On the 40th anniversary of the death of the great John Coltrane, we celebrate his life, with a collection of two blazing Newport Jazz Festival performances recorded for Impulse. While both sets have previously been issued on various separate releases, they're now together for the first time with the addition of newly discovered, previously unreleased material.

Trane's adventurous 1960 release, the first to feature solely his own compositions. Remastered from the original tapes, this landmark of modern jazz is further enhanced with 4 alternate takes. Includes the title track; Cousin Mary; Countdown; Spiral; Syeeda's Flute Song; Naima, and Mr. P.C.

Vinyl LP pressing. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

Vinyl LP pressing. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

Andrew Cyrille Quartet -"The News" The new album from the quartet led by innovative jazz drummer, Andrew Cyrille, carries the story forward from the 2016 release, The Declaration of Musical Independence. Each of the players (Bill Frisell, Ben Street and David Virelles) has space for improvisational expression, but it is Cyrille's communicative sensibility and what the New York Times called his "watchful, flowing pulse" that guides the band.

One of the most innovative, experimental and outlandish figures in American jazz, saxophonist Ornette Coleman dramatically altered the direction of the genre. A leading musician on the avant-garde scene, Coleman was among the pioneers of the free jazz movement, alongside Charles Mingus, Eric Dolphy and John Coltrane. His unconventional techniques, stark arrangements and unique playing style opened up a host of possibilities for what could be achieved in the field of jazz, and in so doing he earned himself a reputation that is as potent today as ever it was. This 4CD set compiles all eight Ornette Coleman albums released between 1958 and 1962, from his stunning debut Something Else, through to his final album with the Ornette Coleman Quartet, Ornette On Tenor. Featuring over five hours of music, remastered to the highest standard possible, this collection serves as both an excellent starting point for those new to this musical genius, and as a welcome reminder of Coleman s most acclaimed and respected era, from a career that lasted the best part of 70 years, ended only by the man s passing in 2015 at the age of 85.

Vinyl LP pressing. On vinyl in the U.S. for the first time since 1977, this 1975 release includes African, Indian, Arabic and 70's era Miles Davis style electric rock fusions. Featuring contributions from former Ornette Coleman bandmates Charlie Haden and Billy Higgins, and liner notes from Stanley Crouch.

In 1999, a year after recording the splendid reunion album Not Two, Not One, Paul Bley's highly innovative trio with Gary Peacock and Paul Motian took to the road with concerts on both sides of the Atlantic. When Will The Blues Leave documents a terrific performance at the Aula Magna di Trevano in Switzerland. Included here, alongside the angular freebop Ornette Coleman title track, are Paul Bley's Mazatlan, brimming over with energy, Gary Peacock's evergreen Moor, Gershwin s tender 'I Loves You Porgy" and much more... All played with the subtlety of master improvisers, recasting the music in every moment.

First volume of a live recording from July 1961 at The Five Spot with Eric Dolphy on alto saxophone, flute, bass clarinet and Booker Little on trumpet backed by the rhythm section of pianist Mal Waldron, bassist Richard Davis, and drummer Ed Blackwell.

Carla Bley and her Remarkable Big Band, as the cover has it, in a resolutely contemporary performance of nostalgia-inflected material, recorded live at Paris's New Morning club. The album showcases rich and robust performances of new Bley material (plus an arrangement of a Ray Noble chestnut) with particularly stellar contributions by saxophone soloists Andy Sheppard and Wolfgang Puschnig, by trumpeter Lew Soloff, and trombonist Gary Valente. Centrepiece of the album is the 25 minute title track Appearing Nightly at the Black Orchid - commissioned for the Monterey Jazz Festival and heard here in a premiere recording.

The legendary Don Cherry with his great 1966 quintet featuring Gato Barbieri on tenor sax, Karl Berger on piano, Bo Stief on bass and Aldo Romano on drums. This quintet can also be heard on three releases on ESP-Disk, three volumes titled Live at Cafe Monmartre 1966 (ESPDISK 4032CD, 4043CD and 4051CD) and with the New York Total Music Company in 1968. This recording is taken from an excellent radio broadcast, presented here for the first time in a glorious vinyl release.

