A seminal meeting between two of the most important modern jazz talents of the 70s – reedman Anthony Braxton, whose roots in the Chicago AACM scene were already expanding to a huge influence on the European world of free jazz – and guitarist Derek Bailey, the British player who seemingly stepped out of his own unique space to completely revolutionize the electric guitar! Both musicians are at their best here – working together at a level that's as much sonic exploration in terms of tones, textures, and timings – as it is new frontiers of music. And that's not to say that there's not some great musical moments, too – as the combination of darkness and light is what really makes the album special – as both players move effortlessly through an extended improvisation. Bailey plays electric guitar – and Braxton blows soprano, alto, b flat clarinet, and contrabass clarinet. Great 2LP reissue – with a full two sides of unreleased material recorded at the same performance as the main album! LP, Vinyl record album
Sax-heavy South African instrumentals – recorded in the London scene of the 60s, and a great example of the strong musical benefits of the post-colonial years! The group's a sextet with both group leader Gwigwi Mrwebi and ex-Blue Note Dudu Pukwana on alto sax – both of them trading lines back and forth on the beginnings of the tracks, then letting one player step out for a stronger solo. Also in the group is fellow Blue Note Chris McGregor on piano, Ronnie Beer on tenor, Coleridge Goode on bass, and Laurie Allan on drums – and although most players have some jazz background, the style here is not as strongly jazz-based as you might guess. Most tunes are in the mbaqanga mode, with the kind of skittish, jaunty South African groove that was transformed strongly by Hugh Masekela on these shores during the 60s – but unlike Masekela's music, the overall presentation here is much rootsier overall – very much in keeping with the South African styles of the late 50s. Titles include "Good News", "Hayini Bo", "Zangomva", "Zobongo", "Keleketle", "Ezindongeni", "Lily Express", "Rough Deal", "Mini Mthembo", "Mra", and "Nyusamkhaya". LP, Vinyl record album
One of the ultimate moments from the legendary Lee Scratch Perry – the set of recordings that shut down the Black Ark studios – and which helped build a bridge to the European scene that would help keep Perry's music alive for the next few decades! The sound of the album is even more far-reaching than some of Lee's earlier recordings – opened up in a new freedom that's much more aimed at album-oriented styles – heard best on the album's long opening number "Bed Jammin", and spun out over some great numbers that really showcase Perry's incredible talents in the studio! Titles include "Untitled Rhythm", "Give Thanx To Jah", "Easy Knocking", "Who Killed The Chicken", "Babylon Cookie Jar A Crumble", and "Some Have Fe Halla". CD
One of the ultimate moments from the legendary Lee Scratch Perry – the set of recordings that shut down the Black Ark studios – and which helped build a bridge to the European scene that would help keep Perry's music alive for the next few decades! The sound of the album is even more far-reaching than some of Lee's earlier recordings – opened up in a new freedom that's much more aimed at album-oriented styles – heard best on the album's long opening number "Bed Jammin", and spun out over some great numbers that really showcase Perry's incredible talents in the studio! Titles include "Untitled Rhythm", "Give Thanx To Jah", "Easy Knocking", "Who Killed The Chicken", "Babylon Cookie Jar A Crumble", and "Some Have Fe Halla". LP, Vinyl record album
