Recorded August 17 & 18, 1977 at Yamaha Hall, Sapporo.
Mixed September 12, 1977 at AOI Studios, Tokyo.
Manufactured & distributed by Trio Records, Tokyo.

Guitar [Electric] - Masayuki Takayanagi
Recorded August 21 & 22 1982 at Sound Sky Studio, Tokyo
高柳昌行Guitar solo专辑。高柳在这里的吉他演奏就像唱片封面一样，幽兰而迷幻。

After the awesome "28 Roses" and "One More Roses" selections, DJ Mitsu The Beats is back with another true head mix on the Show Tiku Bai label. This time Digg-Master Mitsu turns his fingers to the world of Library music hosting a sensational jazz-funk-afro-boogie romp through obscure pilot show theme tunes, radio jingles and product placement breakbeats; sliced and segued to perfection Bushido style. Man summed it up nicely when he said "To those who eat and sleep with their turntables, this is a must have"...Word up!

本期是《乐队的夏天3》第五期——1V1改编赛第二场。 18支乐队通过双选的方式分成9个1v1小组，每组的两支乐队将改编同一位流行歌手的歌曲，接受现场乐迷的投票，票高者晋级，票低者淘汰。1V1改编赛第一场已完成4个小组的pk，第五期将呈现另外4组乐队的表演。
本期出场的4个PK小组，他们分别是：
新学校废物合唱团VS Nova Heart，他们将分别改编张学友的歌曲《如果这都不算爱》和《一千个伤心的理由》；
康士坦的变化球VS二手玫瑰，他们将分别改编王菲的歌曲《开到荼靡》和《偶遇》；
咖喱3000VSMr.Miss，他们将分别改编刘欢的歌曲《千万次的问》和《梦回的家乡》；
布衣乐队VS柏林护士，他们将分别改编罗大佑的歌曲《沧海一声笑》和《未来的主人翁》；
现场对话过程中，乐队阐述了自己的改编理念，超级乐迷也就乐队改编的亮点展开了讨论，并对一部分乐队给出了一些调整的建议。

本期是《乐队的夏天3》的第6期——是1V1改编赛第3场，以及callout替换赛。
在改编赛段，18支乐队通过双选的方式分成9个1v1小组，每组的两支乐队将改编同一位流行歌手的歌曲，接受现场乐迷的投票，票高者晋级，票低者淘汰。
本期出场的最后一组1v1改编赛PK乐队——火星电台乐队和声音玩具，将改编那英的《白天不懂夜的黑》和《默》。
改编赛结束后，大乐迷在淘汰的9支乐队中票选出了3支乐队进行复活加赛，被复活乐队从已晋级的9支乐队中挑选3支，再进行1v1，票高者晋级，票低者淘汰。
进行callout替换赛的乐队分别是：
回春丹和麻园诗人，他们带来《五彩斑斓的黑》和《黑白色》。
瓦依那和Mr.Miss，他们带来《歌声和你在一块》和《有点东西》；
康士坦的变化球和柏林护士，他们带来《Hi there》和《Battle Song》；
现场对话过程中，乐队阐述了自己的歌曲故事和备赛过程，超级乐迷也就乐队的歌曲和现场表现展开了讨论。
经过改编赛和callout替换赛，最终选出了晋级第三赛段的9支乐队，他们是安达组合、二手玫瑰、八仙饭店、超级市场、麻园诗人、柏林护士、瓦依那、Nova Heart和声音玩具。

Capitol Records has signed Benjamin Clementine and will introduce the London-born, Paris-based artist with I dream, I smile, I walk, I cry. Set for release on April 28, the four-song EP will be available exclusively in the U.S. Clementine – who received “Best New Act” honors at Les Victoires de la Musique, the French equivalent of the GRAMMY® Awards – will play his first Stateside shows this spring, performing at Joe’s Pub in New York City on April 28 and at BRIC House in Brooklyn on April 29.

