GoGo Penguin are a band from Manchester, UK, featuring pianist Chris Illingworth, bassist Nick Blacka, and drummer Rob Turner.

Recently, GoGo Penguin has been touring the world performing a live soundtrack for Godfrey Reggio's 1982 cult documentary Koyaanisqatsi, and now the group has announced a forthcoming EP Ocean in a Drop: Music for Film that draws inspiration from the performances. In preparation for the EP, which is set for release on October 4 via Blue Note Records, they have released the project's first single "Time-Lapse City."

Our Man in Paris is a 1963 jazz album by saxophonist Dexter Gordon. The album's title refers to where the recording was made, Gordon (who had moved to Copenhagen a year earlier) teaming up with fellow expatriates Bud Powell and Kenny Clarke, both Parisian residents, and native Parisian Pierre Michelot. Powell, Clarke and Michelot, under the name The Three Bosses, had played together often in Paris since Powell moved there in 1959.
The album was remastered by Rudy Van Gelder in 2003 and released as part of Blue Note's RVG Edition series.

The Clown was Charles Mingus' second masterpiece in a row, upping the already intense emotional commitment of Pithecanthropus Erectus and burning with righteous anger and frustration. With Pithecanthropus, Mingus displayed a gift for airtight, focused arrangements that nonetheless allowed his players great freedom to add to the established mood of each piece. The Clown refines and heightens that gift; instead of just writing heads that provide launch points for solos, Mingus tries to evoke something specific with every piece, and even his most impressionistic forays have a strong storytelling quality. In fact, The Clown's title cut makes that explicit with a story verbally improvised by Jean Shepherd (yes, the same Jean Shepherd responsible for A Christmas Story) from a predetermined narrative. There are obvious jazz parallels in the clown's descent into bitterness with every unresponsive, mean-spirited audience, but the track is even more interesting for the free improvisations led by trombonist Jimmy Knepper, as the group responds to Shepherd's story and paints an aural backdrop. It's evidence that Mingus' compositional palette was growing more determinedly modern, much like his increasing use of dissonance, sudden tempo changes, and multiple sections. The Clown introduced two of Mingus' finest compositions in the driving, determined "Haitian Fight Song" and the '40s-flavored "Reincarnation of a Lovebird," a peaceful but melancholy tribute to Charlie Parker; Mingus would return to both throughout his career. And, more than just composing and arranging, Mingus also begins to take more of the spotlight as a soloist; in particular, his unaccompanied sections on "Haitian Fight Song" make it one of his fieriest moments ever. Mingus may have matched the urgency of The Clown on later albums, but he never quite exceeded it.

Albert Ayler was an American avant-garde jazz saxophonist, singer and composer. After early experience playing R&B and bebop, Ayler began recording music during the free jazz era of the 1960s.

Kunihiko Sugano - piano
Yoichi Kobayashi - bass
Teruhiko Takada - drums
Yoichi Ogawa - congas

Bassist Takashi Mizuhashi made a stunning debut from the Three Blind Mice label with this live recording with the first regular group he formed as a leader. His quartet consisted of young and competent players who would late become giants in the Japanese jazz scene.
This incredibly well-recorded live album contains only three tunes, each exceeding 11 minutes in length. The opener is a huge R&B hit, "When A Man Loves A Woman," featuring the soulful alto saxophone of Yoshio Otomo. "So What" begins with more than three minutes of free improvisation before the band attacks the tune at a break-neck speed.
The third tune--covering the entire Side B of the original album at 18:26--is Stanley Turrentine's famous "Sugar," and for this tune the quartet is augmented by two powerful guests, Seiichi Nakamura on tenor sax and Shigeharu Mukai on trombone. This is an exciting live album recorded with stunning fidelity!
Takashi Mizuhashi - bass
Yoshio Otomo - alto saxophone
Fumio Karashima - piano
Hideo Sekine - drums
Seiichi Nakamura - tenor saxophone (#3)
Shigeharu Mukai - trombone (#3)

Alto Saxophone – Kenji Mori
Bass – Tamio Kawabata (tracks: B1, B2)
Drums – Arihide Kurata (tracks: B1, B2)
Piano – Hideo Ichikawa (tracks: B1, B2)

Japanese digitally remastered limited edition issue of the album classic in a deluxe, miniaturized LP sleeve replica of the original vinyl album artwork.

'77年録音。リリカルな傑作。

The Way Up represents, in the words of guitarist Pat Metheny himself, "our most ambitious undertaking ever as a group"-a single, brilliant 68-minute piece composed by Metheny and his collaborator of 28 years, Lyle Mays. Metheny has likened the creation of The Way Up to making a film, and in some respects, the album feels like a vividly rendered journey, its moods shifting like scenes glimpsed from a fast-moving vehicle.

French reissue of the jazz giant's 1962 album in a digipak. Part of RCA's remastered gold series. 2000 release.
《The Bridge》是Sonny Rollins沉潜复出选择在老字号的爵士乐厂牌RCA／Bluebird录音的第一张专辑。此时的桑尼 罗林斯不但宝刀未老，而且更把乐风伸向自由爵士、放克与硬式咆勃乐风，技巧与内涵更臻至巔峰，乐评舆论界一致公认是他留名青史的里程碑，四十多年来声誉不坠。专辑内找来了Jim Hall、Bob Cranshaw等箇中好手的助阵，除了超级经典曲"The Bridge"、"Without a Song"、"God Bless the Child"、"You Do Something to Me"等。
Theodore Walter "Sonny" Rollins (born September 7 1930 in New York City) is an American jazz tenor saxophonist. Rollins' long, prolific career began at the age of 11, and he was playing with piano legend Thelonious Monk before reaching the age of 20. Rollins is still touring and recording today, having outlived most of his contemporaries such as John Coltrane, Miles Davis, Max Roach, and Art Blakey, all performers with whom he recorded.

Composer, clarinetist, singer & spiritual jazz soothsayer Angel Bat Dawid descended on Chicago's jazz & improvised music scene just a few years ago. In very short time, the potency, prowess, spirit & charisma of her cosmic musical proselytizing has taken her from relatively unknown improviser to borderline ubiquitous performer in Chicago's avant-garde. On any given night you can find Angel adding aura to ensembles led by Ben LaMar Gay, or Damon Locks, or Jaimie Branch, or Matthew Lux, or even, on a Summer night in 2018, onstage doing a woodwind duo with Roscoe Mitchell. For her recorded debut on International Anthem, The Oracle, we've chosen to release a batch of tracks that Angel created entirely alone – performing, overdubbing & mixing all instruments & voices by her self – recorded using only her cell phone in various locations, from London UK to Cape Town RSA, but primarily from her residency in the attic of the historic Radcliffe Hunter mansion in Bronzeville, Southside, Chicago.