Amoeba Music

This is a recording of live show Rufus Du Sol played in the middle of the desert in Joshua tree during the height of the pandemic. This group has a unique sound that is based in electronic music, featuring great hooks and catchy (but not anthemic) choruses that are sure to get you movin' and groovin'. The first track "Valley of the Yuccas" epically starts the album and seamlessly transitions us into 45 minutes of live electronic bliss. Perfect album for those late summer nights that you never want to end. Read more

King Gizzard's blistering addition to their small but mighty thrash metal repertoire came out last summer but is still melting faces. With its complex TOOL-style polyrhythms and fiery, slayer-like guitar licks, King Gizzard has successfully combined the best elements of Heavy Metal. They have created an apocalyptic amalgamation of brutality while still remaining melodic and not wandering off into a state of chaos. Read more

The Disco Biscuits have been melting faces with their unique blend of electronic music and disco for a long time now, but have found a new energy and it shows in the songs featured on this new album. Songs like "Twisted in the Road" and "Another Plan of Attack" prove once again that they are the kings of progressive psychedelic trance fusion. This album will have you dancin' and groovin' through its entirety. Definitely a "can't miss" album for this spring. "Revolution in Motion" comes out March 29th. Read more

This 2021 release from Brooklyn's Acid Dad will be seeing heavy rotation from me this summer. This album features a unique blend of the classic indie/alternative sound with elements of shoegaze, groove, and even a little bit of jam. Without a dull moment to be found and good vibes all around, this record is a great way to kick off any summer gathering with friends and family. Read more

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Issued in 1970 on the FLYING DUTCHMAN label, this important document of the Los Angeles post-Bop scene finally gets this well-warranted re-issue. Clearly taking cues and permission from post-Ornette Coleman developments, the Carter/Bradford groups cut a signature approach to this new sound. Often simultaneously angular and swinging, sometimes simultaneously lyrical (even romantic) and strident. On the surface you'll clearly hear Ornette's influence, but deeper listening reveals a sound unlike anything else. Along with the works of Horace Tapscott, one of my favorite Los Angeles outfits of all time. Read more

If we follow the ways that German and British Jazz have developed since American Jazz first hit their ears, we will find an echoing development. We can hear, for quite a while, the influences reverberating back across the wide Atlantic. That is, until Rock, and particularly Hard Rock, Prog Rock and Psychedelic Rock appear. After that, the British and German scenes broke the leash and went charging off on their own journeys. Volker Kriegel was one of the mainstay session players for Germany's Black Forest-centered label, MPS. Though MPS was dedicated to all things Jazz, they also helped push the boundaries of Jazz-Rock, Psychedelic Jazz-Rock and even Jazz-Funk in the European market. This 1972 session features Albert Mangelsdorff on trambone, the recently passed and legendary Eberhard Weber on bass, Alan Skidmore and Heinz Sauer playing sax, John Taylor on electric piano, john Marshall and Peter Baumeister on drums, in octet and quintet combinations. You may recognize some of those names or not, but I assure you that ALL of them are worth looking into if you are at all interested in the development of post-Bop British and German Jazz. Tight Bop-influenced, Rock-leaning arrangements throughout, that travel right where their going, with enough breaks for individual solos to make everything spark. For the most part, Inside rocks pretty hard - its damn near danceable throughout, with a few tracks interspersed to catch your breath. So happy that MPS has started a re-issue program of their peak moments. Now let's get some Sugarcane Harris back in print! Read more

I'm glad to be doing this job during a time when a much wider population of American Jazz fans are discovering the current and historic strength of foreign Jazz. Jazz in the UK and Japan (and I'm sure in elsewheres that I've yet to discover) has been on the heels of American Jazz since its inception. And, rather than just being the pesky younger siblings, have created, through their own cultural idioms, works and musicians of note on par with the best of their US counterparts. This 1970 sessions from Kosuke Mine (spelled on other albums as "Kohsuke" and "Kousuke), is an excellent example of the above. The opener, "Morningtide," is a killer Hard-Bop, sax and Fender-driven workout, as we find on the closer, "Work I." The quintet also gives a 12+ minute treatment of Joe Henderson's "Isotope," from his 1964 INNER URGE. The real peak of the album, though, is the slow Fender-centered "Dream Eyes." This track made me sit up and find out what I could about keyboardist, Hideo Ichikawa, who provides chill-inducing variations throughout this almost 14-minute gem. This has just been re-issued for the 2nd time in the last 5 years, and I think it should ALWAYS be available. A masterpiece! Read more

A one-off collection of musicians are featured here on Sanders' 1976 recording. Sanders had reservations about the recordings, but fans responded, and its been bootlegged multiple times since its original release, purely due to demand. LUAKA BOP convinced Sanders to revisit it, cleaned up the recording a bit and added two live versions (with different players) to round out the box. Extensive liner notes further help set the album in its time and context, and we're lucky to have an official re-issue at our disposal. Its a singular release from Pharoah and an important document of his late-70's vision. Read more

