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The Comet Is Coming – Trust In The Lifeforce Of The Deep Mystery (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 45:48 minutes | 905 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Impulse!
Saxophonist and clarinetist Shabaka Hutchings is a real connoisseur of sounds and fusions, and a true explorer. Each of his new musical expeditions pushes him further towards the top of today’s jazz scene… Born in London in 1984, he grew up under the Barbadian sun before moving back to England in 1999 where he joined the prestigious Guildhall School of Music and Drama. Here, he caught the attention of saxophonist Soweto Kinch and started hanging out with big names like Courtney Pine and Jerry Dammers from the Specials. In 2011, Shabaka launched Sons of Kemet, a surprising quartet featuring a tuba and two drums. A complete oddity, halfway between a marching band and a chamber orchestra, that blends jazz, Caribbean and African music, Egyptian influences, and flavours from New Orleans and Ethiopia. The aptly titled The Comet Is Coming – no relations to Sons Of Kemet – is another adaptation of jazz language. But does it still qualify as jazz? It doesn’t really matter. As a sort of electro-drip-fed Sun Ra of the third millennium, Shabaka Hutchings – who calls himself King Shabaka here – is supported by a duo composed of Danalogue on the keyboards and Betamax on drums and percussions. It’s a rather avant-garde programme set to overpowered percussive rhythmic and hypnotising brass improvisations. Sun Ra, as we said… It’s hard not to mention him who was idolised (or hated) for his lengthy compositions and mind-blowing, almost psychedelic performances as well as for the odd cosmic philosophy he preached. The Comet is Coming’s second album, Trust In The Lifeforce Of The Deep Mystery, remains profoundly attached to its time, in which Shabaka injects his philosophy with contemporary elements far removed from master Ra’s semantic like when he hands over the microphone to rapper/spoken-word performer Kate Tempest on Blood Of The Past. – Marc Zisman
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The Comet Is Coming – Channel the Spirits (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 41:38 minutes | 890 MB | Genre: Jazz, Alternative, Electronic, Space Rock
Studio Masters, Official Digital Download | Front Cover | © The Leaf Label
Great fire will fall from the sky, the cause will appear both stupefying and marvelous. Very soon after, the earth will tremble. As was prophesized by Nostradamus, The Comet Is Coming… Marvel! As it blazes a streak of phosphorescent beauty across the night sky. Listen! As a trailing meteor shower drops hot coals hissing into topographical oceans. Inhale! The burning funk of strange new flavors. The sound of the future… today. Our saviors Danalogue the Conqueror, Betamax Killer and King Shabaka come bearing their debut album Channel The Spirits. A prophetic document. A celebration. The beginning of the end. The Comet was first observed in 2013, its power growing with increasingly regular sightings culminating in a stellar display at Trans Musicales at the end of 2015. The debut EP Prophecy arrived in a blaze of light and sound. The word spread. Whispers became shouts-I believe! And now comes the motherlode. Channel the Spirits is a starburst galaxy, a journey through the outer reaches of the cosmos. Over twelve tracks, our fearless stargazers evoke the ghosts of bold experimentalists such as Sun Ra, Funkadelic and the BBC Radiophonic Workshop, reanimate them through 21st century technology and send them off hot-stepping into the greatest party the universe has seen. Keyboards, drums and electronics shimmer and soothe one moment and wig-flip wayward the next, while saxophonist King Shabaka squeezes sounds that echo like the exaltations of visionary voyagers drifting through interplanetary space and time. They shift from the elegiac and the experimental into iridescent molten jazz and full-on intergalactic groove mode. Dusted in cosmic magic, Channel the Spirits is more than an album-it is a séance, a reckoning, a prophecy, a mission. A trans-dimensional journey. The Comet Is Coming. Look busy.
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The Elliott Henshaw Band – Who’d Have Guest? (2021)
FLAC (tracks) 24 bit/48 kHz | Time – 01:05:55 minutes | 828 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Ubuntu Music
“Who’d Have Guest?” is the clever, intriguingly titled new album from respected UK drummer ELLIOTT HENSHAW. Henshaw has worked with all kinds of people across all kinds of genres – most interesting to us David Benoit, the Drifters, Gwen Dickie, Georgie Fame and Beverly Knight. His standing in the UK music community is such that he can call on plenty of “names” to help him craft his own albums and that explains the title of this one, his latest.
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The Collegium Cantorum Choir Of The Czestochowa Philharmonic, Janusz Siadlak – Romuald Twardowski: Works for Mixed Choir (2020)
FLAC (tracks) 24 bit/96 kHz | Time – 54:05 minutes | 974 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © DUX
Romuald Twardowski’s considerable achievements in the field of choral music constitute a lasting contribution to the repository of the Polish culture. The music presented on this album is characterised by a great variety of forms and genres, technical mastery, and they are united by the personality of the creator faithful to the “unity in diversity” principle.
