LP 634 / MEZZOFORTE - Observations

Pris: 185,00 NOK
LP 634 - Mezzoforte 1984 SE / Vinyl; NM - Cover; EX ----------------- Mezzoforte is an instrumental jazz-funk fusion band from Iceland, formed in 1977.[1] They signed a record deal with Icelandic label Steinar.[1] Their biggest hit single was "Garden Party" (1983), taken from their fourth album (second international release) Surprise Surprise.[1] It peaked at number 17 in the UK Singles Chart. The famous solo that takes place two minutes into "Garden Party", was created and played on the flugelhorn by English trumpeter, Stephen Dawson. [2] "Garden Party" was later covered by Herb Alpert, at a lower speed than the original, apparently as he had learned the track from the single played at the wrong speed.[1] Another single, "Rockall" spent one week at number 75 in the same listing in June that year, and was used as a signature tune by several European radio chart shows.[1][2] The band was named after the traditional musical term mezzo forte, an instruction to play literally "moderately loud". ----------- Albums Mezzoforte (1979) Í Hakanum/Octopus (1980) Thvilikt og annad eins (Dreamland) (December 1981) Surprise Surprise (1982) - UK #23[2] Sprellifandi - Live at the Dominion (1983) Observations (1984) Rising (1984) No Limits (1986) Playing for Time (1989) Daybreak (1993) Monkey Fields (1996) Forward Motion (2004) Live In Reykjavik (2007) Volcanic (November 2010) Islands (July 2012) Compilation albums Catching up with Mezzoforte - Early Recordings (1983) - UK #95[2] The Saga so far (1985) Fortissimos (1991) Garden Party Time (1999) Anniversary Edition (2007)

LP 139 / WILBERT LONGMIRE - Champagne

Pris: 185,00 NOK
LP 139 - Wilbert Longmire - 1979 NL Vinyl; NM - Cover; NM FOC --------------- Wilbert Longmire ‎– Champagne Label: CBS ‎– CBS 83527 - Format: Vinyl, LP, Album, Gatefold Country: Netherlands Released: 1979 Genre: Jazz, Funk / Soul Style: Fusion, Easy Listening ---- Tracklist A1 Diane's Dilemma Harmonica – Hugh McCrackenSaxophone [Tenor], Soloist – Michael BreckerWritten-By, Arranged By, Conductor – Bob James - 6:24 A2 Love's Holiday Arranged By, Conductor – Jay ChattawayWritten-By – M. White*, S. Scarborough* - 5:17 A3 Ragtown Saxophone [Tenor], Soloist – Michael BreckerWritten-By, Arranged By, Conductor – Bob James - 6:26 B1 Pleasure Island Written-By, Arranged By, Conductor – Jay Chattaway - 7:35 B2 Funshine Arranged By [Horns] – Randy BreckerWritten-by, Arranged By [Rhythm] – Wilbert Longmire - 8:08 ---------------- les mer på diverse adresser, lite å finne på Wikipedia !

LP 416 / JEFF LORBER FUSSION - Galaxian

Pris: 135,00 NOK
LP 416 - Jeff Lorber Fussion - 1981 USA Vinyl; VG+ - Cov; EX- (wear/tape) ---------------------- Born November 4, 1952 (age 63) Philadelphia, Pennsylvania, U.S. Genres Jazz fusion Smooth jazz Jazz pop Crossover jazz Occupation(s) Musician, composer, record producer Instruments Piano, keyboards, guitar Years active 1975–present ----------------- Jeff Lorber (born November 4, 1952) is an American keyboardist, composer, and record producer. Many of his songs have been featured on The Weather Channel's Local On The 8s segments, including appearances on the channel's compilation albums, The Weather Channel Presents: The Best of Smooth Jazz and The Weather Channel Presents: Smooth Jazz II. He was nominated for a Grammy Award for his 2007 Blue Note Records release He Had a Hat. ----------- The Jeff Lorber Fusion (1977-1981) His first group, The Jeff Lorber Fusion, released their self-titled debut album in 1977 on Inner City Records. Supported by a revolving cast of musicians including longtime drummer Dennis Bradford, Lorber recorded five studio albums under this moniker. These early releases showcased a funky sound influenced by other jazz fusion practitioners such as Herbie Hancock, Weather Report and Return to Forever, the latter's Chick Corea appearing on several Fusion cuts. Like his contemporaries, Lorber performed on multiple keyboard instruments including piano, Rhodes piano, and various analog synthesizers, often favoring the Minimoog and Sequential Circuits Prophet 5. "Rain Dance", found on the 1979 album Water Sign, was sampled for the 1996 Lil' Kim single "Crush On You". It was also sampled for the track "Love Like This" (featuring Lil' Cease) on SWV's 1997 album, Release Some Tension. The Jeff Lorber Fusion's 1980 album, Wizard Island, introduced a young saxophonist, Kenneth Bruce Gorelick, better known as Kenny G. ----------- Studio albums (The Jeff Lorber Fusion) The Jeff Lorber Fusion (1977, Inner City) Soft Space (1978, Inner City) Water Sign (1979, Arista) Wizard Island (1980, Arista) Galaxian (1981, Arista) Now Is The Time (2010, Heads Up) Galaxy (2012) Hacienda (2013) "Step It Up (album)" (2015) Studio albums (solo career) It's a Fact (1982, Arista) In the Heat of the Night (1984, Arista) Lift Off (1984, Arista) Step by Step (1985, Arista) Private Passion (1986, Warner Bros.) Worth Waiting For (1993, Verve Forecast) West Side Stories (1994, Verve Forecast) State of Grace (1996, Verve Forecast) Midnight (1998, Zebra) Kickin' It (2001, Samson) Philly Style (2003, Narada Jazz) Flipside (2005, Narada Jazz) He Had a Hat (2007, Blue Note) Heard That (2008, Peak) ------------- les mer om gruppen - på WIKIPEDIA