Vinyl LP pressing. In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain. The musicians in Don Cherry's New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band-Don and Moki Cherry, Christer Bothen, Gerard "Doudou" Gouirand, and Nana Vasconcelos- performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki's carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air. The music in the Chateauvallon concert aspired to a universal language that would bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the Indian theta "Dha Dhin Na, Dha Tin Na," and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance-including pieces that would later appear on Don's albums Organic Music Society and Home Boy (Sister Out)-all punctuated by outbursts of possessed glossolalia from the puppeteers. "Relativity Suite, Part 1" notably spotlights Bothen on donso ngoni, a Malian hunter's guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos's masterful demonstration of this single-stringed Brazilian instrument is a harbinger of his work to come as a member, with Don, of the acclaimed group Codona. The sounds of children playing on the ensemble's achingly tender rendition of Jim Pepper's oft-covered beacon of spiritual optimism, "Witchi Tai To," lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the concert's laid back, communal vibe feels like an attempt by the Cherrys to show Don's jazz audience that he was moving on. At the same time, however, Don was extending a warmhearted invitation for them to come along for the ride.

Vinyl LP pressing. In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936-1995) and the Swedish visual artist and designer Moki Cherry (1943-2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki's aphorism "the stage is home and home is a stage." By 1972, they had given name to a concept that united Don's music, Moki's art, and their family life in rural Tagarp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during it's original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don's extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal "mystical" period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky's The Holy Mountain.

Vinyl LP pressing. Recorded in November 1969 at the US Embassy, Live In Ankara saw the adventurous jazz trumpeter Don Cherry performing with saxophonist Irfan Sumer, bassist Selcuk Sun, and drummer Okay Temiz, with arrangements by trumpeter Maffy Falay, who had introduced Cherry to Temiz in Stockholm. Mostly comprised of Cherry originals and adaptations of Turkish folk songs, there are one-off takes of compositions by Ornette Coleman and Pharoah Sanders as well, the sparse musical ensemble giving Cherry ample room for soloing as they drift between the sounds of tradition and experimentation. A must for all Don Cherry fans.

Vinyl LP pressing. Archive release. An amazing document of the life experiment that was the Organic Music Society. This super quality audio, recorded by RAI (the Italian public broadcasting company) in 1976 for television, documents a quartet concert focused on vocals compositions and improvisations. Here, Don Cherry and his family-community's musical belief emerges in it's simplicity, with the desire to merge the knowledge and stimuli gained during numerous travels across the World in a single sound experience. Don's pocket-trumpet is melted with the beats of the great Brazilian percussionist Nana Vasconcelos, the Italian guitar of Gian Piero Pramaggiore, and the tanpura drone of Moki. A pure hippie aesthetic, like in an intimate ceremony, filters a magical encounter between Eastern and Western civiliziations, offering different suggestions of sound mysticism: natural acoustics in which individual instruments and voices are part of a wider pan-tribal consciousness. A desert Western landscape marries Asian and Latin atmospheres. Indigenous contributions with berimbau explorations find fossil sounds of rattles and clap-hands invocations. Influences of Indian mantra singing are combined with eternal African voices or with folkish-Latin guitar rhythms, while flute and drums evoke distant dances. In the Organic Music everything becomes an act of devotion and love, an ecstatic dwell in the dimension of a sacred free-rejoice.

In 1968, Don Cherry had already established himself as one of the leading voices of the avant-garde. Having pioneered free jazz as a member of Ornette Coleman's classic quartet, and with a high profile collaboration with John Coltrane under his belt, the globetrotting jazz trumpeter settled in Sweden with his partner Moki and her daughter Neneh. There, he assembled a group of Swedish musicians and led a series of weekly workshops at the ABF, or Workers' Educational Association, from February to April of 1968, with lessons on extended forms of improvisation including breathing, drones, Turkish rhythms, overtones, silence, natural voices, and Indian scales. That summer, saxophonist and recording engineer Goran Freese-who later recorded Don's classic Organic Music Society and Eternal Now LPs-invited Don, members of his two working bands, and a Turkish drummer to his summer house in Kummelnas, just outside of Stockholm, for a series of rehearsals and jam sessions that put the prior months' workshops into practice. Long relegated to the status of a mysterious footnote in Don's sessionography, tapes from this session, as well as one professionally mixed tape intended for release, were recently found in the vaults of the Swedish Jazz Archive, and the lost Summer House Sessions are finally available over fifty years after they were recorded.

