[engl] A massive jazzrock album in the vein of SOFT MACHINE; MILES DAVIS and THE MAHAVISHNU ORCHESTRA which even resembles German Krautrock acts from time to time. A colorful cocktail of many influences from funk and soul to free jazz, Indian and Eastern European traditional music kept together by the brilliant saxophone play of leader Charles Rouse.

[engl] It only took 23 years but the first long-playing record by The Chinese Restaurants is finally here. The Chinese Restaurants is the long-term partnership founded in 1996 by artists LF Restaurant (a.k.a. Richard Papiercuts) and Keith Restaurant. The duo follows three core principles: (1) Never rehearse; (2) Never discuss what you do; (3) Never do the same thing twice. Over the years, LF and Keith have performed with a revolving cast of friends and fellow players, including erstwhile members of Broken Talent, Country Teasers, Billy Bao, and Rocket No. 9. Instant Music is a concise monograph of the project’s many facets and contradictions, spanning free improvisation, reductionism, Third Stream, primitive rock, punk aesthetics, non-cochlear sound, plastic soul, and ASMR hypnotics in just under 30 minutes. The six-song LP was conceived, recorded, and mixed over three days in the group's spiritual home of Bridgeport, Connecticut, where they were joined by longtime friend and associate Malcolm Restaurant and jazz reedsman Erik Elligers. The tracks apparently consist of spontaneously composed first takes, overlaid with improvised overdubs and mixed in a single afternoon. The only previously performed song on the record is "LFO," a rudimentary blues that first entered the band's repertoire in 1997 and is here given an expansive treatment in the style of Philip Cohran or the 1970s Arkestra. The record comes packaged is an exquisite gatefold that offers clues to the Restaurants' process and their queasy, unsublimated relationship with visual art. Limited edition, one-time pressing of 200 copies.

[engl] A wild, esoteric mix of psychedelic funk, afro–latin grooves, jazz and Italian / French styled library sounds courtesy of CUASARES, an enigmatic studio project created by pianist / arranger / visionary Waldo Belloso. Acid fuzz guitar, cosmic synth splashes, distorted organ, flute, vibraphone, trippy studio effects... Originally released in Argentine in 1973 as a micro–edition, here’s the first ever reissue. Includes insert with photos and detailed liner notes by Eduardo A. Elizalde Pietruczyk (a.k.a. Bubbling Minds) and Mike Wallace.

[engl] ?Creation One? is a stunning eight track, jam packed album, so elusive but full of pure joy! Invigorating, stimulating, delightful, a treasure of rhythms grooves and breaks! ?Sombre Guitar? is the favourite to many, especially DJs! In the 1970?s, composer and multi-instrumentalist John Danser formed Danser?s Inferno, a funky Jazz-Rock-Fusion band, an ensemble of 14 very talented musicians. At age 14 John Danser emigrated from London and established himself in New York City where he earned a master?s degree in music at the Manhattan school of music. In his early years, Danser played in classical as well as jazz gigs, simultaneously arranging and composing. He later went on to have an extensive musical career and at one point served as a bandleader at Concord hotel, during the Borscht Belt era, where he played for Sammy Davis jr., Milton Berle, Bob Hope and Judy Garland. - Rachel Kinoti, www.everland-music.com > Licensed by Jessica Danser

[engl] Recorded live at the Blow Out Festival at Victoria / Nasjonal Jazzscene in Oslo, August 21st 2020, by Sindre Bergsvik Øvstegård. A brilliant live performance at one of Norway's finest venues, performed in fornt of a corona restricted audience. The duo's patience and attention to all the small details in the sounds they instruments produce gave a seated crowd strongly needed meditative treatment.

[engl] INCLUDES THE ORIGINAL 'HIP MANUAL'! PLUS BEATNIK-JAZZ BONUS TRACKS! Attention, this is one of the non-music cult obscurities that came out of nowhere during decades of music history. This 1961 released fictional dialogue between a moderator and somebody involved in the late 1950s hipster / beatnik movement in which both discuss the meaning of words and phrases from the youth and ?hipster? language of the 50's. It is different to the typical spoken word records where either political or philosophical pamphlets get recited. It is a dialogue, a comedic dialogue with some audience noises fadet in, some strange narrations and examples how to speak in a 1950s beatnik style. It is an interesting authentic document of its time and certainly a challenge even for those who speak English fairly well. A collectors item for fans and retro hipsters a time when a vivid counter society was pulsating beyond the idyllic world on the surface.