LP 244 / JOHN KLEMMER - Magic and movement

Pris: 195,00 NOK
LP 244 - John Klemmer - 1974 USA / Jazz-Jazzrock Vinyl; NM - Cov; EX FOC ---------------- Birth name John Klemmer Born July 3, 1946 (age 69) Genres Jazz, Smooth Jazz, Jazz-Rock Fusion, R&B, Pop, Instrumental Pop, New Age, Cross Over Jazz, Contemporary Jazz, Adult Contemporary Occupation(s) Saxophonist, Composer, Bandleader Instruments Saxophone Tenor, Alto, Soprano Flute, Clarinet, Piano, Syynthsizer, Kalimba, Percussion, Vocal Years active 1963–present ---------- John Klemmer (born July 3, 1946) is an American saxophonist, composer, song writer and arranger.[1] He was born in Chicago, Illinois, and began playing guitar at the age of 5 and alto saxophone at the age of 11. His other early interests included graphics and visual art, writing, dance, puppetry, painting, sculpting and poetry. He studied at schools that include The Art Institute of Chicago and began touring with various local midwest "ghost big bands" (Les Elgart, Woody Herman) as well as playing with small local jazz and rock groups. After switching to tenor saxophone in high school, Klemmer participated actively in the local Chicago jazz scene, playing with commercial small groups and big bands while leading his own groups in the Chicago area and touring. ------------- Discography As leader 1967: Involvement - The John Klemmer Quartets (Cadet/Chess) 1968: And We Were Lovers (Cadet/Chess) 1969: Blowin' Gold (Cadet Concept/Chess) 1969: All The Children Cried (Cadet Concept/Chess) 1970: Eruptions (Cadet Concept/Chess) 1971: Constant Throb (Impulse!/ABC) 1972: Waterfalls (Impulse!/ABC) 1973: Intensity (Impulse!/ABC) 1974: Magic and Movement (Impulse!/ABC) 1974: Fresh Feathers (ABC/MCA/GRP/Verve/UMe) 1975: Touch (ABC/MCA/GRP/Verve/UMe) 1976: Barefoot Ballet (ABC/MCA/GRP/Verve/UMe) 1976: Magic Moments (Chess/GRT #2ACMJ-401) 2LP compilation of the three Cadet Concept albums. 1977: Lifestyle (Living & Loving) (ABC/MCA/GRP/Verve/UMe) 1977: Arabesque (ABC/MCA/GRP/Verve/UMe) 1978: Solo Saxophone - Cry (ABC/MCA/GRP/Verve/UMe) 1978: Simpatico [John Klemmer & Oscar Castro-Neves Duo] (JVC/Samson) 1979: Brazilia (ABC/MCA/GRP/Verve/UMe) 1979: Straight From The Heart (MCA-Nautilus #NR-4) 1979: Nexus - For Duo And Trio [John Klemmer/Bob Magnusson/Carl Burnett] (Arista-Novus; RCA Bluebird/BMG) 2LP 1979: Mosaic - The Best Of John Klemmer, Volume One (MCA #2-8014; MCA #2-6007) 2LP compilation 1980: Magnificent Madness (Elektra) 1981: Hush (Elektra) 1981: Solo Saxophone II - Life (Elektra) 1981: Finesse (Elektra-Nautilus #NR-22/Elektra Musician #E1-60197) 1982: Two Tone [John Klemmer/Eddie Harris/Joe Sample/Phil Upchurch] (Crusaders #CRP-16015) 1982: The Saxophone Player - The Best Of John Klemmer, Volume II (The Impulse Years) (MCA #2-6017) 2LP compilation 1982: Blowin' Gold (Chess/All Platinum/Sugar Hill #CH2-8300; Chess/MCA #CH2-92501) reissue of 'Magic Moments' 1989: Music (MCA/GRP/Verve/UMe) 1998: Making Love, Vol. 1 (Touch #TRCD-1001) 1999: John Klemmer - Priceless Jazz Collection #38 (MCA/GRP/Verve/UMe) CD compilation As sideman With Don Ellis Autumn (Columbia, 1968) The New Don Ellis Band Goes Underground (Columbia, 1969) Don Ellis at Fillmore (Columbia, 1970) 2LP With others... Dave Remington's Big Band - Chicago Shouts! (Universal Records #76835, 1968) Oliver Nelson - Soulful Brass #2 (Flying Dutchman/RCA, 1969) Oliver Nelson - Black, Brown and Beautiful (Flying Dutchman/RCA, 1970) John Lee Hooker - Born In Mississippi/Raised Up In Tennessee (ABC/MCA, 1973) Ray Manzarek - The Whole Thing Started With Rock & Roll and Now It's Out Of Control (Mercury, 1974) Steely Dan - Royal Scam (ABC/MCA, 1976) Tom Snow - Tom Snow (Capitol, 1976) Gloria Lynne - I Don't Know How To Love Him (ABC/MCA, 1976) Cathy Mitchell Lord - C.M. Lord (Capitol, 1976) Roy Haynes - Thank You, Thank You (Galaxy/Fantasy, 1977) Tom Scott, John Klemmer, Gato Barbieri - Foundation: The Dedication Series, Vol. XIV (Impulse!/ABC, 1978) Lauren Wood - Lauren Wood (Warner Bros., 1979) Nancy Wilson - Love, Life & Harmony (Capitol, 1979) Osamu - Masterless Samurai (Alfa, 1980) Japanese import Dan Siegel - Nite Ride (Inner City, 1980) Various Artists - 5 Birds and A Monk (Galaxy/Fantasy, 1981) Various Artists - Ballads By Four (Galaxy/Fantasy, 1981) David Arkenstone - Return Of The Guardians (Narada/EMI, 1996) Craig Chaquico - Once In A Blue Universe (Higher Octave/EMI, 1997) DJ KRUSH - Code 4051 (Red Ink/Sony, 2001) As composer "Excursion #2" - Don Ellis - Don Ellis at Fillmore (Columbia, 1970) "The Old Man's Tear" - Don Ellis - Don Ellis at Fillmore (Columbia, 1970) "The Beauty of Her Soul" - Bobby Bryant - Swahili Strut (Cadet/Chess, 1972) "Lost In Love" - Freda Payne - Out of Payne Comes Pleasure (MCA, 1975) "Lost In Love" - Freda Payne - Lost In Love (MCA, 2000) "Walk In Love" - Acker Bilk - Love Songs (EMI, 1973) "Walk In Love" - The Manhattan Transfer - Pastiche (Atlantic, 1978) "Walk In Love" - The Manhattan Transfer - Live (Atlantic, 1983) "Walk In Love" - David Batteau - Happy In Hollywood (A&M, 1976) "Walk In Love" - Norrie Paramor & Orchestra - By Request (BBC, 1978) "Walk In Love" - Rachel Alejandro - Rachel Alejandro (Warner, 2002) Philippines import "Glass Dolphins" - Ken Navarro - Love Coloured Soul (Positive, 2007) ---- Mer info på Wikipedia !

LP 1045 / YUSEF LATEEF - Part Of The Search

Pris: 295,00 NOK
LP 1045 - Yusef Lateef 1974 USA - Sjelden Jazzvinyl ! Vinyl; NM - Cover; EX+ (kant wear ) ------------------

