Blue Note Tone Poet - The final Blue Note album by organist Larry Young, 1969's Mother Ship, bristled with unbridled kinetic energy while delivering soulful grooves. First released in 1980 in the LT Series, the set of Young originals featured Lee Morgan on trumpet, Herbert Morgan on tenor saxophone, and Eddie Gladden on drums. This stereo Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket. Mother Ship Blue Note Tone Poet Edition.

CIRCADIA

Borderland" is the first Amorphis album produced in collaboration with Danish producer Jacob Hansen. Before that, we had made three amazing records at Jens Bogren's studio. During the planning phase of the project, we strongly felt that it was time to explore something new and see what working with a different producer might bring to the table.

Here is Dizzy Gillespie's complete 1961 Monterey Jazz Festival performance, introduced by Diz as 'A Musical Safari'. This remarkable set reflects the quintet's working repertoire of the period, including a foray into bossa nova and features the superb Leo Wright and Argentinian pianist Lalo Schifrin. The first Monterey Jazz Festival was staged in 1958 and, since then, Jimmy Lyons and musical director John Lewis have traditionally gathered each September under the California sky many of the great names in jazz, along with several thousand enthusiastic listeners.

Chet Baker showed with his music that little bit of dark substance that exists in the human being - the shadow side - just as very few other jazz musicians have been able to do. However, such a reading that looks for traces of anguish and self-destruction in every note - and which has also been translated into a couple of films - has ended up overshadowing something very important: namely, that Chet Baker was a top-notch jazz musician, the creator of a unique and personal poetics, an interpreter who did not wallow in his own torments but who also knew how to take less introspective paths, including a superfine and very lively swing. Chet Baker's music had characteristics of it's own. Of a bebop nature in the fast pieces, he had in solos that complex and pulsating way that characterized this style. He differed from it in the soft timbre of the trumpet, which rarely indulged in the "flare-ups" typical of the boppers, and above all for the insistent use of pauses. These were precisely one of the cornerstones of his musical language. In the ballads the trumpeter-singer expanded them to the point of absurdity (and so did with the notes), making them spaces charged of meaning, as can be seen in the somber I'm a Fool to Want You, made famous by Billie Holiday, and also in the serene In a Sentimental Mood. In this final phase of his career, Baker often liked to have groups without drums with him because, in addition to allowing him to maintain a muffled volume in his singing and trumpet playing, the drumless situation guaranteed him greater freedom. Only the double bass player was left to keep time, a role here entrusted to a solid Knauer. In Ferrara, a sensitive French pianist, Michel Graillier, took the stage; in those years he was looking for a synthesis between the energy of McCoy Tyner and the harmonic language of Bill Evans. Finally, the presence of a piano allowed Stilo to limit the use of the other harmonic instrument, the guitar, in favor of the flute.

Amazing jazz interpretations of songs of Nirvana, Klaus Doldinger, Grace Jones, Black Sabbath, Jimi Hendrix, Talking Heads, Grandbrothers, Dave Pike, Empire Of The Sun, Joe Jackson, Eurythmics, Kruder & Dorfmeister. WEB WEB is starting a new chapter with Kover Kover. For the first time in the band's ten-year history, the focus is not on original compositions, but exclusively on cover versions - a radical change of perspective that seems entirely consistent. The musicians' stylistic openness inevitably led to an intriguing question: what would songs by Talking Heads, Kruder & Dorfmeister or Joe Jackson sound like if they had originally been penned by WEB WEB? The answer was obvious - you just had to put these pieces through the distinctive WEB WEB cosmos. The idea: to interpret favorite songs from completely different musical worlds in such a way that they fit organically into one's own musical language. The amazing thing is that it wasn't particularly difficult. Because a really good song can be reduced to two essential components - a melody that you can sing along to and a harmonic structure that remains instantly recognisable even in it's simplest form.