[engl] Way back in the early 1980?s a group of young musicians mostly in their 20's played around the LA jazz scene in a loosely organized jazz/fusion ensemble under the leadership of woodwind instrumentalist/composer-arranger Dennis Dreith. Those musicians, virtually unknown to all except their peers went on to illustrious touring and recording careers working with the biggest names in the music business and added their talents to scores of top charting recordings. Dennis himself grew into a leading film music composer and influential speaker on music industry matters. Dreith served as International President of the Recording Musicians? Association (RMA), in excess of 15 years, and served as a consultant and member of the American Federation of Musicians (AFM) Negotiating Committee. He is currently the Executive Director of the AFM & SAG-AFTRA Intellectual Property Rights Distribution Fund, overseeing numerous domestic and foreign rights agreements. The band's roster reads like a who's who of contemporary musicians these days. You may have heard of the ?Wrecking Crew,? or seen ?20 Feet From Stardom.? Now you can hear the current generation of musicians who are the unsung heroes of todays? hit records, films and television shows. The Dreith Band features a collection of world class musicians who may not be well known to the public, but are legends in music industry having recorded with Frank Sinatra, The Beatles, Lady Gaga, The Beach Boys, Barbara Streisand, Steely Dan, Elvis Presley, Phil Collins, Miles Davis, Michael Jackson, The Rolling Stones and countless others. Sounding like a full jazz orchestra, The Dennis Dreith Band sonance serves as a blueprint for new acts like Snarky Puppy, Lettuce, Vulfpeck and similarly jazz influenced young groups. Everland Jazz has now carefully prepared the first ever vinyl release of the Reunion LP, a seminal and timeless jazz masterpiece.

[engl] This is the sixth album by Dorothy Ashby, a Detroit born jazz harpist who passed away in her early 50s in 1986 way before her time. She left us a rich legacy of music with this 1965 release being one of her milestones. The music is pure bright and swinging with a joyful mood. Dorothy Ashby performs her lines big time with her harp and captures your soul with the melodies she picks from its strings. She is always there upfront while the brass section mostly fills the background with colour if there is not a short solo part for the trumpet. Typical for the ancient jazz there are no vocals to be heard on this record but this only adds to the depth and intriguing atmosphere of the music. She starts where Coltrane has left the field of real song oriented albums for his experimental efforts and really pulls it off. I can only describe this record as haunting with a rather relaxed approach. Dorothy Ashby and her band know fairly well how to perform and they do it with passion despite reaching a level of perfect playing not many did before. For the time it was released this has been an utterly progressive effort and the pop sensibility of many tracks here make it a great joy to spin and dive into. Jazz fans will dig it and open minded people who love the music of the 60s will also develop a fondness for this beauty.

[engl] Untameable Anatolian feline fuzzy folk funk finally uncaged. A spontaneous Turkish-Norwegian-Dutch expedition, where seafaring jazz cats entangled with fugitive roadies and Tee-Set mods, makes the story of Durul Gence’s highly anticipated/ill-fated Asia Minor Mission group the stuff of lost-rock legend and remains one of Turkish music’s great “what ifs?” The black cat is finally out of the bag. Having forged a celebrity status as one of Turkey’s premier percussionists and bandleaders, Durul Gence assembled the underground fusion group known as Asia Minor Mission (AMM) in early 1972 (with ?rfan Sumer, O?uz Durukan and U?ur Dikmen) while trying to escape the constant daze of paparazzi camera flashes that followed him across Turkey. During a far-fetched post-gig brainstorm the group pondered relocating to Norway (based on fact that none of them had ever visited the country) when a local seaman who claimed to have recording studio connections in Oslo overheard them. Enlisting the roadie services of a streetwise Istanbul taxi driver friend on the run from the police AMM took the plunge, accepting the sailor’s offer of passage on his next sailing. In these new idyllic surroundings, the same region that played host to fellow Turkish percussionist Okay Temiz, Durul found the peace he desired discovering a muse in Norway’s welcoming creative climate. Much like Bar?? Manço and Mo?ollar in France, Cem Karaca and Gökçen Kaynatan in Germany, Gence’s relationship with Norway rekindled a passion for composition in ways he couldn’t have imagined in his homeland, opening doors thought previously unreachable. As a potential prodigal son for Anadolu pop Durul joined a wider pop-cultural diaspora alongside electronic pioneer Ilhan Mimaroglu, Tülay German (aka Tuly Sand) Karda?lar’s “Alex” Wiska (collaborator with Krautrockers Can) and Maffy Falay from the band Sevda. Despite a blooming fan base and original repertoire the Nordic dream was not to be and after two years without a studio session, AMM called it quits during a tour of Holland after which Durukan and Dikmen went home to join Cem Karaca’s band Dervi?an – Dikmen’s keyboards feature on Finders Keepers releases by Turkish singer Selda (FKR011). Retreating to the city of Delft to ponder his next move, Durul met Peter Tetteroo, former vocalist from successful Dutch psych-pop combo Tee-Set, who also found himself in a lonely boat after the demise of his long-running group. As an AMM fan, Tetteroo suggested they record two Gence penned AMM demos for Dutch Philips signed exotic songbird Sasi Naz at Peter’s home studio. A session was hastily arranged and a talented, yet unconfirmed, guitarist was enlisted. Durul maintains it was the work of Ferry Lever from Tee-Set/After Tea, something Ferry has denied, and with Tetteroo having died in 2002 the question remains. Upon entering the humble studio Durul stumbled upon a skeletal drum kit. Lacking hi-hat, toms or even a snare he cobbled together a bongo and a tambourine and set to work. Together, under the watchful eye of Tetteroo, the pair jammed stripped back versions of the AMM live staples Black Cat and Boo Song, with an added freak factor otherwise missing from their jazzier approach. Laid down in just 30 minutes, with Gence’s accomplished guide vocals and fuzzy overdubs, the rudimentary but professional recordings never made it to Philips execs and the tapes returned to Turkey under Durul’s arm as one of only two documented AMM recordings (the other being a live performance in Oslo’s Hennie-Onstad Art Centre in May 1973). Unintended for commercial release, curiouser and curiouser, Finders Keepers proudly present these previously unheard tracks sourced directly from original tapes, which stand as a testament to the inimitable talent of Gence and the only studio document of the mythical AMM Turk jazz funk troubadours, representing a pop-psych Hollandaise holiday postcard which has taken five decades to be delivered. 45 revolutions later… The cat’s got the cream.