LP-215 / JOHN KLEMMER - Waterfalls

Pris: 185,00 NOK
LP-215 / JOHN KLEMMER 1972 USA Vinyl; NM - Cover; EX FOC ------------ Birth name John Klemmer Born July 3, 1946 (age 69) Genres Jazz, Smooth Jazz, Jazz-Rock Fusion, R&B, Pop, Instrumental Pop, New Age, Cross Over Jazz, Contemporary Jazz, Adult Contemporary ----------- John Klemmer (born July 3, 1946) is an American saxophonist, composer, song writer and arranger.[1] He was born in Chicago, Illinois, and began playing guitar at the age of 5 and alto saxophone at the age of 11. His other early interests included graphics and visual art, writing, dance, puppetry, painting, sculpting and poetry. He studied at schools that include The Art Institute of Chicago and began touring with various local midwest "ghost big bands" (Les Elgart, Woody Herman) as well as playing with small local jazz and rock groups. After switching to tenor saxophone in high school, Klemmer participated actively in the local Chicago jazz scene, playing with commercial small groups and big bands while leading his own groups in the Chicago area and touring. -------- Biography Klemmer had extensive studies in music, taking private lessons as a youth and in college in piano, conducting, harmony, theory, composition, arranging, clarinet, flute and classical and jazz saxophone. He studied saxophone and jazz improvisation with noted Chicago saxophonist and teacher Joe Daley. He attended the prestigious Interlochen's National Music Camp. The year he graduated from high school, Klemmer was signed by producer Esmond Edwards at Cadet/Chess Records, eventually recording five albums with Cadet/Chess, including his innovative hit album, Blowin Gold (co-produced by ex-Rolling Stones producer Marshall Chess). This album was considered by many as the first of the jazz/rock fusion genre; follow-up albums introduced innovative rock rhythms, sounds and production techniques and debuted electronic effects with the saxophone that became his now trademark delay sound. Klemmer led his own groups touring the U.S. using the cream of the Chicago sideman such as Jodie Christian, Wilbur Campbell and Cleveland Eaton, while occasionally performing in tandem with good friends such as jazz artists Eddie Harris and Oscar Brashear, arranger Les Hooper and rock artists such as James William Guercio (later to produce Blood, Sweat & Tears and Chicago) and various rock artists such as guitarist Harvey Mandel. Klemmer did his first PBS special for WTTW TV Chicago. He was also a busy sideman, exploring every genre of music. He then moved to Los Angeles the following year and for a very brief time was a key soloist & arranger with Don Ellis's) innovative big band touring Europe and toured Africa with Oliver Nelson for the State Department while also working with such diverse artists of a variety of musical genres such as Tim Buckley and others. He studied film scoring with Albert Harris and vocal lessons with Seth Riggs. Continuing always through the events described, Klemmer continuously lead his own small groups touring across the U.S. further developing his unique sound, style and concepts. He primarily focused on his jazz rock fusion styles returning briefly to more traditional jazz and then switching to a more "intense" so-called "Coltraneish" approach upon leaving Chess Records and signing with and recording five albums for Impulse! Records. He performed at the Newport and Monterey Jazz Festivals, Antibes Jazz Festival, Carnegie Hall, Tanglewood, and Montreux Jazz Festival plus TV shows the Midnight Special and Rock Concert. Klemmer has composed all songs for many of his albums, amassing a large and valuable publishing catalog, but he has also collaborated and co-written musically and as lyricist with many pop songwriters, such as David Batteau, with the UK hit "Walk in Love", recorded by The Manhattan Transfer, and Danny O'Keefe, Clint Holmes, Pamela Oland and many others. After another of his many controversial sabbaticals, he again changed musical direction by then moving to ABC/MCA Records briefly returning to his early R&B & pop roots. Klemmer then went on to earn massive crossover appeal with his now landmark series of the classic "Touch" recordings. Klemmer and the "Touch" Series of recordings are regarded by many as paving the way and being "the founder" of the current "Smooth Jazz" genre some anointing him "The Ambassador of Cool". His continuous fast changing of musical directions throughout his career created some controversy, confusion and false speculative motivational assumptions and judgements from his primarily earlier jazz purist audience, primarily, with the now historic "Touch" series of recordings. His managerial associations with noted former Doors manager, Bill Siddons and with Faith Hill, Keith Urban and James Taylor manager, Gary Borman, helped Klemmer exposed his music to a growing number of pop, rock, R&B and adult contemporary audiences. He toured extensively as headliner and with "package tours" with George Benson and Herbie Hancock plus numerous TV appearances arranged by the William Morris Agency. He expanded his musical palette to include, kalimba, flutes, keyboards, percussion and solo vocal. At this time he further developed his innovative Solo Sax Concept resulting in the now landmark recording of Cry ushering in, thought by many, the "New Age Music Spiritual" genre, with some now calling him the "Sax God". He briefly returned to his earlier jazz roots recording the "straight ahead jazz" 2 CD offering, Nexus for Duo & Trio, now considered by many a classic, at personal request of Clive Davis for former Arista/Bluebird/RCA Records, followed by occasional special recording projects such as duo recordings with Joe Sample and Oscar Castro-Neves. Following another of his sabbaticals he then, upon personal urging of legendary pop and rock music mogul Joe Smith, moved to Elektra Records, recording five albums. After another brief sabbatical he then returned to GRP and Verve for Universal Records where his primary v

LP-214 / KEITH JARRETT - Standards, vol. 1

Pris: 195,00 NOK
LP-214 / KEITH JARRETT 1983 DE - Vinyl; NM - Cover; NM- --------- Born May 8, 1945 (age 70) Allentown, Pennsylvania, United States Genres Jazz, Western classical music, jazz fusion, free improvisation --------- Keith Jarrett (born May 8, 1945) is an American pianist and composer who performs both jazz and classical music. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music. In 2003, Jarrett received the Polar Music Prize, the first (and to this day only) recipient not to share the prize with a co-recipient,[1] and in 2004 he received the Léonie Sonning Music Prize. In 2008, he was inducted into the Down Beat Hall of Fame in the magazine's 73rd Annual Readers' Poll. ----------- Early years Keith Jarrett was born on May 8, 1945, in Allentown, Pennsylvania to a mother of Slovenian descent and a father of either French or Scots-Irish descent.[2] He grew up in suburban Allentown with significant early exposure to music.[3] Jarrett possesses absolute pitch, and he displayed prodigious musical talents as a young child. He began piano lessons just before his third birthday, and at age five he appeared on a TV talent program hosted by the swing bandleader Paul Whiteman.[4] Jarrett gave his first formal piano recital at the age of seven, playing works by composers including Mozart, Bach, Beethoven, and Saint-Saëns, and ending with two of his own compositions.[5] Encouraged especially by his mother, Jarrett took intensive classical piano lessons with a series of teachers, including Eleanor Sokoloff of the Curtis Institute. In his teens, as a student at Emmaus High School in Emmaus, Pennsylvania, Jarrett learned jazz and quickly became proficient in it. In his early teens, he developed a strong interest in the contemporary jazz scene; a Dave Brubeck performance was an early inspiration[citation needed]. At one point, he had an offer to study classical composition in Paris with the famed teacher Nadia Boulanger – an opportunity that pleased Jarrett's mother but that Jarrett, already leaning toward jazz, decided to turn down.[6] Following his graduation from Emmaus High School in 1963,[7] Jarrett moved from Allentown to Boston, Massachusetts, where he attended the Berklee College of Music and played cocktail piano in local clubs. After a year he moved to New York City, where he played at the Village Vanguard.[8] In New York, Art Blakey hired Jarrett to play with The Jazz Messengers. During a show with that group he was noticed by Jack DeJohnette who (as he recalled years later) immediately recognized the unknown pianist's talent and unstoppable flow of ideas. DeJohnette talked to Jarrett and soon recommended him to his own band leader, Charles Lloyd. The Charles Lloyd Quartet had formed not long before and were exploring open, improvised forms while building supple grooves, and they were soon moving into terrain that was also being explored, although from another stylistic background, by some of the psychedelic rock bands of the west coast.[9] Their 1966 album Forest Flower was one of the most successful jazz recordings of the mid-1960s and when they were invited to play The Fillmore in San Francisco, they won over the local hippie audience. The Quartet's tours across America and Europe, even to Moscow, made Jarrett a widely noticed musician in rock and jazz underground circles. It also laid the foundations of a lasting musical bond with drummer Jack DeJohnette (who also plays the piano). The two would cooperate in many contexts during their later careers. In those years, Jarrett also began to record his own tracks as a leader of small informal groups, at first in a trio with Charlie Haden and Paul Motian. Jarrett's first album as a leader, Life Between the Exit Signs (1967), was released on the Vortex label, to be followed by Restoration Ruin (1968), which Thom Jurek of allmusic.com described as being "mainly considered a curiosity in his catalog".[8] Not only does Jarrett barely touch the piano, but he plays all the other instruments on what is essentially a folk-rock album. Unusually, he also sings.[8] Another trio album with Haden and Motian, titled Somewhere Before, followed later in 1968, this one recorded live for Atlantic Records. Miles Davis The Charles Lloyd Quartet with Jarrett, Ron McClure and DeJohnette came to an end in 1968, after the recording of Soundtrack because of disputes over money as well as artistic differences.[10] Jarrett was asked to join the Miles Davis group after the trumpeter heard him in a New York City club (according to another version Jarrett tells, Davis had brought his entire band to see a tour date of Jarrett's own trio in Paris; the Davis band being practically the only audience, the attention made Jarrett feel embarrassed). During his tenure with Davis, Jarrett played both Fender Contempo electronic organ and Fender Rhodes electric piano, alternating with Chick Corea; they can be heard side by side on some 1970 recordings, for instance the August 1970 Isle of Wight Festival performance preserved in the film Miles Electric: A Different Kind of Blue and now on Bitches Brew Live. After Corea left in 1970, Jarrett often played electric piano and organ simultaneously. Despite his growing dislike of amplified music and electric instruments within jazz, Jarrett continued with the group out of respect for Davis and because of his desire to work with DeJohnette. Jarrett has often cited Davis as a vital influence, both musical and personal, on his own thinking about music and improvisation.[citation needed] Jarrett performs on several Davis albums: Miles Davis at Fillmore: Live at the Fillmore East, The Cellar Door Sessions (re