The Czestochowa Philharmonic Choir “Collegium Cantorum” conducted by Janusz Siadlak gathered in their repertoire works by Twardowski created over several decades. The present album is entirely devoted to this output, very well reflecting this genre diversity but also the ensemble’s remarkably enormous performance capability.
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The Electrik Rendezvous – Warrior (2019)
FLAC (tracks) 24 bit/44,1 kHz | Time – 42:19 minutes | 503 MB | Genre: Jazz Fusion, Jazz Rock
Studio Masters, Official Digital Download | Front Cover | © Iroko – Songsurfer®
“Fusion is more than alive. The album title is a statement. At the helm of The Electrik Rendezvous is Gumbi Ortiz. With his Latin influenced percussion, he instills all his passion into the iconic songs that have accompanied and influenced his musical life. So it is no surprise that he has included some of Al Di Meola’s repertoire. With him, celebrating 30 years of fusion stage and recording history, he shares not only an ongoing musical partnership but also a long-lasting friendship. Warrior is a journey into the world of fusion, where you can rediscover this genre. At the end you will conclude enthusiastically: Yes, Fusion lives and has arrived here and now! Musicians: Gumbi Ortiz – Percussion Luis Alicea – Drums Elias Tona – Bass Justino Walker – Guitar Larue Nickleson – Guitar”
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The Creatures – Columbia Singles (2017)
FLAC (tracks) 24 bit/192 kHz | Time – 26:12 minutes | 472 MB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Columbia – Legacy
The Creatures were one of the key beat groups to emerge from Ireland in the 1960s. They were also one of the few Irish acts to attempt to by-pass the UK market and ambitiously aim straight for the US charts, and in the process they left behind a considerable recorded legacy which has been regrettably overlooked by the digital age.
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The Count Basie Orchestra – High Voltage (1970/2015)
FLAC (tracks) 24 bit/44,1 kHz | Time – 34:23 minutes | 336 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © MPS
High Voltage (subtitled Basic Basie Vol. 2) is an album by pianist and bandleader Count Basie featuring performances recorded in 1970 and released on the MPS label.
A dozen generally excellent standards are given overly brief interpretations by the Count Basie Orchestra. Chico O’Farrill was responsible for the arrangements and he should have given the band more space in which to explore these tunes. Since only one number exceeds four minutes in length, none get much beyond the melody.
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The DUO & Bryan Johanson – 13 Ways of Looking at 12 Strings (2019)
FLAC (tracks) 24 bit/176,4 kHz | Time – 46:20 minutes | 1,28 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Soundset
Epic album-length composition by Bryan Johanson, composed for and dedicated to The Duo (Eric Benzant-Feldra and Michael Kudirka, guitars). World premiere recording of all thirteen movements in three parts: Cool Cubed, Pentadigitopia, and Cube Squared.
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The Dowland Project & John Potter – Night Sessions (2013/2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:12:29 minutes | 662 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © ECM New Series
From its inception, John Potter’s Dowland Project has drawn upon different musical traditions including those of ‘early music’ and improvisation. These “Night Sessions” emphasize the Project’s improvisational flexibility and resourcefulness, as the musicians create new music in the moment, sometimes with medieval poetry as inspirational reference and guide. There are also a number of ‘daytime’ pieces worked up, Potter notes, from small amounts of notation: ‘Menino Jesus à Lapa’ is based on Portuguese pilgrim song fragments and ‘Theoleptus 22’ built around a Byzantine chant. Lute fantasias are taken from Dalza’s Intabolatura de Lauto (Venice, 1508) and Attaignant’s Tres breve et familiere introduction…a jouer toutes chansons (Paris, 1529). The oldest compositions are ‘Can vei la lauzeta mover’ – a love song by the 12th century troubadour Bernart de Ventadorn, and ‘Fumeux fume’ by the 14thcentury avant-gardist Solage. Two incarnations of the Dowland Project are heard here, the original band with Potter, Stephen Stubbs and John Surman joined by Barry Guy and Maya Homburger, and the revised line-up with Milos Valent on violin and viola.
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The Doors – Strange Days (50th Anniversary Expanded Edition) (1967/2017)
FLAC (tracks) 24 bit/96 kHz | Time – 01:10:24 minutes | 1,15 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Rhino – Elektra
STRANGE DAYS (50TH ANNIVERSARY DELUXE EDITION) was produced by the album’s original engineer Bruce Botnick. It includes the original stereo mix of the album, with sound that’s been remastered for the first time in 30 years. The second half features the album’s original mono mix, which has been remastered for this set. Accompanying the set are liner notes by music journalist David Fricke, as well as a selection of rare and previously unseen photographs.
