaming Sound is Spike Jones treating stereo speakers like a haunted house, monsters flying wall to wall on slime green vinyl.\u003c\/p\u003e\u003cp\u003eJones had spent nearly two decades before this turning car horns, burps, and gunshots into a genuine musical language, but by 1959 he had a new toy to play with: stereo itself, still novel enough that most listeners had barely heard it done well. His arranger Carl Brandt described scoring the record like a film, built in pieces because the sound design was simply too complicated to cut any other way. The cast reads like a murderers' row of voice actors nobody could quite place at the time, Paul Frees, Thurl Ravenscroft, George Rock, and Lucille Norman all disappearing into ghouls and monsters.\u003c\/p\u003e\u003cp\u003eMy Old Flame gets sung by a character credited only as I.M. Arson, which tells you exactly what kind of joke this record is. This Is Your Death turns Dr. Jekyll and a chorus of ghouls loose across the full stereo field, sound genuinely darting from speaker to speaker in a way nothing else at the time attempted, and the Spooktacular Finale throws every voice and gag into one last collision.\u003c\/p\u003e\u003cp\u003eSixty-five years later, the stereo trickery still lands. Monsters were good business in 1959. Turns out they still are.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903356920101,"sku":"810075115673","price":41.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/Spike_Jones-In_Stereo_A_Spook_Green.jpg?v=1790416795"},{"product_id":"rufus-wainwright-im-a-stranger-here-myself-wainwright-does-weill-rufus-wainwright-with-the-pacific-jazz-orchestra","title":"Rufus Wainwright \u0026 The Pacific Jazz Orchestra - I'm A Stranger Here Myself: Wainwright Does Weill [2LP]","description":"\u003cp\u003eI'm a Stranger Here Myself is Rufus Wainwright finally giving Kurt Weill the full evening he's owed him for decades, recorded live with the Pacific Jazz Orchestra across 2LP.\u003c\/p\u003e\u003cp\u003eWainwright has been circling this material since his early twenties, when he wore the grooves off Teresa Stratas' famous Weill record, and traces of that fixation have surfaced in his own writing for years without ever quite becoming the main event. This 2023 show at New York's Café Carlyle was the first time he committed to a full set, and Chris Walden's arrangements for the Pacific Jazz Orchestra give him an orchestral canvas big enough to match the material's theatrical scale, part cabaret, part classical, part something Weill invented and nobody has fully explained since.\u003c\/p\u003e\u003cp\u003eSeptember Song opens the record in genuine ache, Wainwright's voice built for exactly this kind of world-weary tenderness. Surabaya Johnny is where the drama peaks, a betrayed woman's monologue delivered with real venom underneath the melody, Mack the Knife gets stripped of its novelty-song reputation and returned to something closer to menace, and Youkali closes the evening on a tango that never stops feeling slightly haunted.\u003c\/p\u003e\u003cp\u003eSixteen songs, one singer who has waited his whole career to make this specific case. 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This compilation pulls from exactly that stretch, the singles and album cuts where Hancock shows up as a hired gun rather than the headline, working with players like Donald Byrd, Pepper Adams, and Jimmy Cobb.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eMaulana opens with the kind of loose, exploratory feel that defined the era, Hancock's comping doing more shaping than soloing. Jammin' with Herbie gives the set its title and its loosest groove, Herbie's Blues is exactly what it says, unhurried and rooted, and Far Out earns its name with the harmonic reach that was already setting him apart from every other pianist working sideman dates.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eNot the famous records, but the ones that built the reputation before Davis ever noticed. 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In 1973 he finally stepped out front, for Sonny Lester's Groove Merchant label with Lester producing, and brought a band worth the wait: Cecil Bridgewater on trumpet, Mickey Roker on drums, Albert Dailey on electric piano. Seven tracks, and then he never led another session.\u003c\/p\u003e\u003cp\u003eFirst Come, First Serve opens on a percussion and bass intro so heavy it was always destined for a sampler, before Morris and Bridgewater start trading phrases like a conversation they've had a hundred times. Their cover of The Stylistics' People Make the World Go Round is the album's sublime centrepiece, Don't Ask Me carries a swinging horn intro later lifted wholesale for a Big Pun single, and Wijinia drifts toward the spiritual jazz territory Strata East and Black Jazz were mapping at the time.\u003c\/p\u003e\u003cp\u003eDJ Premier, The Alchemist, and DJ Shadow all found something here. 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So she took the producer's chair, hired a quartet of people she trusted completely, Roland Hanna on piano, Joe Pass on guitar, Andy Simpkins on bass, Harold Jones on drums, and made a record entirely on her own terms. It earned her a Grammy nomination, which almost feels beside the point.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eAutumn Leaves is the performance people still argue about, Vaughan bending a standard everyone had already heard a thousand times into something almost unrecognisable, phrasing so far behind the beat it should collapse and never does. That's All is delivered with a tenderness she rarely allowed herself, You Are Too Beautiful lets Hanna and Pass hold the space open around her, and The Island floats on a bossa lilt that suits her lower register perfectly.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eMastered by Matthew Lutthans from the original analogue tape, pressed at QRP, housed in a Stoughton tip-on jacket. 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Here he fronts a modern jazz ensemble across seven pieces, each named for a hotel, and the genre labels stop being useful almost immediately: Baroque rhetoric, lounge, jazz, and minimalism all sitting in the same lobby. Ask which parts are improvised and which are composed and the question dissolves in your hand.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eThe concept is the nowhere space of the international chain hotel, that peculiar state of feeling entirely at home and completely suspended from the city outside the window, whether it's Tokyo, London, or Los Angeles. Time behaves strangely in those corridors, and so does the music. Sheraton catches the sublime slow melody from the First Brandenburg and snags it on a loop while other instruments wander in and out. Adler opens the record with riffs that settle into ostinato, and Terminus closes it somewhere between arrival and departure.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eCall it lift music with grit in the oyster. 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In 1986 he took the Arkestra into Mission Control, a 24-track studio north of Boston stocked with every electronic sound generator going, and among them sat a brand new Prophet VS, the Vector Synthesizer. There's no evidence Ra had touched a Prophet-5 or Prophet-10 before, so this is a man in his seventies meeting a machine for the first time and simply following it wherever it goes. The name surely appealed to him too. It always did.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eThe Prophet opens the session with Ra circling the instrument's timbres like someone testing ice, and Infinity Excursion stretches out into exactly the interstellar drift the title advertises. The Prophet at Play is the loosest, funniest stretch here, while They Plan to Leave and They'll Come Back close the day out as a pair, departure and return, the theme of his entire career in miniature.\u003c\/p\u003e\u003cp dir=\"ltr\"\u003eEverything cut in a single day, and it took decades to land.\u003c\/p\u003e","brand":"mySite","offers":[{"title":"Default Title","offer_id":53903359377701,"sku":"090771421111","price":42.99,"currency_code":"EUR","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1023\/3357\/9557\/files\/Sun_Ra-Prophet_Red.jpg?v=1790416885"},{"product_id":"henry-threadgill-listen-ship","title":"Henry Threadgill - Listen Ship","description":"\u003cp\u003eListen Ship is Henry Threadgill writing for six guitars and two grand pianos, which is either an unreasonable idea or exactly the one he has spent fifty years building toward.\u003c\/p\u003e\u003cp\u003eThreadgill came up through Chicago's AACM in the 1960s, then spent decades refusing to make the same record twice, from the spare trio interplay of Air to the tuba-heavy lurch of Very Very Circus to the interlocking counterpoint of Zooid, work that finally won him the Pulitzer in 2016. 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