LP-93 / MARK ALMOND - Same - Sjelden LP

Pris: 245,00 NOK
LP-93 - Mark Almond - GIMMIXCOVER/BREVCOVER 1971 USA I.press og sjelden Lp - 1 LP utgivelse fra Mark-Almond Genre: Jazz, Rock Style: Jazz-Rock, Fusion, Acoustic Year: 1971 ---------------- Birth name Peter Mark Sinclair Almond Born 9 July 1957 (age 58) Southport, Lancashire, England Genres; Synthpop, new wave, cabaret, art pop (In the beginning; Jazz,Rock ) ----------- 20 Studio albums as solo artist 5 Studio almums with the group; Soft Cell ( see; Wikipedia ) ----------- Career; Childhood and early life Almond was born in 1957 in Southport,[2] (then Lancashire, now part of Merseyside), the son of Sandra Mary Diesen and Peter John Sinclair Almond, a Second Lieutenant in the King's Liverpool Regiment. He was brought up at his grandparents' house in Birkdale with his younger sister, Julia, and as a child suffered from bronchitis and asthma. When he was four, they left their grandparents' house and moved to Starbeck on the edge of Harrogate, North Yorkshire. Two years later they returned to Southport, and then moved to Horsforth (a suburb of Leeds).[3] At the age of 11 he attended Aireborough Grammar School near Leeds. Almond found solace in music, listening to British radio pioneer John Peel. The first album he purchased was the soundtrack of the stage musical Hair and the first single "Green Manalishi" by Fleetwood Mac. He later became a great fan of Marc Bolan and David Bowie and got a part-time job as a stable boy to fund his musical tastes.[4] After his parents' divorce in 1972 he moved with his mother back to his home town of Southport. He gained two O-Levels in Art and English and was accepted onto a General Art and Design course at Southport College, specialising in Performance Art.[5] He applied to Leeds Polytechnic where he was interviewed by Jeff Nuttall, also a performance artist, who accepted him on the strength of his performing skills. During his time at Art College he did a series of performance theatre pieces: "Zazou", "Glamour in Squalor", "Twilights and Lowlifes", as well as Andy Warhol inspired mini-movies. "Zazou" was reviewed by The Yorkshire Evening Post and described as "one of the most nihilistic depressing pieces that I have ever had the misfortune to see", to which Almond later commented in his autobiography, "So it was a success then."[6] Almond followed bands like Siouxsie and the Banshees and left Art College with a 2:1 honours degree. He later credited writer and artist Molly Parkin with discovering him. It was at Leeds Polytechnic that Almond met David Ball, a fellow student; they formed Soft Cell in 1979.[7] Early musical influences As a child, Almond listened to his parent's record collection, which included his mother's "Let's Dance" by Chris Montez and "The Twist" by Chubby Checker, also his father's collection of jazz including Dave Brubeck and Eartha Kitt. As an adolescent, Almond listened to Radio Caroline and Radio Luxembourg. He listened at first to progressive music, blues and rock, Free, Jethro Tull, Van der Graaf Generator, The Who, and The Doors, and bought the first ever issue of Sounds, because it contained a free poster of Jimmy Page. Almond became a fan of Marc Bolan after hearing him on the John Peel Show, buying the T. Rex single "Ride a White Swan". From then on Almond "followed everything Marc Bolan did," and it was his obsession with Bolan that prompted Almond to adopt the 'Marc' spelling.[8] He discovered the songs of Jacques Brel through Bowie as well as Alex Harvey and Dusty Springfield. Brel became a major influence.[3] 1980s Almond and Dave Ball formed and signed to Some Bizzare Label the synth duo Soft Cell, whose hits included "Tainted Love" (UK No. 1), "Bedsitter" (UK No. 4), "Say Hello, Wave Goodbye" (UK No. 3), "Torch" (UK No. 2), "What!" (UK No. 3), "Soul Inside" (UK No. 16), and the club hit "Memorabilia". Soft Cell's first release was an independent record (funded by Dave Ball's mother) entitled "Mutant Moments" via Red Rhino Records in 1980.[9] "Mutant Moments" came to the attention of music entrepreneur Stevo Pearce, who at the time was compiling a "futurist" chart for the music papers Record Mirror & Sounds which featured young, upcoming and experimental bands of the new wave of electronic sound. He signed the duo to his Some Bizzare label and they enjoyed a string of nine Top 40 hit singles and four Top 20 albums in the UK between 1981–84. They recorded three albums in New York with producer Mike Thorne: Non Stop Erotic Cabaret, Non Stop Ecstatic Dancing and The Art of Falling Apart. Almond became involved with the New York Underground Art Scene at this time with writer/DJ Anita Sarko, and performed at a number of Art events, as well as meeting many New York Art luminaries, including Andy Warhol. "Tainted Love", a cover of a Gloria Jones' Northern Soul classic, was number one in the UK and in many countries over the world, and was in the Guinness Book of Records for a while as the record that spent the longest time in the Billboard Top 100 chart in the U.S. It also won the best single award of 1981 at the first Brit Awards. Soft Cell brought an otherwise obscure Northern Soul classic to mass public attention and their version of the song is, to date, the UK's 59th best selling single of all time, selling over one million copies in the UK.[10] In 1982, Almond formed Marc and the Mambas as an offshoot project from Soft Cell. Marc and the Mambas was a loose experimental collective that set the template for the artist that Almond would become. The Mambas at various times included Matt Johnson, Steve James Sherlock, Lee Jenkinson, Peter Ashworth, Jim Thirlwell and Anni Hogan, with whom Almond worked later in his solo career. Under the Mambas moniker, Almond recorded two albums, Untitled and the seminal double opus Torment and Toreros. He disbanded the collective when it started to feel too much like a regular band. Soft Cell disbanded in 1984 just before the release of their fourth album, This Last Ni

LP-72 / SPIN - Whirlwind

Pris: 185,00 NOK
LP-72 - SPIN - 1977 NL - Vinyl; NM - Cover; EX- (wear) ------------- Var en gruppe som startet Jazzrock band etter å ha vært medlemmer i Exeption ! ------------ Spin (jazzrockgroep) Spin was een Nederlandse jazzrockgroep die in 1974 voortkwam uit Ekseption. De groep werd opgericht door Rein van den Broek en Jan Vennik, na verschillen van mening over de muzikale koers van Ekseption . De muziek is veel minder geïnspireerd op klassieke muziek dan de muziek van Ekseption. -------

