Bart&Baker will release their first ever Remix collection, simply titled Bart&Baker Remixed. Fuelled with killer versions taken from their first EPs, it contains brand new remixes from the likes of KeX, DJ Mibor and Skeewiff, as well as the brand new track, a glorious cover of a Ray Charles “Swingnova” classic from the sixties. The German-Israeli singer Maya Saban and her Band are Jewdyssee. They have devoted themselves to revitalising the pearls of Jewish/Yiddish culture bringing back to life what was once considered to be virtually extinct.
Few rock & roll or R&B guitarists of the '50s and '60s have a more consistently frantic body of work than the great Mickey Baker, though his name isn't nearly as well-known as Chuck Berry, Bo Diddley, or Ike Turner. Baker did most of his work as a sideman, and his best-known recordings as a headliner found him playing second fiddle to Sylvia Robinson as half of Mickey & Sylvia (whose "Love Is Strange" remains a puzzling delight 50 years after it was recorded), but folks who know and love first-era rock & roll are aware of Baker's greatness, and this collection is a superb overview of his work, both as a bandleader and as a hired gun.
Chet Baker Ensemble collects all the tracks recorded by trumpeter Chet Baker and his group on a session for Pacific Jazz in late December of 1953. Having been released piecemeal on various albums over the years, this represents the first complete gathering of this material. Recorded less than two months before the legendary Chet Baker Sings sessions, these tracks showcase the young Baker as a hardcore jazz trumpeter before the public became overwhelmingly infatuated with his unique vocal abilities.
Chet Baker's West Coast cool comes to the Big Apple on Chet Baker in New York. The project would be Baker's first – in a four album deal – with the Big Apple-based Riverside Records. The bicoastal artist incorporates his decidedly undernourished sound and laid-back phrasing into the styling of Al Haig (piano), Johnny Griffin (tenor sax), Paul Chambers (bass), and Philly Joe Jones (drums)…
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A nice little record that's very much along the lines of the duet sessions that pianist Horace Parlan cut with Archie Shepp – done with a similar open, soulful style that really brings a lot of personal energy to these tunes penned by Duke Ellington! This might be the first time we've ever heard tenorist Joe Van Enkhuizen, but he's a surprisingly great player – and one who carves out these raspy lines on his instrument that fit really well with the well-crafted lines from Parlan's piano – a lot more subtle and spacious than during his Blue Note years, but maybe even more powerful because of that.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese.An album with a terrible cover – but a wonderful sound! Underneath this ridiculous bikini-clad cover lies some of the best work that Louis Hayes and Joe Farrell cut during the 80s – a freewheeling and open session that's steep on soul, and filled with the best energy both players could muster! The group's a quartet, with Farrell on tenor, soprano, and flute, Hayes on drums, Rob Van Den Broeck on piano, and Harry Emmery on bass. Farrell's inventiveness, as always, is incredible – restrained from some of his over-the-top work in the 70s – but in a good way, one that has him really focusing on the construction of his solos, and coming up with some wonderfully soulful notes that hold the lively rhythms of the tunes together. All tracks are long, and titles include "Miles Mode", "Vim N Vigor", "Arab Arab", and "Besame Mucho".