Cannonball's Sharpshooters, originally released in 1958, documents alto saxophonist Julian "Cannonball" Adderley leading a quintet featuring cornetist Nat Adderley, pianist Junior Mance, bassist Sam Jones, and drummer Jimmy Cobb. Recorded on March 4 and 6, 1958, at Bell Sound in New York City, the session captures the group just days before Adderley's recording session for Somethin' Else with Miles Davis, placing the album at a pivotal moment in his late-1950s trajectory. The ensemble presents a compact hard-bop program reflecting Adderley's blues-inflected phrasing alongside the harmonic language of modern bebop. The repertoire balances standards, bop vehicles, and originals, including Tadd Dameron's "Our Delight" and Thelonious Monk's "Straight, No Chaser." Adderley's trademark exuberance while leading an all-star lineup of 1950s jazz defines the character of this session. The Verve Vault series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

Born on the road in Japan, Jazz Messengers '70 is the only recorded document of a short-lived but powerful Messenger lineup. With Blakey at the helm, the band reclaims classic repertoire with urgency, fire, and a future-facing edge.

Cut in 1968, this session catches a trumpeter at the height of his command. Showing impact and restraint in equal measure, Don's playing here is focused, unforced, and powered by years of bandstands, studios, and broadcast work.

'Big Shoulders, Big Sounds' is a raw, high-wire baritone sax trio album led by Jimmy Farace with Clark Sommers on bass and Dana Hall on drums. Rooted in the baritone lineage and the Chicago scene, the music balances tradition and risk-big sound, fearless improvisation, and deeply personal originals alongside respectful nods to the past.

POLKA DOTS AND RAY BANS

Long before bossa nova found it's way into the American ear, Lonnie Sattin was already there. Recorded in Brazil with it's master musicians and shaped by Sattin's unmatched versatility, this album captures a moment when worlds collide, revealing an artist whose vision, curiosity, and voice were always a few steps ahead of their time.

Forged over years of touring, brotherhood, and hard-earned trust, George Coleman's Octet arrives fully realized. This is an explosive first statement from a band driven by experience, discipline, and fearless improvisation, capturing a moment when deep roots, shared legacy, and uncompromising fire collide at full volume.

'S Make It, recorded in 1964 and released the following year on Limelight, captures drummer Art Blakey leading a transitional edition of his Jazz Messengers. At the time, Blakey was navigating the departure of several key members and searching for a new configuration, resulting in a distinctive short-lived lineup within the band's long history. The sextet featured Lee Morgan (trumpet,) Curtis Fuller (trombone,) John Gilmore (tenor saxophone,) John Hicks (piano,) and Victor Sproles (bass.) Together, they delivered a hard-driving program that reflects both Blakey's established hard-bop intensity and the shifting personnel landscape of the mid-1960s Messengers. Blakey's drumming anchors the session throughout with the galvanic rhythmic command that defined his leadership across decades. The Verve Vault Series is always mastered from analog tapes and pressed on 180g vinyl at Optimal.