LP-70 / ALICE COLTRANE & CARLOS SANTANA - Illumina

Pris: 145,00 NOK
LP-70 - ALICE COLTRANE/CARLOS SANTANA 1974 Vinyl; EX , men har et liten ripe/hakk, som gir et par tre knepp. Cover; EX+ m, Orginale Innlegg ----------------- Studio album by Carlos Santana & Alice Coltrane Released September 1974 Length 35:40 Label Columbia Producer Turiya Alice Coltrane, Devadip Carlos Santana, Tom Coster Carlos Santana chronology Santana's Greatest Hits (1974) Illuminations (1974) Borboletta (1974) ------------ Illuminations is a 1974 collaboration between Carlos Santana and Alice Coltrane. Jazz musicians Jules Broussard, Jack DeJohnette and Dave Holland also contributed to the record, on saxophone, flute, drums and bass. Alice Coltrane delivers some harp glissando, while the string orchestra adds a serene mood to the music. Carlos Santana (whose Indian name "Devadip" appears on the sleeve) plays electric guitar in his own fashion, utilizing feedback, long notes and simple melodies, letting much space to the other instruments. The album is conceived as an instrumental jazz album, with lengthy solos on guitar, saxophone and keyboards. The introduction to "Angel of Air", with its violins, has been sampled by the Cinematic Orchestra. It is his first of three solo albums (the others being Oneness and The Swing of Delight) to be released under his temporary Sanskrit name Devadip Carlos Santana, given to him by Sri Chinmoy. ---- Track listing Side one "Guru Sri Chinmoy Aphorism" (Guru Sri Chinmoy) - 1:11 "Angel of Air / Angel of Water" (Coster, Santana) - 9:55 "Bliss: the Eternal Now" (A. Coltrane) - 5:33 Side two "Angel of Sunlight" (Coster, Santana) - 14:43 "Illuminations" (Coster, Santana) - 4:18 Personnel Carlos Santana - Guitar Alice Coltrane - Harp, Piano, Wurlitzer Organ Tom Coster - Electric Piano and Hammond Organ - 2,4,5 Dave Holland - Double Bass - 2,4 Jack DeJohnette - Drums and Percussion - 2,4 Jules Broussard - Flute, Soprano Saxophone - 2,4 Phil Brown - Tamboura - 4 Armando Peraza - Congas - 4 Phil Ford - Tablas - 4

LP-69 / JAYSON LIND - Second Carneval

Pris: 235,00 NOK
LP-69 - JAYSON LIND 1975 USA / Vinyl; NM - Cover; EX- ( wear + navn ) -------------------------- Born Björn Lindh - 25 October 1944 - Arvika, Sweden Died; 21 December 2013 - Mora, Sweden Citizenship; Swedish Occupation; Musician and composer Years active; 1960 – 2013 -------- Björn J:son Lindh (born Björn Lindh; 25 October 1944 – 21 December 2013[1][2][3]) was a Swedish flautist, pianist, music arranger, composer and artist. He worked in such diverse musical styles as jazz, classical, fusion, rock, prog rock and ethno. He composed for instance chamber music, symphonic works, concertos for various instruments and choirs as well as film scores for feature films and TV series in Scandinavia.[4] Lindh scored music for films such as Mannen på taket, directed by Bo Widerberg and Jägarna, directed by Kjell Sundvall.[4] Björn J:son Lindh's ancestors family name was Jansson for several generations. His father changed the family name to Lindh in 1931.[5] The name combination J:son Lindh, where J:son originates from the family name Jansson, has been used since then, but was only in 2009 approved by The Swedish Patent and Registration Office as a family name.[6] Contents 1 Career 2 Awards and honors 3 Discography – albums 4 Selected film music 5 References 6 External links Career In 1962, he started his music education at Ingesund College of Music in Arvika. Between 1963 and 1971 he studied both piano and flute at the Royal Swedish Academy of Music (today Royal College of Music) in Stockholm. Lindh started his professional career as a pop musician during the 1960s in the group Atlantic Ocean, but he was also active as a studio musician during the 1960s and 1970s. During the 1970s, Lindh played in several groups, for instance Jason's Fleece, Handgjort, Baltik and Ablution.[7] In 1973 he started the group Hörselmat together with Janne Schaffer and the group was still active during the 1980s. He played on many of Ralph Lundsten's albums during the 1970s and 1980s, and he also played with the classical pianist Staffan Scheja during the 1980s. The albums he recorded with Scheja was called the Europa-suite. Lindh's first solo album Ramadan was released in 1971, and in 1972 the record companies Metronome and CTI Records released the album in U.S. The artist name he used in U.S. was "Jayson Lindh". His first U.S. release on Vanguard's Free Style label, A Day at the Surface, was recorded at Sonet Records in Stockholm in 1978 and included for instance Janne Schaffer, the Gambian percussionist Malando Gassama, Pete Robinson on period synthesizer, and Stefan Brolund on fender bass. In 1984 he played the flute solo on Murray Head's U.K. No. 1 single "One Night in Bangkok", taken from the Tim Rice/Benny Andersson/Björn Ulvaeus musical Chess. In 1986, he collaborated with the progressive New Age music group, Triangulus, on their self-titled album. He performed with musicians from other countries, for example on the album Islands by Mike Oldfield.[8] Although Lindh was a flautist, he frequently performed on the piano (or Fender Rhodes), and also made use of various synthesizers on many of his recordings. Some of his music is relatively experimental, using up-to-date technology and instruments of that time, such as the Synclavier which he made use of on the album Atlantis, together with Ralph Lundsten as engineer. He performed on Opeth's 2011 album Heritage, on the seventh track called Famine.[9] He released about 30 solo albums during his career, and the piece of music that is most well known is probably "Brusa högre lilla å" (Sing Louder Little River). Lindh was also interested in visual art. He created graphic art by using copper ink, ink, watercolor and acrylic paint and he had several exhibitions since the middle of the 1990s. He performed many times together with his wife Marie J:son Lindh Nordenmalm in the Church of Nora, where he was active until his death. Awards and honors 1971 : Gold Record for Cornelis Vreeswijk's album Spring mot Ulla -spring!, as arranger and musician 1971 : Gold Records for Cornelis Vreeswijk's double album Poem, ballader och lite blues, as arranger, composer and musician 1971 : A second place at the international radio competition Prix Jean-Antoine Triumph Variety Show in Monte Carlo, with ”Musik från en storstad” from the album Från storstad till grodspad [10] 1976: Gold Record for the album Cous Cous 1984: Silver Record for the album Europa, together with Staffan Scheja 1985: Svenska Fonogrampriset for the album Europa, together with Staffan Scheja 1987: Grammis Award for the best Swedish instrumental album with Feather Nights 1989: Platinum Records for the double album Den flygande holländaren, a tribute album to Cornelis Vreeswijk 1993: Cornelis Vreeswijk Scholarship 2003: Culture Prize of Arvika Township, Sweden 2006: SKAPs Music Drama Price 2010: Sweden's Sacred Choral Music Association's Medal of Merit Musica Sacra 2013: Flory Green Scholarship along with his wife Marie J:son Lindh Nordenmalm 2015: Culture Prize of Nora Township, Sweden (posthumously) Discography – albums 1971 – Ramadan (released in US and Germany 1972) 1971 – Från storstad till grodspad 1972 – Cous Cous (released in US, Netherlands and Spain 1973) 1973 – Sissel (released in US 1974) 1974 – Boogie Woogie (released in Netherlands 1974 and in Spain 1976. Was released in US 1975 with the title Second Carneval) 1976 – Raggie (released in UK 1977 with the title Jayson Lindh) 1978 – Bike Voyage II (released in US 1978 and in UK 1980 with the title A Day At The Surface) 1980 – Våta vingar (released in UK with the title Wet Wings) 1981 – Musik (released in UK with the title "To Be Continued...") 1983 – Atlantis-Bilder från en ö (released in US, Canada and UK with the title Atlantis) 1984 – Europa (Opus I) (together with Staffan Scheja) 1985 – Spirits of Europa Opus II (toge