A really really beautiful little compilation – one with a sound that's every bit as powerful as the image on its cover! The music here all comes from the Gospel Roots label of Miami soul powerhouse TK Records – a key force in mainstream soul in the 70s, but also a company who issued some excellent spiritual material at the time! The work here isn't rootsy gospel – and instead reflects all the hip, righteous changes that were coming into the music during the 70s – bits of blacksploitation funk in the rhythms, powerful lead singers upfront, and an impeccable production style that often mixed deep soul vocals with modern soul presentation. This side of the TK legacy has been crucially ignored over the years – but this wonderful package more than corrects that fault – by offering up some of the key tracks from the Gospel Roots label, alongside a lavish booklet that's filled with notes, photos, and record images – all recounting the overdue tale of this great music. Not all artists are southern – there's a number from up north, and even a few from Chicago – and titles include "Tell Me" by The Fantastic Family Aires, "After The Rain" by Pastor TL Barrett, "Will You Save Me" by The Jordan Singers, "Never Say What You Want" by The Phillipians, "Help Me To Carry On" by The Fabulous Luckett Brothers, "I've Got To Make A Change" by Bright Clouds, "Wake Up Everybody" by The O'Neal Twins, "On Jesus Program" by The Original Sunset Travelers, "Blessed Be The Name Of God" by The Brooklyn All Stars, and "Christians Catch Hell" by Reverend Edna Isaac & The Greene Sisters. LP, Vinyl record album
A stunning set of sounds from the farther reaches of Ecuador – a province where ancient musical elements come together with more localized expressions – all at a level that makes the work here a real lost link in Afro-Caribbean cultures! Many of the tracks use marimba, but in ways that trace it back to its roots in the West African balafon – and other percussion elements are mixed with stringed instruments that are employed in manners that are different than more familiar Andean music – more rhythmic, less melodic, and completely captivating throughout! There's a real breakdown between rhythmic and melodic roles in the music here – and the recordings often have these vocalizations from the musicians, urging on the performance and adding further energy to the mix. The set features 22 tracks in all – and as with the HonestJons releases exploring Quito, the music and notes come together in a fascinating exploration of an overlooked musical corner of the planet! LP, Vinyl record album
A wonderful follow up to one of our favorite compilations in recent years! London Is The Place For Me compiles the stylistically varied music coming from the emergent West Indian and African communities of 50s and 60s London – far more than just the topical, and often quite whimsical calypso tunes of the era! Calypso is well represented, but the set includes strains of jazz, percussive instrumentals that veer towards native Trinidad and Nigeria, and loads of Caribbean grooves! It's all exceptionally bright – with some lovingly, and knowingly, naive vocals that are as sweet as they are wise. A truly wonderful compilation. Essential! 20 tracks in all: "Calypso Be" by Young Tiger, "Yolanda" by Ambrose Campbell, "Calypso Blues" by Mona Baptiste, "My Wife's Nightie" by Lord Kitchener, "Ominara" by West African Rhythm Brothers, "Gerrard Street" by King Timothy, "ET Mensah's Rolling Ball" by West African Swing Stars, "West Indian Drums" by Russ Henderson, "Gbonimawo" by Rans Boi's Ghana Highlife Band and more! LP, Vinyl record album
An incredible collection from HonestJons – and like some of the rest of their best, music we never would have heard otherwise! The focus here is on calypso music, but recorded in West Africa – not the usual Caribbean setting – a very unusual strain of styles that cropped up in the fading colonial years of the British Empire – as rhythms were routed southward to Africa, via Caribbean migration to the London scene – making for some really fresh sounds in the end! The work is often much heavier on percussion than its more familiar variant – and other instrumentation includes some great horn parts, and bits of guitar – alongside vocals on most numbers. As usual, the notes are historically helpful and very well done – and titles include "Scrubbs Na Marvellous Boy" and "Poor Freetown Boy" by Famous Scrubbs, "Olubunmi" by Roy Chicago, "Ariwo" by Chris Ajilo & His Cubanos, "Taxi Driver" and "Gentlemen Bobby" by Bobby Benson & His Combo, "Mami" by The Rhythm Aces, "Arria Baby" and "Fire Fire Fire" by Ebenezer Calender & His Maringer Band, "Tree & The Monkey" by ET Mensah, and "Yabomisa Sawale" by Victor Olaiya. CD