International Anthem Recording Co. has quietly emerged as a label that is clearly "feeling the pulse." From Carlos Niño to Jaimie Branch, Jeff Parker to Makaya McCraven, Ben Lamar Gay to Rob Mazurek, you can be sure that whatever is within that jacket is going to reveal something new, interesting, perhaps even important. Chicago-based, Panama-born drummer/percussionist Villarreal here assembles a trio with guitarist Jeff Parker and Australian bassist Anna Butterss (also on Parker's "Mondays At The Enfield Tennis Academy" sessions). There is an undeniably Latin tinge to these improvisational conversations, but, like a lot of titles released by International Anthem, they are always neither here nor there, but occupying the free air provided by unbound communication in the moment. Parker has become my must-listen guitarist and here is no exception. His decisions, often seeming pared-down and simple, belie a complex sureness, a thrilling appropriateness to the sound environment of every moment. Culled from extra recordings made during the sessions for Villarreal's "Panama '77" release, I'm glad that he found these gems worthy of their own release, and they're certainly no one's "B Sides." Read more

I was familiar with Gigi Masin and his back catalog of Belearic ambient electronica released on the always-interesting Music From Memory label, but wasn't familiar with UK keyboardist/composer Greg Foat. Aptly titled, Dolphin feels less like the named sea mammal and more like what a dolphin, albeit one with a taste for electric piano-driven Jazz, might experience while circling white beaches through clear turquoise water with their headphones firmly in place. Hints of Bill Evans, Debussy and Satie emerge here and there as you slip through the cool water, illumined by flashes of warm light. Sounds ridiculous? Give it a listen and tell me if I'm wrong. Read more

Over the course of a quarter of a century, multi-instrumentalist, arranger, composer Atwood-Ferguson has positioned himself to be in demand from an incredible array of musicians: Dakah Hip Hop Orchestra,, Barry Manilow, Mia Doi Todd, Thundercat, Flying Lotus, Joss Stone, Thirty Seconds To Mars, Freestyle Fellowship....the list just unrolls like the longest CVS receipt you've ever seen. This being kind of the first release on which his name and credits are fully front and center, it's no wonder that he seems to have had a LOT of ideas waiting for release. Across its 3 CDs or 4 LPs, he lays down 52 tracks (1 for each week?) that range in length from 34 seconds to just over 14 minutes, and the styles vary from fairly in-the pocket post-millennial Jazz to Perrey & Kingsley flavored Moog Electronica to amuse bouches of Exotica to HipHop/Jungle driven instrumental workouts. Surprisingly, there are no points where a shift of idea throws us off the ride. Like taking your ears on a trip through It's A Small World. The styles shift and morph and sometimes jar, but the underlying design springs from the same intuitive pen. It's too much for a single sitting, but on rotation over time, it settles deeper and deeper into the mind. It feels like an album that will be looked back at with very high regard. Read more

However you feel about SIMPLY RED, you'd be hard-pressed to deny that "Money's Too Tight To Mention" isn't a banger Soul classic! Well, this man, Billy Valentine and his brother wrote that gem, and now he's assembled a cast of master Jazz performers to back him up as they weave their way through 8 tracks, each of which, like "Money's Too Tight..." have matured into "new" standards of conscious Soul-Jazz. He's backed up by, amongst others, guitarist Jeff Parker, veteran master-session bassist, Pino Palladino, Joel Ross on vibes, saxophonist Immanuel Wilkins, bassist Linda May Han Oh, and trumpet-wielder Theo Croker. Billy's voice is strong and confident, landing somewhere in the mid-ground of Marvin Gaye and Curtis Mayfield, while select tracks hint at a bit of Al Jarreau leaking through. His timing is artful and creative, and yet consistently appropriate. However, what really locks this album in place is the level of support that he's collected. I truly believe that this album is every bit as strong vocally and instrumentally. The arrangements are subtly shocking/delighting throughout. There's not a single track that falls below the level of near-perfection, though a few really ascend into the upper atmosphere: Mayfield's "We The People Who Are Darker Than Blue," Gil Scott-Heron's "Home Is Where The Hatred Is," Pharoah Sanders' "The Creator Has a Master Plan," and "Sign Of The Times" by Prince are stunning. On the traditional hymn, "Wade In The Water," Jeff Parker takes a blues turn that I wish had continued for 10 minutes. And, if there's any criticism, I'd just wished that some of these tracks had extended far beyond their allotted time. Guess I'll have to hope to hear that live. Read more

Physique did it again am I right fellas Favorite track: Again Read more

I had been eagerly awaiting the next release from Institute since their flawless 2019 album Readjusting the Locks, and Ragdoll Dance does not disappoint. The heavy crust, noise, and post-punk elements of previous albums are maintained and expanded on here in fresh and interesting ways. Favorite track: Dead Zone Read more

Recently had the chance to catch dark-ages drenched punk outfit Poison Ruïn live after having this album on heavy rotation last year, and that performance immediately brought Härvest back into the rotation and gave me an even deeper appreciation for this band. Few are doing it like this. Favorite track: Torture Chamber Read more