LP-2 / PHIL WOODS - At The Frankfurt Jazz Fest

Pris: 185,00 NOK
LP-2 - Phil ( Wells) Woods - 1971 USA Vinyl; EX - Cover; EX (FOC ) --------------------- Birth name Philip Wells Woods Born November 2, 1931 Springfield, Massachusetts, United States Died September 29, 2015 (aged 83) East Stroudsburg, Monroe County, Pennsylvania, United States Genres; Jazz, bebop, hard bop, post-bop, crossover jazz ------------------ Woods was born in Springfield, Massachusetts. He studied music with Lennie Tristano, who influenced him greatly, at the Manhattan School of Music and at the Juilliard School. His friend, Joe Lopes, coached him on clarinet as there was no saxophone major at Juilliard at the time. Although he did not copy Charlie "Bird" Parker, he was known as the New Bird, a label which was also attached to other alto players such as Sonny Stitt and Cannonball Adderley at one time or another in their careers. In the mid-'50s, Woods began to front his own bands. He got major exposure after Quincy Jones invited him to accompany a 1956 State Department-sponsored world tour with the big band of Dizzy Gillespie. In 1959 Woods traveled Europe with Jones’ band; in 1962 he participated in Benny Goodman’s Russian tour.[1] After moving to France in 1968, Woods led the European Rhythm Machine, a group which tended toward avant-garde jazz. He returned to the United States in 1972 and, after an unsuccessful attempt to establish an electronic group, he formed a quintet which was still performing, with some changes of personnel, in 2004. As his theme, Woods used a piece titled "How's Your Mama?" Woods earned the top alto sax player award almost 30 times in Downbeat magazine’s annual readers’ poll. His quintet was awarded the top small combo title several times.[1] In 1979, Woods made the recording More Live at the Armadillo World Headquarters in Austin, Texas. Perhaps his best known recorded work as a sideman is a pop piece, his alto sax solo on Billy Joel's 1977 "Just the Way You Are". He also played the alto sax solo on Steely Dan's "Doctor Wu" from their 1975 album Katy Lied, as well as Paul Simon's "Have a Good Time" from the 1975 album Still Crazy After All These Years. Although Woods was primarily a saxophonist, he was also a clarinet player and solos can be found scattered through his recordings. One particular example is his clarinet solo on "Misirlou" on the album Into The Woods (see discography below). Woods, along with Rick Chamberlain and Ed Joubert, founded the organization Celebration of the Arts (COTA) in 1978 late one night in the bar at the Deer Head Inn in Delaware Water Gap. The organization would eventually become the Delaware Water Gap Celebration of the Arts. Their initial goal was to help foster an appreciation of jazz and its relationship to other artistic disciplines. Each year, the organization hosts the Celebration of the Arts Festival in the town of Delaware Water Gap in September. Phil Woods – A Life in E Flat: Portrait of a Jazz Legend is a documentary film released in 2005 by Jazzed Media. Directed by Rich Lerner, and produced by Graham Carter, the film offers an intimate portrait of Woods during a recording session of the Jazzed Media album This is How I Feel About Quincy.[citation needed] Phil Woods was married to Chan Parker, the widow of Charlie Parker, for 17 years from 1955 and was stepfather to Chan's daughter Kim.[1] On September 4, 2015, Woods performed a tribute to Charlie Parker with Strings at the Manchester Craftsmen's Guild, and announced at the end of the show that he would be retiring. Woods died September 29, 2015, at the age of 83.[2] ----------------- Discography As leader Woods in 1983 1954: Pot Pie (Prestige) 1955: Woodlore (Prestige) 1956: Pairing Off (Prestige) 1956: The Young Bloods (Prestige) – with Donald Byrd 1957: Four Altos (Prestige) – with Gene Quill, Hal Stein, Sahib Shihab 1957 Phil and Quill with Prestige – with Gene Quill 1957: Sugan (Status) 1961: Rights of Swing (Candid) 1967: Greek Cooking (Impulse!) 1969: Round Trip (Verve) 1971: Phil Woods and his European Rhythm Machine at the Frankfurt Jazz Festival (Embryo Records) 1974: Musique du Bois (Muse Records) 1975: Images (RCA Victor) with Michel Legrand 1976: The New Phil Woods Album 1976: Altology (Prestige) 1977: Live from the Show Boat 1977: Summer Afternoon Jazz (Hindsight Records) 1978: 'Song for Sisyphus' (Gryphon Records) 1979: Phil Woods Quartet Live (Clean Cuts) 1979: Phil Woods – I Remember (Gryphon Records) US 1980: Phil Woods/Lew Tabackin (Evidence) 1982: Live from New York (Palo Alto Records) 1982: More Live 1983: At the Vanguard 1984: Integrity (Red) 1984: Heaven (Evidence) 1986: Dizzy Gillespie Meets Phil Woods Quintet (Timeless) – with Dizzy Gillespie 1987: Bop Stew; Bouquet (Concord) 1988: Evolution; Here's To My Lady (Concord) 1988: Embracable You (Philology) 1989: Flash (Concord) 1989: Here's to My Lady (Chesky) 1990: All Bird Children; Real Life (Concord) 1990: Phil's Mood (Philology) 1990: My Man Benny, My Man Phil, with Benny Carter (Musicmasters) 1991: Flowers For Hodges (Concord) 1991: Full House (Milestone) 1991: Real Life, The Little Big Band (Chesky) Woods in Oslo, 2007 1994: Just Friends; Our Monk (Philology) 1995: Plays The Music Of Jim McNeely (TCB) 1996: Mile High Jazz Live In Denver (Concord) 1996: Astor and Elis (Chesky) 1996: The Complete Concert (JMS) with Gordon Beck 1996: Into The Woods (Concord CCD-4699) 1997: Celebration! (Concord) 1998: The Rev And I (Blue Note Records) 2006: Pass the Bebop (Cowbell Music) with Benjamin Koppel and Alex Riel Trio 2011: Man with the Hat (Pazz) with Grace Kelly (co-leader), with Monty Alexander, Evan Gregor, Bill Goodwin, and Jordan Perlson