Unity Sounds was one of the top, if not the top sound system in London throughout the 80s, and like so many Jamaican greats, went on to start cutting their own rhythms. In the post Jammy's era, this meant stripped down digital beats – round, bouncing basslines and tinny Casio drums, the reggae equivalent to the nascent electro sound of early hip hop. Each of the tracks here is followed by it's version, and they're all voiced by singers, no deejays, twenty one tracks in all, over seven mighty rhythms, including Selah Collins' "Pick A Sound", Richie Davis' "You Ha Fe Cool", Kenny Knots' "Ring My Number", "Run Come Call Me" and "Watch How The People Dancing", Peter Bouncer's "Ready For The Dancehall Tonight" and Mikey Murka's "Ride The Rhythm". CD
Unity Sounds was one of the top, if not the top sound system in London throughout the 80s, and like so many Jamaican greats, went on to start cutting their own rhythms. In the post Jammy's era, this meant stripped down digital beats – round, bouncing basslines and tinny Casio drums, the reggae equivalent to the nascent electro sound of early hip hop. Each of the tracks here is followed by it's version, and they're all voiced by singers, no deejays, twenty one tracks in all, over seven mighty rhythms, including Selah Collins' "Pick A Sound", Richie Davis' "You Ha Fe Cool", Kenny Knots' "Ring My Number", "Run Come Call Me" and "Watch How The People Dancing", Peter Bouncer's "Ready For The Dancehall Tonight" and Mikey Murka's "Ride The Rhythm". CD
Unity Sounds was one of the top, if not the top sound system in London throughout the 80s, and like so many Jamaican greats, went on to start cutting their own rhythms. In the post Jammy's era, this meant stripped down digital beats – round, bouncing basslines and tinny Casio drums, the reggae equivalent to the nascent electro sound of early hip hop. Each of the tracks here is followed by it's version, and they're all voiced by singers, no deejays, twenty one tracks in all, over seven mighty rhythms, including Selah Collins' "Pick A Sound", Richie Davis "You Ha Fe Cool", Kenny Knots "Ring My Number", "Run Come Call Me" and "Watch How The People Dancing", Peter Bouncer "Ready For The Dancehall Tonight" and Mikey Murka "Ride The Rhythm". Plus there's a nice fold out with photos and an extensive interview with Ribs of Unity Sounds. LP, Vinyl record album
A long-awaited full length set – one that finally brings together all of the amazing Tony Allen reworks done by the Honest Jon's label! These "chop up" tracks were originally issued over a range of limited 12" singles, and they're really amazing stuff – not just remixes of Tony Allen's work, but re-recordings and re-interpretations as well – a batch of music that stands amazingly well on its own, even if you're not a fan of Tony originally – and which takes his music into even more exotic territory than just Afro Funk! The choice of artists here is key to the set – as players from other Afro-influenced genres really take a new spin on Allen's music – and are allowed to strongly bring their own sounds to the set. Titles include "Ole (Cairo version)" by Salah Ragab, "Sankofa" by Hypnotic Brass Ensemble, "Kilode (rmx)" by Carl Craig, "Awa Na Re (rmx)" by Bonde De Role, "Mark's Disco Dub" by Mark Ernestus, "Reggae Land Dub" by Wareika Hill Sounds, "Samba" by Son Palenque De Colombia, "Kilode (rework)" by Wajeed, "Ole (rmx)" by Moritz Von Oswald, "Fuji Ouija" by Diplo, and "One Tree (TP's spirit of unity mix)" by Terrence Parker. LP, Vinyl record album
One of our favorite volumes in the London Is The Place For Me collection – and a brilliant batch of work that criss-crosses West African, West Indian, and postwar jazz styles! Most of the recordings here were done under the leadership of Ambrose Adekoya Campbell – a transplant to London from Lagos in the postwar year, and an artist who had a huge influence on the changing rhythms of his scene. Campbell mixed styles of his roots with those of the larger London community around him – in a way that let in more Latin and Caribbean influences to more traditional African styles – often using guitar in a high-life styled way, but also bringing in some key jazz phrasings as well. As usual with HonestJons' reissues, the notes are quite detailed, but ultimately a bit unspecific about the actual recordings in the set – although we can say that Campbell's on nearly all of these, and they were all done as 50s 78rpm singles for the Melodisc label. Titles include "We Have It In Africa", "Iku Koni Payin", "I Am A Stranger", "Lagos Mambo", "Ela Da Awa", "and "Calabar-O" by West African Rhythm Brothers; "The Wind In A Frolic" and "Unity" by Nigerian Union Rhythm Group; "Ibikunle Alakija" by Ayinde Bakare & His Meranda Orchestra; and "Late Ojo Davies" and "Geneva Conference" by West African Rhythm Stars. LP, Vinyl record album