haggisrecords.bandcamp.com
Scottish jazz trumpeter Malcolm Strachan releases his second solo album "Point Of No Return" on Haggis Records on 27th January 2023. A follow-up to his debut album "About Time" from March 2020 (also on Haggis Records), which received great critical acclaim and strong radio support across the globe. Once again, Malcolm delivers an album of original music written by himself and featuring material covering a broad spectrum of jazz styles. From modal jazz grooves to Brazilian samba beats, Latin rhythms to cinematic soundtrack vibes, and along the way, some beautiful ballads.
If the first album nodded slightly to mid-late 1960s classic Blue Note Records type jazz, this one is more reminiscent of the jazz fusion albums that Malcolms's jazz trumpet hero Freddie Hubbard recorded for the legendary CTI Records label in the early-mid 1970s. The same groove-based jazz where soul and funk beats are at the heart of the arrangement. Rock solid rhythms that allow complex horn parts and improvisation to float over the top with ease. The ensemble playing is strong and the leader's trumpet solos show why he's been one of the most in-demand session musicians in the UK for the last 20 years.
He's recorded and toured with the likes of... Mark Ronson, Amy Winehouse, Corinne Bailey Rae, Jamiroquai, Martha Reeves and The Vandellas, Jess Glynne, The Craig Charles Fantasy Funk Band, Black Honey, The New Mastersounds, Abstract Orchestra and Blue Note Records jazz saxophone legend Lou Donaldson. Of course, he's also a founder and existing band member of the UK funk kings The Haggis Horns.
The core band on "Point Of No Return" are musicians that Malcolm has known and worked with for over two decades, often in The Haggis Horns, and most appeared on the debut album. Those musicians making a welcome return are Atholl Ransome (tenor sax/flute), George Cooper (piano), Danny Barley (trombone), Courtny Tomas, (double bass), and Erroll Rollins (drums). Newcomers this time are longtime Haggis Horns guest percussionist Sam Bell plus special guest vocalist UK jazz singer Jo Harrop, who adds non-verbal Flora Purim style vocals on tracks one and three. Three tracks feature strings, arranged by Phil Steel, with all the strings played by Richard Curran. One of the tracks is the beautifully poignant ballad for strings and trumpet "The Last Goodbye" which could easily have come from a film soundtrack and where Malcolm digs deep into his love for jazz ballads in his solo.
"Point Of No Return" by Malcolm Strachan will definitely appeal to lovers of contemporary acoustic jazz with a classic jazz feel. For those who love the music of Blue Note Records and CTI Records and trumpeters Freddie Hubbard, Donald Byrd, Lee Morgan, Art Farmer, and Miles Davis. Without a doubt, it will be one of the standout UK jazz releases of 2023.
Check out Malcolm's debut album here - malcolmstrachan.bandcamp.com/album/about-time more

The south London raised producer, composer and drummer Yussef Dayes is a tour-de force behind the drums.
In 2018, Yussef launched his own imprint Cashmere Thoughts Recordings and released a string of solo releases including Love is The Message, a collab with Alfa Mist, Mansur Brown & Rocco Palladino, followed by What Kinda Music in 2020, a collab with Tom Misch.

========

Limited edition double vinyl LP pressing. 2008 reissue of the soundtrack to this long lost cult classic of French New Wave cinema Les Stances a Sophie has been out of print for over 30 years and this is its first release ever outside of France. Filmed in Paris in 1970, this fully-subtitled film features killer music, groovy clothes and post-1968 revolutionary ideals. This super-rare film is now perhaps best known for its soundtrack from the legendary Art Ensemble of Chicago (who also feature in the film). The album features the epic 'Theme de Yoyo', the Art Ensemble of Chicago's finest ever moment featuring the soaring vocals of Fontella Bass and the super=heavy Funk drums of then current newcomer to the Art Ensemble Don Moye. The Art Ensemble of Chicago were living in Europe in 1970 when the film was made along with a host of other U.S. Jazz ‚migr‚s such as Archie Shepp, Ornette Coleman and more. Eight tracks. Soul/Jazz.

The inspiration for The Other Side of Life grew out of my love for artists like Lester Young, Chet Baker, Bill Evans and Coleman Hawkins - specifically their ballads. When I listen to their music, the rest of the world melts away and I sink into a blissful haze. I’ve regularly attempted to harness that feeling and pour it into my songs. With jazz having such a major inspiration on the way I approach songwriting, I figured let’s go straight ahead and make a Beach Fossils album where we perform our greatest hits in the style of jazz ballads. I decided to collaborate with some friends of mine who are formally trained jazz musicians. Tommy Gardner played drums on Clash The Truth and was a member of Beach Fossils from 2011 until 2016. On tour, whenever we were in a green room with a piano, Gardner would sit down and start improvising Beach Fossils songs in a jazzy style. He would be playing the melodies for the guitars, bass and vocals all together. It’s not like he rehearsed it, it would be the first time he’d ever attempted to play these songs, and it was always beautiful. I couldn’t understand how the fuck he learned all of that just from sitting behind the drum kit every night. For years I had the idea of turning these piano versions of Beach Fossils songs into an album, and in 2020 when touring came to a sudden halt, I reached out to Gardner and asked if he wanted to finally make this album. On The Other Side of Life, Tommy Gardner plays piano, saxophone and upright bass, Henry Kwapis plays drums, and I sing. As for my vocals, I’m not a jazz singer and I had no intention of altering my style for this record. The idea was for my vocals to be the common thread between the original versions and these new versions. A song by itself is naked, there are endless possibilities for how to dress a song and every choice creates a radically different outcome. Making this album let me step back and see these songs from a new perspective. I hope you’ll enjoy what we’ve done with them.