LP 499 / LESTER YOUNG - The Kansas City Six wi

Pris: 185,00 NOK
LP 499 - Lester Young 1980 USA JAZZ - Vinyl; NM - Cover; EX m,cutout ----------- irth name Lester Willis Young Also known as "Pres" or "Prez" Born August 27, 1909 Woodville, Mississippi, U.S. Origin Kansas City, Missouri, U.S. Died March 15, 1959 (aged 49) New York City, New York, U.S. Genres Jazz Occupation(s) Musician Instruments Tenor saxophone, clarinet Years active 1933–1959 ----------- Lester Willis Young (August 27, 1909 – March 15, 1959),[1] nicknamed "Pres" or "Prez", was an American jazz tenor saxophonist and occasional clarinetist. Coming to prominence while a member of Count Basie's orchestra, Young was one of the most influential players on his instrument. In contrast to many of his hard-driving peers, Young played with a relaxed, cool tone and used sophisticated harmonies, using "a free-floating style, wheeling and diving like a gull, banking with low, funky riffs that pleased dancers and listeners alike".[2] Known for his hip, introverted style,[3] he invented or popularized much of the hipster jargon which came to be associated with the music.[4] ----------- Early life and career Lester Young was born in Woodville, Mississippi, and grew up in a musical family. His father, Willis Handy Young, was a respected teacher, his brother Lee Young was a drummer, and several other relatives performed music professionally. His family moved to New Orleans, Louisiana, when Lester was an infant and later to Minneapolis, Minnesota. Although at a very young age Young did not initially know his father, he learned that his father was a musician. Later Willis taught his son to play the trumpet, violin, and drums in addition to the saxophone. Lester Young played in his family's band, known as the Young Family Band,[3] in both the vaudeville and carnival circuits. He left the family band in 1927 at the age of 18 because he refused to tour in the Southern United States, where Jim Crow laws were in effect and racial segregation was required in public facilities.[5] With the Count Basie Orchestra In 1933 Young settled in Kansas City, where after playing briefly in several bands, he rose to prominence with Count Basie. His playing in the Basie band was characterized by a relaxed style which contrasted sharply with the more forceful approach of Coleman Hawkins, the dominant tenor sax player of the day. Young left the Basie band to replace Hawkins in Fletcher Henderson's orchestra.[6] He soon left Henderson to play in the Andy Kirk band (for six months) before returning to Basie. While with Basie, Young made small-group recordings for Milt Gabler's Commodore Records, The Kansas City Sessions. Although they were recorded in New York (in 1938, with a reunion in 1944), they are named after the group, the Kansas City Seven, and comprised Buck Clayton, Dicky Wells, Basie, Young, Freddie Green, Rodney Richardson, and Jo Jones. Young played clarinet as well as tenor in these sessions. As well as the Kansas City Sessions, his clarinet work from 1938–39 is documented on recordings with Basie, Billie Holiday, Basie small groups, and the organist Glenn Hardman. It was Holiday who gave Young the nickname "Pres", short for President.[7] Their recordings with Teddy Wilson date from this era. After Young's clarinet was stolen in 1939, he abandoned the instrument until about 1957. That year Norman Granz gave him one and urged him to play it (with far different results at that stage in Young's life—see below). Leaving Basie Young left the Basie band in late 1940. He is rumored to have refused to play with the band on Friday, December 13 of that year for superstitious reasons, spurring his dismissal.[6] He subsequently led a number of small groups that often included his brother, drummer Lee Young, for the next couple of years; live and broadcast recordings from this period exist. During this period Young accompanied the singer Billie Holiday in a couple of studio sessions (during 1937 - 1941 period) and also made a small set of recordings with Nat "King" Cole (their first of several collaborations) in June 1942. His studio recordings are relatively sparse during the 1942 to 1943 period, largely due to the American Federation of Musicians' recording ban. In December 1943 Young returned to the Basie fold for a 10-month stint, cut short by his being drafted into the army during World War II (see below). Recordings made during this and subsequent periods suggest Young was beginning to make much greater use of a plastic reed, which tended to give his playing a somewhat heavier, breathier tone (although still quite smooth compared to that of many other players). While he never abandoned the cane reed, he used the plastic reed a significant share of the time from 1943 until the end of his life. Another cause for the thickening of his tone around this time was a change in saxophone mouthpiece from a metal Otto Link to an ebonite Brilhart. In August 1944 Young appeared alongside drummer Jo Jones, trumpeter Harry "Sweets" Edison, and fellow tenor saxophonist Illinois Jacquet in Gjon Mili's short film Jammin' the Blues. Army service In September 1944 Young and Jo Jones were in Los Angeles with the Basie Band when they were inducted into the U.S. Army. Unlike many white musicians, who were placed in band outfits such as the ones led by Glenn Miller and Artie Shaw, Young was assigned to the regular army where he was not allowed to play his saxophone.[citation needed] Based in Ft. McClellan, Alabama, Young was found with marijuana and alcohol among his possessions. He was soon court-martialed. Young did not fight the charges and was convicted. He served one year in a detention barracks[8] and was dishonorably discharged in late 1945. His experience inspired his composition "D.B. Blues" (with D.B. standing for detention barracks). Some jazz historians have argued that Young's playing power declined in the years following his army experience, though critics such as Scott Yanow disagree with this entirely.

LP 521 / DEFUNKT - Same

Pris: 175,00 NOK
LP 521 - DEFUNKT 1980 USA press. 1 utgivelse / Vinyl; NM - Cover; EX- ( edgewear ) ---- Background information Origin New York City, New York, United States Genres Jazz fusion, punk jazz, punk funk, funk rock, jazz-funk, experimental Years active 1978–present Members Joseph Bowie Kim Clarke Ronnie Drayton Bill Bickford John Mulkerin Kenny Martin ------------ Defunkt is a musical group founded by trombonist/singer Joseph Bowie 1978 in New York, United States, and still active. Their music touches on elements of punk rock, funk and jazz.[1] Defunkt has been active since 1978. They merge avant-garde aesthetics with punk rock and funk, and have produced 15 recordings on various independent labels. The band has traveled throughout the world as an opening act for such artists as James Brown, David Byrne and Talking Heads, The Clash, Hans Dulfer, Candy Dulfer, Isaac Hayes, Prince, Larry Graham, Me'Shell NdegéOcello, Maceo Parker. The band has also performed at Jazz Festivals, as well as Rock & Soul venues throughout the world, gaining a small but devoted cult status. ------------ Discography Defunkt (1980) Strangling me with your Love (1981) Thermonuclear Sweat (1982) The Razor’s Edge (12"-Maxi-Single, 1982) In America (1988) Avoid the Funk: a Defunkt Anthology (Compilation, 1988) Heroes (1990) Live at the Knitting Factory (Live, 1991) Crisis (1992) Cum Funky (1993) Live and Reunified (Live, 1993) A Blues Tribute to Muddy Waters and Jimi Hendrix (1994) One World (1995) Defunkt live in Stuttgart (Live, 1996) The Legend of Defunkt, Volume 1 (Compilation, 2001) Defunkt – The Legend Continues (2001) Defunkt Live in Europe (Live-Doppelalbum, 2002) Journey (2004) Defunkt + Thermonuclear Sweat ( 2005)

LP 491 / GARY BOYLE - Electricglide

Pris: 185,00 NOK
LP 491 - Gary Boyle - 1978 UK - JAZZROCK / Vinyl; NM - Cover; EX ---------------- Gary Winston Boyle (born 24 November 1941 in Bihar, India) is a British jazz fusion guitarist. ------- Biography Boyle's family moved to England when he was eight years old. In his teens he started playing small clubs and then in 1962 relocated to Hamburg to play R'n'B in The Top Ten Club. Boyle returned to England in 1964 to play in Millie Small's backup band, opening for The Rolling Stones in sold-out tour. He then worked in Dusty Springfield's band The Echoes and became a member of Brian Auger and the Trinity.[1] After attending the Leeds College of Music, in 1969 Boyle briefly joined Dorris Henderson's folk rock band Eclection,[2] before returning to Brian Auger once more in June.[3] For three years in the early 1970s he worked as a session musician with musicians Keith Tippett, Mike Gibbs, Mike Westbrook, Soft Machine,[4] Stomu Yamashta's short-lived band "East Wind", Bert Jansch and Norma Winstone.[2][5] In 1973, Boyle founded the jazz fusion band Isotope with Jeff Clyne (bass), Brian Miller (keyboards) and Nigel Morris (drums). This line-up gigged around the United Kingdom extensively,[6] and released their first, eponymous, album in 1974 on Gull Records. Examples of their live work can be heard on "Isotope and Gary Boyle: Live at the BBC" (Hux Records). Following the departure of Jeff Clyne and Brian Miller in March 1974, Laurence Scott (keyboards) and Hugh Hopper (bass, formerly of Soft Machine) joined Boyle and Morris. This line-up toured Europe twice and the United States once, and recorded Isotope's second LP "Illusion". Live sessions from Germany can be heard on "Golden Section" (Cuneiform Records), with some tracks featuring Aureo de Souza on percussion. Isotope's final album was "Deep End", released in 1976 (on Gull). The band's line-up had changed again, with Zoe Kronberger and Frank Roberts (keyboards) and Dan K. Brown (bass) replacing Scott and Hopper, although Hopper composed one tune for this album, "Fonebone", featuring himself on bass and Laurence Scott on keyboards. Since Isotope disbanded Boyle has pursued a solo career, and has taught music in several English institutions.[2] Discography With Isotope Isotope - 1974 Illusion - 1974 (re-issued in 2011 by Cherry Red Records, Esoteric Recordings Label) Deep End - 1976 Isotope & Gary Boyle: Live at the BBC - 2004 Golden Section - 2008 Under his name The Dancer (Montreux Jazz/Pop Award) - 1978 Electric Glide - 1978 Step Out - 1981 Friday Night Again - 1986 Triple Echo - 1994 Games - 2003 Other Projects "Sketch" with Maggie Boyle and Dave Bowie CD 2007