A treasure trove of late 60s southern soul from the great Bettye Swann – 22 tunes cut for Fame Records between 1968 and 1970 after she jumped from the indie Money Records! Sadly, the move didn't turn Bettye into the major star the label no doubt expected to arise – and these fantastic tracks were largely unappreciated at the time. This release marks the very first worthy issue of most of this material, thanks to Honest Jon's – who did a similarly wonderful job rescuing some of the best material ever recorded by Bettye's contemporary Candi Staton! There's an achingly great southern soul feel to these tunes, which range from fragile soul ballads with sweet harmonies to poundingly righteous stompers. The feel is just loose enough, with roomy arrangements that leave plenty of space for Bettye's sweet vocals, but still with the ability to tighten up and pound at the crack of a whip! Masterful lost soul – and a joy to experience with a reverent reissue! Tracks include "Don't You Ever Get Tired (Of Hurting Me?)", "I'm Lonely For You", "Don't Touch Me", "Little Things Mean A Lot", "No Faith No Love", "Ain't That Peculiar", "Tell It Like It Is", "Today I Started Loving You Again" and lots more! LP, Vinyl record album
An under-documented side of the British folk scene of the 70s – recordings made by producer Bill Leader for his small Trailer Records imprint – done in the spirit of Leader's better-known work for Topic and Transatlantic in the 60s, but with an overall feel that's surprisingly intimate for the time! Despite the "leave-taking" in the title, the sound here is extremely folksy – no string overdubs, psychedelic influences, or rock-based instrumentation – and instead a mostly acoustic, stripped-down style that's a real return to folk roots. Many tracks have a strong focus on the voice, with just a bit of added guitar or percussion – and we'll be honest in saying that we'd never heard most of these artists before this set! Titles include "Never The Same" and "To Make You Stay" by Lal Waterson, "Annachie Gordon" and "Annan Water" by Nic Jones, "Adieu To Judges & Juries" by Dorothy Elliott, "The Kid On The Mountain" by Alastair Anderson, "Jock O Hazeldean" by Dick Gaughan, and "Niel Gow's Lament For His Second Wife" by Aly Bain. LP, Vinyl record album
(Includes insert.)
16
Actress —
RIP ... LP HonestJons, 2012. Near Mint- 2LP ...
Out Of Stock
... LP, Vinyl record album
17
Maki Asakawa —
Maki Asakawa ... LP HonestJons (UK), Late 60s/Early 70s. New Copy 2LP Gatefold ...
Out Of Stock
Haunting music from Japanese singer Maki Asakawa – every bit as smoky and soulful as you might guess from her image on the cover! These tracks are mostly sung in Japanese, but draw a very strong inspiration from American torch sounds of the 40s and 50s – a moody, late nite approach that's got a very universal appeal, even if you can't understand the language – and which is filled with an undeniable sense of melancholy right from the first note! The style is partly jazz, but also moves into some groovier modes of the period too – traces of psych at some points, mod European-styled arrangements at others, and even a few funky currents that come off surprisingly well. The package is wonderful – a great introduction to Maki's most classic music, featuring a well-chosen array of tracks, and nice liner notes by Alan Cummings. Titles include "Blue Spirit Blues", "Govinda", "Nemuru No Ga Kowai", "Uramado", "Kamome", "Gogo", "Hikkoshi", "Konna Funi Sugite Iku No Nara", "Yuki Ga Furu", and "Zenkamono Na Christmas". LP, Vinyl record album
18
Hypnotic Brass Ensemble —
Book Of Sound ... LP HonestJons (UK), 2017. New Copy 2LP ...