Wellspring presents the arrival of a powerful new voice in creative music, unrelenting in passion and invention, while always transmitting a deeply empathic grace. Masterful composer-improviser DoYeon Kim is an unparalleled practitioner of the Korean gayageum (a silk-string zither), and is also in possession of a purposeful vocal intensity. This is her debut album as a bandleader, featuring fellow master musicians Tyshawn Sorey (drums), Mat Maneri (viola), Henry Fraser (bass). � Armed with an unlikely traditional instrument, flanked by three extraordinary improvisers, radiating a brash, acoustic strategy that simultaneously invokes folk universalism and a No Wave battle-stance, the Brooklyn-based virtuoso has dropped a volcanic sonic statement with grand humanist goals. Kim mingles Korean lullabies, fervent interactions between drums and strings, and pure instrumental expressions of musical self.�At times, she sounds like she can halt armies. Wellspring is a call for society to come together. � How the Seoul, South Korea-born 34-year-old came to be the centuries-old zither's leading (only?) practitioner of contemporary improvised music, reflects an expansive embrace of her own culture, her place in modern society, and her ascending recognition of music's liberatory power. � Kim has released works alongside Morris and Brandon Lopez. Her 2017 duo album GaPi with Chase Morrin garnered a Korean Grammy nomination. And she's shared stages with Kris Davis, Cooper-Moore and John H�bert, among many others. Now, Wellspring, is the recorded culmination of her growth period. It is a rumbling record, with wall-to-wall big sounds, all Kim compositions or group improvisations, built on immediacy and gusto. Even the aforementioned lullaby, "Walking in a Dream," which Kim performs with unrestrained vocal intensity, surrounded by Fraser's resonant bowing, Maneri's accompanying melody and counter figures, and Sorey adding atmospheric percussive touches-ends like a hurricane.��������� � Kim chose her accompanists not simply because of familiarity, but due to their emotionally unmediated relationship to the moment. "I don't want people thinking about their 'role' in the music" she says. "I want people free from their instrument, who are more about how they are making a sound and the relationship between our sounds." � That feeling and the album's humanist themes are well-displayed by Wellspring's two-part epic closer, the 20+-minute "Linear System"/"Calculus of the Soul." The instrumental "Linear Systems" is, according to Kim, constructed on the theme of the lifecycle, slowly building to a mass bowed drone, through a plucked and reactionary percussion section, before folding into the album's gentlest moment, and sliding into "Calculus of the Soul." "Please listen to this girl's story" the latter begins; then, with Maneri and Sorey flitting around her narration in noise-folk fashion, Kim speak-sings-then-screams of how between the sun's and the moon's daily arrival are countless formulas, and that the mystery of life is contained within those numbers. "That's how we live together!"

Triple vinyl LP pressing. Kenny Dorham's sublime 1956 live album, The Complete 'Round About Midnight At The Cafe Bohemia, features the trumpeter with J.R. Monterose, Kenny Burrell, Bobby Timmons, Sam Jones & Arthur Edgehill. This Blue Note Tone Poet Edition 3-LP set was produced by Joe Harley, remastered by Kevin Gray from the original tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe gatefold tip-on jacket. Includes a booklet with never-before-seen photos by Francis Wolff and an essay by Syd Schwartz.

Kenny Dorham's sublime 1956 live album, The Complete 'Round About Midnight At The Cafe Bohemia, features the trumpeter with J.R. Monterose, Kenny Burrell, Bobby Timmons, Sam Jones & Arthur Edgehill. This Blue Note Tone Poet Edition 2-CD set was produced by Joe Harley and remastered by Kevin Gray from the original tapes. Includes a booklet with never-before-seen photos by Francis Wolff and an essay by Syd Schwartz.

Whitney Johnson, Lia Kohl, and Macie Stewart are a trio of improvisers individually rooted in deep sound exploration, multi-disciplinary composition, and all manner of cross-genre collaboration. The musical ground covered by their solo practices is correspondingly expansive, and their individual recording and performance credits read as a veritable who's who, ranging from DIY darlings to household names of experimental avant-garde, electronic, indie rock, and more. Their collective sound is based in improvised performance-automatic, intuitive composition via their three voices and three string instruments: viola, cello, and violin, respectively. Influences here are vast, dispatched with more playful ease than a trio of string instruments is typically approached with, and just as likely to be found in the cloud-obscured mountains of Donegal, the low-rent cacophony of a midwestern basement, or the revelatory expanse of the Nurse With Wound list as in the storied halls of the academy. As a recording unit, the trio hones and transforms their performance concept with careful post-production, using multiple tape machines and outboard effects to reimagine their improvised material into meticulously crafted compositions. It's all a response to the spaces they are collectively engaged with, and the use of a highly physical medium like analog tape deepens that spatial engagement with striking, organically psychedelic results. Their debut album, BODY SOUND, will be released on March 20, 2026.