[engl] Elephant9 was already established as a vital live favourite on the Norwegian scene - due to a number of energetic and enthusiastically received concerts - before their highly acclaimed debut album "Dodovoodoo" was released in May 2008. 11 years later, and after another four studio albums, it was about time to properly document this live force in the form of not only one album, but two double albums. Indeed, the very limited vinyl only "Live at the BBC" album was released in 2011, but this time the band booked a four day residency at the intimate Kampen Bistro in Oslo and invited old friend Reine Fiske - a vital presence on previous albums "Atlantis" and "Silver Mountain" - along for two of the evenings. Everything was recorded in front of enthusiastic crowds and later mixed by Christian Engfelt, another trusted collaborator. It's a rough warts-and-all mix, with no overdubs, repairs or edits. Tracks are picked from all their albums, often given lengthy workouts with room for improvisation. The trio is extremely tight and telepatic, with Ståle as the obvious soloist, but it's worth to mention the drummer for a change, Torstein being a powerhouse that truly shines on these recordings.

[engl] It's not often a "jazz" band take the big step from the club scene to a 1300 capacity rock venue like Oslo's Rockefeller. But then again, Elephant9 is not your ordinary jazz band. Often being named Norway's best live band - surely quite rare for an instrumental band - they are equally popular in jazz and rock circles. On this, their fifth studio album, Elephant9 are back to the core trio of their first two albums; Ståle Storlokken, Nikolai Hængsle and Torstein Lofthus, three of Norway's finest musicians. "The Greatest Show On Earth" displays some truly astonishing playing and is a more dynamic, structured and focused album with all tracks clocking in around the six minute mark. It's also very much a trio effort where all members are equal, and not only a vehicle for a soloist. Ståle Storlokken (keyboards) is widely considered the most inventive keyboard player on the Norwegian scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal and countless others being firm testament to this. Nikolai Hængsle (bass) is since long a member of popular rock group Big Bang as well as Ketil Moster's quartet Moster!, Needlepoint and Band Of Gold. Torstein Lofthus (drums) is probably the most in demand session drummer in Norway. "Lashes of mellotron and textured guitars create a sprawling psychedelic jazz epic. Few have come close to the greatness of this in recent years. " Record Collector (UK) "There's no denying the thrusting vitality charging through the snaking chicanes conjured by this formidable fusion unit. " Jazzwise (UK)

[engl] On their fourth album, counting the limited vinyl only "Live At The BBC", Elephant9 join forces with Reine Fiske, the quite excellent Swedish guitarist from Dungen, The Amazing and Träd, Gräs och Stenar, for yet another heavy slice of mindblowing modern rock'n'jazz psychedelia. Reine Fiske makes his entrance on the title track, the long intro section almost sounding like it could have come off an early Terje Rypdal album. No coincident considering Fiske is a big Rypdal fan and Storlokken being Rypdal's keyboard player for well over a decade. His guest spot ends with the final thirteen minute tour de force and its heavy funk intro reminiscent of another guitar great and his Band of Gypsys. "Atlantis" is all originals, four from Storlokken and three from Eilertsen, recorded at Stockholm's legendary Atlantis studio under the masterful supervision of Janne Hansson and the band's regular engineer Christian Engfelt. Ståle Storlokken is widely considered to be the most inventive keyboard player from the fertile Norwegian jazz scene, his playing with bands like Supersilent, Humcrush, Motorpsycho, Terje Rypdal and countless others being firm testament to this. Nikolai Eilertsen was first known to the Norwegian public through his playing with popular rock group Big Bang and later chart topping pop group The National Bank.

[engl] Reine Fiske has on several occasions proved a perfect guest for the trio, both on record and on stage. Never one to fight for attention, with Elephant9 he's a true equal given the opportunity to express himself both as a soloist as well as a rhythm guitars, his interaction with Ståle's keyboards creating some magic sequences. Ståle Storlokken is a founder member of Supersilent since 1997, and has for many years been Terje Rypdal's trusted right hand. Nikolai Hængsle is most known from Bigband and Band of Gold. Torstein Lofthus was a member of Shining for several years and has played with a large number of jazz, pop and rock artists. Reine Fiske is a founder member of Dungen and Träden, the continuation of the legendary Swedish group "Träd, Gräs Och Stenar".