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The Choir Invisible – The Choir Invisible (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 38:39 minutes | 401 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Intakt Records
A lovely combination of distinct musical personalities is found in The Choir Invisible, a Brooklyn-based cohesive trio formed in 2017 and co-led by saxophonist Charlotte Greve, bassist Chris Tordini and drummer Vinnie Sperrazza. All three hard-working musicians contribute pieces for the project, possessing a prodigious capacity to create freely in addition to a conspicuous fondness for keen, organic sounds. It’s a staggering integration of writing material and improvisation.
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The Chi-Lites – Steppin’ Out (Bonus Track Version) (1983/2014)
FLAC (tracks) 24 bit/96 kHz | Time – 01:03:56 minutes | 1,31 GB | Genre: R&B
Studio Masters, Official Digital Download | Front Cover | © Legacy Recordings
Formed in Chicago, Illinois in 1959, The Chi-lites were originally called the Hi-Lites, but had to change their name as there was a similarity with another groups name at the time. The ‘C’ in the groups ‘Chi-Lites’ name derived from their hometown’s city, Chicago. Prior to the first incarnation Eugene Record, Clarence Johnson and Robert Lester recorded with the group The Chanteurs, who released material on the Renee Records imprint in 1959. By 1968, the group had been signed to the Brunswick Records imprint, where Eugene began his long and fruitful collaboration with, the singer / songwriter, Barbara Acklin. In 1969 they acheived their first national hit with the song ‘Give It Away’ beginning a successful period that would reap many musical rewards throughout the Seventies. In 1971, they released the song ‘Have You Seen Her’, which charted in the U.S. and the U.K. respectively, reaching the number 3 spot. There then followed a series of chart entries, including ‘Oh Girl’ in 1972, ‘Homely Girl’ in 1974, ‘It’s Time For Love’ in 1975 and ‘You Don’t Have To Go’ in 1976..
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The Charlatans – The Charlatans (1995)
FLAC (tracks) 24 bit/96 kHz | Time – 52:00 minutes | 1,16 GB | Genre: Indie Rock
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet
The Charlatans demonstrated signs of a revival on Up to Our Hips, yet that record in no way suggested the full-fledged return to form of The Charlatans, the group’s most ambitious, focused, and successful album. The group hasn’t changed its sonic approach, yet its music has deepened, incorporating heavy dance elements without losing its core sound. Occasionally, the album relies too heavily on trippy dance instrumentals, but those are funkier and wilder than ever before, and they fit neatly next to the group’s Stonesy pop, which is consistently catchy this time around. The Charlatans illustrates how a working rock & roll band can balance traditional rock and modern post-acid house music, and the results are frequently glorious.
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The Charlatans – Some Friendly (Expanded Edition) (2013)
FLAC (tracks) 24 bit/96 kHz | Time – 01:28:35 minutes | 1,96 GB | Genre: Rock
Studio Masters, Official Digital Download | Front Cover | © Beggars Banquet
Emerging out out of semi-nowhere well, Northwich the Charlatans were saddled with a name that lent itself to jibes about their quality, perceived bandwagon jumping and the burden of being a one-hit wonder with “The Only One I Know.” Then Some Friendly, the group’s debut, planted itself at the top of the UK charts; while the rest of the ’90s were up-and-down for the band, this album set the band on its way. Drawing on Blunt’s background in mod and psych outfits, Collins’ outrageously funky keyboards and Burgess’ unexpected star quality even if his voice wasn’t the strongest Some Friendly is just that, a friendly and fun vibe. Some of the lyrics betray Burgess’ sharp-tongued punk background “You’re Not Very Well,” the opener, expresses anything but sunny sentiments but otherwise Some Friendly delivers everything from ’60s beat groove to Madchester bagginess with verve. True, the group was still following in the Roses/Mondays slipstream “Fool’s Gold” was the blueprint for much of the album but the individual delights of the slow trance “Opportunity,” “Polar Bear”‘s upfront rhythms and “Flower”‘s slightly ominous funk all show the band’s abilities well. “The Only One I Know” remains the best-known cut, Blunt’s crisp bass and Collins’ Deep Purple-inspired keyboards providing its charge. But Some Friendly’s hidden masterpiece comes at the very end “Sproston Green,” a monster jam based on Collins’ supreme keyboard work, with Burgess’ soaring lyric matching the massive surge of the music. It remains the concluding number of the band’s sets to this day for good reason.
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The Coral – Move Through The Dawn (2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 34:17 minutes | 415 MB | Genre: Indie Rock
Studio Masters, Official Digital Download | Front Cover | © Ignition Records
The Coral have announced details of their new album ‘Move Through The Dawn’, released via Ignition Records. ‘Move Through The Dawn’ was recorded at Parr Street Studios in Liverpool and produced by The Coral and Rich Turvey.
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