Clear Vinyl. Blue Hour is Nick Schofield's first foray into ambient jazz music. The album is an ambient ode to Miles Davis' In A Silent Way, and opens up Schofield's sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass). Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a "dazzling electronic artist" by Aquarium Drunkard and a "synth maven" by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis' 1969 watershed recording In a Silent Way. Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children. If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins' contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions. Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Blue Hour is Nick Schofield's first foray into ambient jazz music. The album is an ambient ode to Miles Davis' In A Silent Way, and opens up Schofield's sonic palette to introduce his childhood instrument, drums, with his contemporary ambient-electronic practice. Blue Hour features the intuitive, and totally improvised, trumpet playing of Scott Bevins (No Cosmos, Busty and the Bass). Schofield grew up playing drums, but turned to creating experimental-electronic music when studying Electroacoustics at Concordia University. Well-known for his signature ambient aesthetic, Schofield has been called a "dazzling electronic artist" by Aquarium Drunkard and a "synth maven" by Constellation Records. Blue Hour marks the first time that he has merged his percussion practice with his ambient electronic explorations, and it is all in the service of reinterpreting Miles Davis' 1969 watershed recording In a Silent Way. Schofield improvised all of the drumming and main synthesizer parts over the course of a single day, recording in a church in Ottawa. These foundational layers comprise tender Moog pulses and Roland Juno-6 pads, some of which would not be out of place on the back half of Another Green World or Music Has the Right to Children. If this was to be a reflection of In a Silent Way, of course there would need to be trumpet. Schofield invited Bevins to record the missing piece of the album during a one day recording session, where Bevins improvised all his trumpet parts having never heard the songs before. Scott Bevins' contribution gives the music a leading instrumental voice, and his intuitive approach shows a perfect understanding of how to both integrate and elevate the compositions. Blue Hour is itself a profound reference, an ambient adaptation, a dream realized and an uncanny synthesis of sounds, styles, and personal history.

Vinyl LP pressing. Free jazz collective Irreversible Entanglements return with their second Impulse! Recording, Future Present Past. Largely recorded at the historic Van Gelder Studio, the album sees the quintet meld atmospheric jazz, global music traditions and spoken word into our shared story of existence - futures full of possibility, the present with all it's uncertainties, and pasts as wellsprings of ancestral wisdom.

Recorded between January and October 1960 and released on Argo Records (part of Chess Records) in 1961, "At Last" was Etta James' debut studio album.

MINUTIAE - BLACK & WHITE MARBLE VINYL

Expanded edition of the Icelandic singer/songwriter's 2025 album. A Matter of Time is the third studio album by Laufey. With four new songs, this 19-track deluxe album is an introspection about learning to live with one's anxieties - embracing uncertainty, accepting the passage of time, and finding calm after the storm.

The sophomore solo LP from Like, the 3x-Grammy-nominated producer, artist, and self-described "time decorator." Today Sounds Good displays the effortless blend of contemporary West Coast rap and timeless jazz sensibilities that have kept Like embedded in the DNA of hip-hop across eras. Featuring heavy-hitting guest artists Phonte, Terrace Martin, Blu, Sir Michael Rocks, and more.

A landmark in jazz history, Time Out (1959) by the Dave Brubeck Quartet broke conventions with it's bold exploration of unusual time signatures. From the fiery 9/8 rhythm of "Blue Rondo � la Turk" to the cool, hypnotic 5/4 pulse of "Take Five", this album fuses complexity with accessibility. "Strange Meadow Lark" and "Three to Get Ready" blend lyrical piano with dynamic interplay, while "Kathy's Waltz", "Everybody's Jumpin'", and "Pick Up Sticks" round out Side B with vibrant energy and rhythmic innovation. A timeless classic that redefined modern jazz.

Flore Benguigui & The Sensible Notes / With i-330, Flore Benguigui delivers a manifesto of artistic and feminine emancipation. While the album's title draws it's inspiration from Yevgeny Zamyatin's dystopian novel We, the music itself dissolves the boundaries of time: between 1930s swing and electronic textures, jazz and pop are joyfully reinvented with playful elegance. Recorded live at Studio Pigalle, i-330 breathes spontaneity, warmth and shared joy, carried by a predominantly female collective - The Sensible Notes. Together, they breathe new life into hidden gems by Nat King Cole and Margo Guryan, as well as treasures from French chanson, blending gentleness, boldness and luminous melancholy. More than a record, i-330 is a vibrant refuge - a poetic, timeless space where jazz, free and sensitive, rediscovers it's liberating power.