Ancestral swirl colored vinyl. After several successful album releases in a mainstream setting, Chief Xian aTunde Adjuah, known then as Christian Scott, chose to continue his path towards full control of his artistic identity. His 2015 release was titled Stretch Music, and it marked the creation of his own label of the same name. A bold move, both musically and professionally; one that nurtured his creative spirit and opened the way for a steady stream of albums that refined his sound and mission. Stretch Music was well received in the press, and from that point his listeners had a direct way to support his choices and sounds. Just as a climber can only see the clarity of the path when he reaches the summit, we can now look back at the direct line that brought the artist to this point. To commemorate this journey, Chief Adjuah presents to the world The Stretch Music 10th Anniversary Deluxe Edition with three new tracks. The deluxe edition reaffirms Stretch Music's dynamic legacy and mission to create new sonic landscapes and musical languages that embrace possibility and innovation while still honoring tradition. The Stretch Music 10th anniversary offering features three new compositions from Chief Adjuah's upcoming releases. "Back 2 Back" - featuring Elena Pinderhughes, "Shared Stories of Rivals II" - featuring Logan Richardson and Weedie Braimah and "Take Off Your Cool" - featuring Robert Glasper. Each composition was written to address critical socio-political issues shaping our time. The Stretch Music 10th Anniversary Deluxe Edition continues to exemplify the necessity of innovation in today's music. It does so by demonstrating the potential for adaptability and socio-cultural engagement while still pushing boundaries and incorporating a wide array of influences and cultures.

From renowned bassist and composer Ben Wolfe comes Any Time After Now, a deeply expressive new album that brings together some of the most exciting voices in modern jazz. Featuring Joel Ross (vibraphone), Sullivan Fortner (piano), Chris Lewis (tenor saxophone), and Aaron Kimmel (drums), the album explores original compositions with elegance, swing, and a cinematic sense of storytelling. Wolfe's signature sound - lyrical, grounded, and harmonically rich - anchors a set of ten tracks that range from uptempo swingers and bluesy grooves to lyrical waltzes and a closing bossa nova. Any Time After Now is a journey through mood and melody, featuring standout soloing and deeply intuitive ensemble interplay. Perfect for fans of acoustic jazz, post-bop, and artists like Ron Carter, Christian McBride, and Bobby Hutcherson, this album blends tradition with a contemporary touch that feels timeless.

With every record I make, I try to do something that I haven't done before." states Rudolph. "And with this record I wanted to further explore a kind of trance groove / concept I have been developing that I call 'Sonic Mandala'. Vibe Ride is the fullest expression of that concept because we had been on tour before the recording which allowed us to develop our ideas and tune in to the chemistry between us. It felt so natural, perhaps in part because these musicians have all been performing with me in my Go: Organic Orchestra and Moving Pictures ensembles for so many years and so are very familiar with my music concepts.

The Big Band of the Deutsche Oper Berlin is celebrating it's 20th anniversary and dedicating itself to French jazz. During the German occupation, it stood for freedom and resistance, and in the post-war period it became the soundtrack of existentialism and an expression of the attitude to life of an entire generation. In the nightclubs of Saint-Germain-des-Pr�s, musicians such as Miles Davis and Sidney Bechet met Jean-Paul Sartre, Simone de Beauvoir, and Boris Vian. For many jazz musicians from the USA, Paris became a place of longing beyond racial segregation and the McCarthy era. The Deutsche Oper Berlin Big Band celebrates the spirit of those years with music by Michel Legrand, Jacques Brel, Boris Vian, and Django Reinhardt.

EASY WALKER (BLUE NOTE CLASSIC VINYL EDITION)

TEXAS-SIZED BAND

On Rick Braun Plays Chuck Mangione, Braun performs every track on the same Couesnon flugelhorn he played as a student at the Eastman School of Music and with the band Auracle-fitted with the cherished Giardinelli mouthpiece gifted to him by the legend himself during a meeting at the 2007 Long Beach Jazz Festival. The collection features an extraordinary roster of collaborators including original Mangione guitarist Grant Geissman, saxophonists Richard Elliot and Tom Scott, keyboardist Philippe Saisse, and flutist Steve Kujala. Vinyl will be an extremely limited pressing.