Sarah Brown - Sings Mahalia Jackson - VINYL LP

Whenever Milt Jackson could free himself from the 'bondage' of the Modern Jazz Quartet and it's assertive leader John Lewis, he dedicated himself to his two great passions ballads and the blues. That was precisely the case when he entered the famous Rudy van Gelder Studio in Hackensack, New Jersey, USA in 1956. He was free to choose his sidemen, and money was no object, which is why various formations gathered in the studio for the three recording sessions. With Lucky Thompson on the tenor sax (unfortunately for only three numbers), Barry Galbraith, Barney Kessel or Skeeter Best on the guitar, Oscar Pettiford or Percy Heath on the bass, together with Kenny Clarke or Lawrence Marable on the drums, he set off on a journey through the history of jazz. John Lewis stayed unobtrusively in the background and offered 'Bags' (as Milt was known) plenty of opportunities to glory in soloistic freedom.The themes were soon found the musical composers Cole Porter, Irving Berlin and Jerome Kern, as well as a work from The Duke Ellington Songbook, formed a basis upon which all the musicians could perform with confidence. Three compositions by Milt Jackson himself proved that he too was full of imagination. Recording January 1956 in New York City by Tom Dowd and February 1956 at Rudy Van Gelder Studio in Hackensack, New Jersey, by Rudy Van Gelder Production Nesuhi Ertegun

Vinyl LP pressing including . Chock full of humid, resonant soundscapes that bend time and emphasize texture, tone and timbre, Sarah Davachi's latest is her most defining and rewarding full-length to date. We're floored, again - there's nobody else doing it quite like this. Composed using a Mellotron, electric organ, piano and synthesizers, InchAntiphonalsInch takes all the elements we know and love from Davachi's impressive catalogue to date and refines them into eight tracks of expertly-sculpted deep listening stickiness. If you're familiar with her work, the content won't be surprising, but Davachi's dedication to her craft has resulted in music that feels more and more revelatory each time. Here, she brings her obsession with the tonal and textural character of early music to the fore, playing confidently with sounds that exist two or three steps from the contemporary sonic spectrum. Her favored outpost is a cocoon of soft-focus resonance, where sounds graze lightly and hypnotize rather than scrape or bruise. It's not background music - this is art that requires attention and understanding to appreciate it's layered beauty and subtle complexity.

Renowned instrumentalists from Montreal, harpist Sarah Pagé, and percussionist Patrick Graham come together for new project and collaborative album Littoral States. Littoral States is a captivating exploration of the natural world. The project underlines the surprising connection between their musical journeys and shared love for Japanese classical forms and Irish folk music. It blends elements of harp, bass koto, sarangi, percussion, water phone, hamon, and electronics to create a unique and immersive sonic experience. Their collaboration resulted in a deeply resonant and evocative album that captures the beauty and complexity of the natural world. The album features six interwoven compositions accompanied by stunning visual art by Tamar Kasparian. Cover art by Tamar Kasparian. Debut album from the duo. Sarah Pagé is a Canadian harpist who has collaborated with the Barr Brothers, Land of Kush, Lhasa, Jerusalem In My Heart, Leif Vollebeck. Patrick Graham is a percussionist who mixes classical Western style with traditions from Europe and the Middle East, South Indian and has collaborated with Constantinople, musicians Didem Basar, Ablaye Cissoko, Marianne Trudel, Kaoru Watanabe as well as dancer Hideo Arai.