LP 497 / NEIL LARSEN - Jungle Febver

Pris: 185,00 NOK
LP 497 - Neil Larsen - 1978 USA / Vinyl; EX - Cover; EX JAZZROCK - JAZZFUSION ------------- Neil Larsen Musician Born: August 7, 1948 (age 67), Cleveland, OH Albums: Larsen-Feiten Band, Larsen-Feiten Band/ Full Moon, Jungle Fever, Forlana Nominations: Grammy Award for Best Rock Instrumental Performance ------------ Albums Jungle Fever Horizon Records & Tapes 1978 High Gear Horizon Records & Tapes 1979 Full Moon (5) Featuring Neil Larsen & Buzz Feiten* - Full Moon Warner Bros. Records 1982 Randy Crawford, Al Jarreau, David Sanborn, Neil Larsen - Casino Light ‎(Cass, Comp) Atlantic Tara AR 3106 1982 Through Any Window MCA Records 1987 Smooth Talk MCA Records 1989 Orbit ‎(2xLP, 180) Straight Ahead Records SAR-104LP 2007

LP 467 / YUSEF LATEEF - Expression !

Pris: 195,00 NOK
LP 467 / Yusef Lateef 1969 USA - Vinyl; NM - Cover; EX -------------------- Birth name William Emanuel Huddleston Also known as Yusef Lateef Born October 9, 1920 Chattanooga, Tennessee United States Died December 23, 2013 (aged 93) Shutesbury, Massachusetts United States Genres New-age music, jazz, post-bop, jazz fusion, swing, hard bop, third stream, world music -------------- Yusef Abdul Lateef (born William Emanuel Huddleston; October 9, 1920 – December 23, 2013) was an American jazz multi-instrumentalist, composer and educator for the Ahmadiyya Muslim Community after his conversion to the Ahmadiyya sect of Islam in 1950. Although Lateef's main instruments were the tenor saxophone and flute, he also played oboe and bassoon, both rare in jazz, and also used a number of non-western instruments such as the bamboo flute, shanai, shofar, xun, arghul and koto. He is known for having been an innovator in the blending of jazz with "Eastern" music.[1] Peter Keepnews, in his New York Times obituary of Lateef, wrote that the musician "played world music before world music had a name."[2] Lateef wrote and published a number of books including two novellas entitled A Night in the Garden of Love and Another Avenue, the short story collections Spheres and Rain Shapes, also his autobiography, The Gentle Giant, written in collaboration with Herb Boyd.[3] Along with his record label YAL Records, Lateef owned Fana Music, a music publishing company. Lateef published his own work through Fana, which includes Yusef Lateef's Flute Book of the Blues and many of his own orchestral compositions. ------------- Prominence Lateef performing in Hamburg, 1971 Lateef began recording as a leader in 1957 for Savoy Records, a non-exclusive association which continued until 1959; the earliest of Lateef's album's for the Prestige subsidiary New Jazz overlap with them. Musicians such as Wilbur Harden (trumpet, flugelhorn), bassist Herman Wright, drummer Frank Gant, and pianist Hugh Lawson were among his collaborators during this period. By 1961, with the recording of Into Something and Eastern Sounds, Lateef's dominant presence within a group context had emerged. His 'Eastern' influences are clearly audible in all of these recordings, with spots for instruments like the rahab, shanai, arghul, koto and a collection of Chinese wooden flutes and bells along with his tenor and flute. Even his use of the western oboe sounds exotic in this context; it is not a standard jazz instrument. Indeed the tunes themselves are a mixture of jazz standards, blues and film music usually performed with a piano/bass/drums rhythm section in support. Lateef made numerous contributions to other people's albums including his time as a member of saxophonist Cannonball Adderley's Quintet during 1962–64. Lateef's sound has been claimed to have been a major influence on the saxophonist John Coltrane, whose later period free jazz recordings[citation needed] contain similarly "Eastern" traits. For a time (1963–66) Lateef was signed to Coltrane's label, Impulse. He had a regular working group during this period, with trumpeter Richard Williams and Mike Nock on piano. In the late 1960s he began to incorporate contemporary soul and gospel phrasing into his music, still with a strong blues underlay, on albums such as Detroit and Hush'n'Thunder. Lateef expressed a dislike of the terms "jazz" and "jazz musician" as musical generalizations.[8] As is so often the case with such generalizations, the use of these terms do understate the breadth of his sound. For example, in the 1980s, Lateef experimented with new-age and spiritual elements. In 1960, Lateef again returned to school, studying flute at the Manhattan School of Music in New York City. He received a Bachelor's Degree in Music in 1969 and a Master's Degree in Music Education in 1970. Starting in 1971, he taught courses in "autophysiopsychic music" at the Manhattan School of Music, and he became an associate professor at the Borough of Manhattan Community College in 1972. In 1975, Lateef completed his dissertation on Western and Islamic education and earned a Ed.D. in Education from the University of Massachusetts Amherst. In the early 1980s Lateef was a Senior Research Fellow at the Center for Nigerian Cultural Studies at Ahmadu Bello University in the city of Zaria, Nigeria. Returning to the US in 1986 he took a joint teaching position at the University of Massachusetts and Hampshire College. Later career Lateef performing in 2007 at the Detroit Jazz Festival His 1987 album Yusef Lateef's Little Symphony won the Grammy Award for Best New Age Album.[9][10] His core influences, however, were clearly rooted in jazz, and in his own words: "My music is jazz."[11] In 1992, Lateef founded YAL Records. In 1993, Lateef was commissioned by the WDR Radio Orchestra Cologne to compose The African American Epic Suite, a four-part work for orchestra and quartet based on themes of slavery and disfranchisement in the United States. The piece has since been performed by the Atlanta Symphony Orchestra and the Detroit Symphony Orchestra. In 2010 he received the lifetime Jazz Master Fellowship Award from the National Endowment for the Arts (NEA), an independent federal agency.[10][12] Established in 1982, the National Endowment for the Arts Jazz Masters award is the highest honor given in jazz.[13] Manhattan School of Music, where Lateef had earned a bachelor's and a master's degree, awarded him its Distinguished Alumni Award in 2012. Lateef's last albums were recorded for Adam Rudolph's "Meta Records". To the end of his life, he continued to teach at the University of Massachusetts Amherst and Hampshire College in western Massachusetts. Lateef died on the morning of December 23, 2013, at the age of 93, after suffering from prostate cancer.[14]