Vinyl LP pressing. Recorded live by Rudy Van Gelder, this is one of a pair of Eric Dolphy's albums documenting the 1961 historical residency at the Five Spot, New York's major temple of the early avant-garde. This is timeless music performed by one of the essential line-ups in modern jazz. A marvelous quintet featuring the great Booker Little on trumpet and the amazing rhythm section of Mal Waldron on piano, Richard Davis on double bass, and Ed Blackwell on drums plus, of course, master Eric Dolphy on alto saxophone, bass clarinet, and flute.

Recorded live in Sweden in September 1961, the Uppsala Concert is an important document from Dolphy's first Swedish tour as leader of an obscure but talented local quartet featuring Rony Johansson (piano), Kurt Lindgren (bass), and Rune Carlsson (drums). Master Dolphy shines, as always, on all his instruments alto sax, bass clarinet, and flute, while the track list consists of a rare mix of standards such as Milt Jackson's "Bags Groove," Monk's "52nd Street Theme," Cole Porter's "What Is This Thing Called Love?" and the famous unaccompanied alto sax version of "Laura," all this plus a 20-minutes-long version of Dolphy's blues "245" where every single note played by Dolphy sounds as pure gold.

Pressed on 180-gram orange marbled vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Don Cherry and Ed Blackwell, graduates of the revolutionary Ornette Coleman quartet, are in perfect accord on this seminal free jazz set, recorded in Paris in 1969. The emphasis, as on all Don Cherry releases, is on the life-giving, often magical qualities of pure sound, created on instruments ranging from Indian and bamboo flutes to his signature pocket trumpet. What's also significant is that a composition like "Mu"was built entirely on improvisation, not just the solos, but the entire piece. All the parts played by the two musicians, the order and even the duration arose from within the session itself, and without anything being preconceived. Don Cherry's first chapter of his legendary "Mu"recordings has never sounded more vital or compelling. "This album is a masterclass of improvisation delivered by two musicians of impeccable integrity who play what they felt and heard with complete freedom, and at exactly the right time."John Masouri

- Pressed on 180-gram cherry marbled vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Inspired by his travels and endless quest to broaden his musical horizons, "Mu" Second Part finds Don Cherry playing lyrical passages on Indian and bamboo flutes, as well as piano, bells and his trademark pocket trumpet. He also refers to South African musician Abdullah Ibrahim, aka Dollar Brand, and jazz drummer Albert "Tootie"Heath on tracks that writer Ekkehard Jost has described as "unpredictable and endlessly fascinating..."� Don Cherry and drummer Ed Blackwell, both graduates of the revolutionary Ornette Coleman quartet, shared a highly intuitive approach to improvisation which, coupled with Cherry's keen explorations of folk music from other cultures, imbue the "Mu"recordings with undeniable beauty, spiritual depth and originality. More than fifty years later, the "Mu"albums sound as fresh and innovative as it did back then.

- Pressed on 180-gram black vinyl LP - Restored & remastered from the original tapes - Comes with an insert featuring new & insightful essay by author & music journalist John Masouri - LP original gatefold sleeve & artwork faithfully reproduced with classy matte laminate finish Don Cherry and Ed Blackwell, graduates of the revolutionary Ornette Coleman quartet, are in perfect accord on this seminal free jazz set, recorded in Paris in 1969. The emphasis, as on all Don Cherry releases, is on the life-giving, often magical qualities of pure sound, created on instruments ranging from Indian and bamboo flutes to his signature pocket trumpet. What's also significant is that a composition like "Mu"was built entirely on improvisation, not just the solos, but the entire piece. All the parts played by the two musicians, the order and even the duration arose from within the session itself, and without anything being preconceived. Don Cherry's first chapter of his legendary "Mu"recordings has never sounded more vital or compelling. "This album is a masterclass of improvisation delivered by two musicians of impeccable integrity who play what they felt and heard with complete freedom, and at exactly the right time."John Masouri