Out Of Stock
Beautiful sounds from Hypnotic Brass Ensemble – a group who've matured tremendously in the time that they've been giving us music – and who almost seem ready here to take on the legacy of their musical father – the late Kelan Phil Cohran! There's a complexity to the horn work here that's even deeper than before – amazing tones and textures from trumpets, trombones, euphonium, and sousaphone – all balanced with these sonic currents on guitar, bass, and electronics – instruments used in subtle ways, but to strongly shape the brass elements with maybe more spiritual overtones than in previous years – almost as if the group is growing, and getting even more serious about their message – with echoes that stretch back to the work of Cohran, and maybe Sun Ra's Arkestra, the world of Strata East, and even the tonal colors of Oliver Nelson at his best. Titles include "Heaven & Earth", "Midnight", "Now", "Morning Prayer", "Purple Afternoon", "Lead The Way", "Synapsis", "Royalty", "Solstice", and "Sri Neroti". LP, Vinyl record album
Amazing East African recordings from decades long past – a 2LP vinyl entry for the most beautifully put together compilations of any kind on HonestJons in quite a while – which is really something, given their always top tier efforts! Something Is Wrong – Songs From East Africa, 1952-7 features the later material featured on the 2CD Something Is Wrong compilation of recordings made in Uganda and Kenya from the 30s to the 50s – some wildly energetic, fast and feverishly performed, others with more lilting melodies and less fraught atmosphere. Essentially it's regional minstrel music with impassioned vocals, the more stripped down songs played on the ndingidi and other spare instrumentation, others have larger ensemble vocals and instrumentation including oud, accordion, violins, Indian harmonium and more. 18 tracks on 2LPs – in a beautiful gatefold sleeve with insert. Includes "Aoko" by Were Omito, "Wasonga Muga" by Robert Opio, "Okwara" by J Omwami, "Obabla Jimmy" by Bernard Odungu, "Ogwel" by Oluch", "Akhafu Akhaf Indarat" by El Antari, "Shindu" by Reuben Imbinkha, "Abataka" by Sumoni & Party, "Kitagararan" by WKA Laboso & Esta and more. LP, Vinyl record album
One of our favorite volumes in the London Is The Place For Me collection – and a brilliant batch of work that criss-crosses West African, West Indian, and postwar jazz styles! Most of the recordings here were done under the leadership of Ambrose Adekoya Campbell – a transplant to London from Lagos in the postwar year, and an artist who had a huge influence on the changing rhythms of his scene. Campbell mixed styles of his roots with those of the larger London community around him – in a way that let in more Latin and Caribbean influences to more traditional African styles – often using guitar in a high-life styled way, but also bringing in some key jazz phrasings as well. As usual with HonestJons' reissues, the notes are quite detailed, but ultimately a bit unspecific about the actual recordings in the set – although we can say that Campbell's on nearly all of these, and they were all done as 50s 78rpm singles for the Melodisc label. Titles include "We Have It In Africa", "Iku Koni Payin", "I Am A Stranger", "Lagos Mambo", "Ela Da Awa", "and "Calabar-O" by West African Rhythm Brothers; "The Wind In A Frolic" and "Unity" by Nigerian Union Rhythm Group; "Ibikunle Alakija" by Ayinde Bakare & His Meranda Orchestra; and "Late Ojo Davies" and "Geneva Conference" by West African Rhythm Stars. LP, Vinyl record album
An under-documented side of the British folk scene of the 70s – recordings made by producer Bill Leader for his small Trailer Records imprint – done in the spirit of Leader's better-known work for Topic and Transatlantic in the 60s, but with an overall feel that's surprisingly intimate for the time! Despite the "leave-taking" in the title, the sound here is extremely folksy – no string overdubs, psychedelic influences, or rock-based instrumentation – and instead a mostly acoustic, stripped-down style that's a real return to folk roots. Many tracks have a strong focus on the voice, with just a bit of added guitar or percussion – and we'll be honest in saying that we'd never heard most of these artists before this set! Titles include "Never The Same" and "To Make You Stay" by Lal Waterson, "Annachie Gordon" and "Annan Water" by Nic Jones, "Adieu To Judges & Juries" by Dorothy Elliott, "The Kid On The Mountain" by Alastair Anderson, "Jock O Hazeldean" by Dick Gaughan, and "Niel Gow's Lament For His Second Wife" by Aly Bain. LP, Vinyl record album
A really beautiful collection of rare work pulled from a variety of different 78rpm singles – Indian classical music from the generation before Ravi Shankar and a few other artists gave it global exposure – with an especially strong focus on the use of the violin next to sitars and tablas! The violin is amazing – very stretched out and snakey – used maybe with some techniques of European heritage, but with a sonic result that's very very different – and a perfect fit for the rhythms and other instrumentation in the tracks! The collection is very well-done – similar to such projects on labels like Dust-To-Digital or HonestJons – and titles include "Raga Thodi" by Gajanan Madhav Karnad, "Nagumomu Ganale (parts 1 & 2)" by Muthi & Masni, "Ragamalika Ragam Thanam (parts 1 & 2)" by Dwaram Venkatswamny Naidu, "Ikanaiana Raga Manirang" by Mysor Chowdiah, and the tracks "Raga Adana", "Thumri", "Raga Bageshree", "Raga Ahir Bhairi", and "Raga Sur Malha" by Paritosh Seal – clearly the star of the set! Also features two earlier, pre-classical tracks – "Thodi" and "Ragam Alapana" by Cunniah Naidu. CD
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