Upcoming releases
Grzyby
On Grzyby, Błoto complete their mycelium cycle with a compact blast of medicinal‑and‑toxic club jazz: five mushroom‑named cuts of broken beats, sub‑heavy low end and live improvisation that argue for dialogue and interdependence in a world addicted to walls.
Dybbuk Tse!
On Dybbuk Tse!, Yoni Mayraz turns Jewish possession lore into a groove‑driven exorcism: live‑wire jazz, 90s NYC hip‑hop grit and Middle Eastern modes colliding in a story where a wandering spirit is forced out beat by beat.
Kobaia
CD Digipack. In early 1967, John Coltrane died. Christian Vander was twenty years old, living in something close to poverty in Paris, and Coltrane's death pulled the ground from under him. He went to Italy, to Milan and Turin, and spent nearly two years in a state of deliberate self-destruction. One morning in Turin he woke up and decided to stop. He returned to Paris, met bassist Laurent Thibault, and began working on something that had no name yet.
By 1969 Magma existed as a group. By 1970 the…
1001 Centigrades
Back to Black series. Recorded at Michel Magne studios in Herouville, 5-10 of April, 1971. After losing guitarist Claude Engel and reinforcing the brass section with Jeff Seffer on saxophones and Louis Toesca on trumpet, Magma went back into the studio in 1971 to record a second album. All the originality and greatness of Kobaia are there, in even greater measure because everything is magnified. The two tracks composed respectively by Teddy Lasry and François Cahen occasionally introduce a jazzi…
Scenery
On Scenery, Ryo Fukui turns a late‑start passion into a quietly astonishing debut: airy, confident trio swing and luminous ballads that distil a distinctly Hokkaido sense of space, light and seasonal melancholy into six perfectly breathing performances.
Mellow Dream
On Mellow Dream, Ryo Fukui deepens the lyrical sparkle of Scenery into something more sculpted and powerful: bittersweet themes, surging originals and a clearer, three‑dimensional swing that many hear as the true apex of his studio work.
Ryo Fukui Trio at the Slowboat 2004
On Ryo Fukui Trio At The Slowboat 2004, Ryo Fukui turns the ninth anniversary of his Sapporo club into a late‑career summit: Phineas‑ and Flanagan‑inspired fire, Shorter‑charged intensity and Slowboat’s living‑room warmth fused into powerful, precise, deeply fulfilled playing.
Live At Vidro '77
On Live At Vidro ’77, Ryo Fukui Trio explode the cool perfection of Scenery and Mellow Dream into raw stage heat: a newly unearthed club tape where “Mellow Dream” stretches past 16 minutes and standards ignite into hard‑swinging, edge‑of‑the‑seat catharsis.
A Letter From Slowboat
On A Letter From Slowboat, Ryo Fukui makes a late‑career return to the studio that feels like a love note to his Sapporo club: standards and originals rendered with stronger touch, deeper emotion and an almost glowing lyricism shaped by a lifetime at the piano.
My Favorite Tune
On My Favorite Tune, Ryo Fukui steps out alone at the piano for the only time on record, revisiting “Scenery” and “Mellow Dream” while unveiling northern‑lit originals that fuse bebop depth with a distinctly Hokkaido sense of stillness and space.
In New York
On In New York, Ryo Fukui steps into a Manhattan studio with Barry Harris’s rhythm team and delivers a straight‑ahead bebop session: standards and a newly ignited “Mellow Dream” played with weighty touch, elastic swing and an unmistakable sense of intent.
Spacing Out
On Spacing Out, Shigeharu Mukai fuses spiritual jazz drive with vivid 70s fusion colours: bossa sway, tropical grooves, rock backbeats and fat funk lines orbiting his trombone in a confident, wide‑angle crossover set.
Moon Stone
On Moon Stone, Mikio Masuda channels the plush 70s crossover of Bob James and Ramsey Lewis into a distinctly Japanese fusion: electric keys, supple grooves and subtly psychedelic guitars gliding between jazz, rock and mellow funk.
Masao Yagi Plays Thelonious Monk
On Masao Yagi Plays Thelonious Monk (1960), Masao Yagi leads a sharp Tokyo quintet through an all‑Monk program, translating Thelonious’s craggy angles into a supple, swinging Japanese modern‑jazz dialect without smoothing away the music’s built‑in mischief.
Music To Watch Seeds Grow By 008: Salamanda (Basil)
On Music To Watch Seeds Grow By 008: Salamanda (Basil), Salamanda miniaturise their left‑field ambient world into a single pot on a windowsill: a slow, luminous day‑in‑the‑life of a basil plant where light, water and time turn into gentle pulses, drips and dreamlike drones.
Bill Plummer And The Cosmic Brotherhood
"Welcome to the mind-expanding 1968 jazz recording of Bill Plummer and The Cosmic Brotherhood -- where Eastern and psychedelic influences meld together to produce one of the trippiest jazz albums on Impulse Records. This LP is a much-sought-after sonic travelogue, with the pop-psych spoken-word sitar freakout of 'Journey To The East' to Bill Plummer's swinging, rapid fire/cool jazz compositions, to his covers that go straight to the heart of any '60s genre-crossing jazz fans. Featuring an incred…
Silmät sulaa
On Silmät sulaa, Pietu Arvola sets out to make a “summer album” and instead lands on a heat‑sick mirage: strings, tape‑scarred electronics and unstable textures steeped in memories of sunburn, burning houses and hospital fevers, where warmth tips constantly toward delirium.
Anthem for Peace
On Anthem for Peace, Alan Braufman leads a razor‑sharp quartet through compact, hook‑rich tunes that braid spiritual jazz, buoyant post‑bop and modal, Eastern‑tinged themes into a forward‑moving set that feels both steeped in history and fully present tense.
A Frauta De Pã
Big tip! Fifty years on, and it still sounds like a secret. Carlos Walker's A Frauta de Pã remains one of those rare Brazilian albums that collectors circle obsessively, its original RCA Victor pressings commanding reverence - and prices - entirely disproportionate to the world's awareness of it. That wait is now over.
Recorded in 1975, when Walker was just 19 years old, A Frauta de Pã arrived at a precise confluence in Brazilian music - that charged mid-decade moment when MPB (Música Popular Br…
Cool Jojo
Cool Jojo was recorded from 3 to 5 December 1979 at Epicurus Studio in Tokyo under the direction of guitarist Masayuki Takayanagi. The album features the band ‘Second Concept,’ combining electric guitar, saxophone, keyboards, bass, and drums. The programme consists mainly of original compositions reflecting the band's electric jazz and experimental orientation in the late 1970s.