Olympia Concert [2LP Import]

Art Blakey And The Jazz Messengers - Olympia Concert [2LP Import]

- Remastered from the original mono master tapes - Cut by Kevin Gray at Cohearent Mastering - Vinyl pressed by Optimal in Germany - Tip-on deluxe gatefold sleeve with photos by Jean-Pierre leloir - Each records has been visually checked to prevent defects 'I’ve never played for such an audience” declared Art Blakey in tears. lt was November 22nd, 1958, and he’d just come offstage after one of the “Jazz Wednesdays” concerts at the Paris Olympia. For a first appearance by the “Jazz Messengers”, they’d made quite an impression. Not content with pulling a huge crowd off the Boulevard des Capucines (the demand was so great that a second concert had to be staged on December 17th), they’d converted everybody to the “Hard Bop” religion in two sets where, united in a kind of exultant communion, jazzmen, jazzophiles and curious bystanders alike had been crushed together in high spirits, paying no attention to the presence of Brigitte Bardot escorted by Sacha Distel. That night Blues March had almost replaced the Marseillaise anthem (and Moanin’ the Oignons). Yet none of the Messengers had ever been to Paris. They’d get to that later, and then some, but for the moment they were perfect strangers. The Wiregrass Singers' Dewey Williams began learning the shape-note tradition in his childhood. He studied under Judge Jackson, who authored the landmark 1934 hymnbook The Colored Sacred Harp. In 1971, Williams formally organized The Wiregrass Sacred Harp Singers to preserve the music full-time. This unified troupe began touring nationally and leading workshops, which ultimately launched them onto stages at the Smithsonian and Newport folk festivals up until Williams' passing in 1995 when the group disbanded. The African-American Sacred Harp tradition in the Wiregrass region has steeply declined since the start of the 21st century, due to an aging generation of singers, and today it is largely sustained through archival preservation and occasional multi-book singing meetups. This raw recording, made at the Union Grove Baptist Church, Ozark in mid-April 1993 finds the group singing from B. F. White’s The Sacred Harp (1844), which together with his brother-in-law William Walker’s Southern Harmony (1835) formed the musical backbone of generations of Southern music and Southern musical styles. Belgian jazz artist Bobby Jaspar died far too young at age 37 in 1963, but fortunately made a handful of memorable dates as a leader. This is the last studio session under his name. Jaspar sticks exclusively to flute on these December 1958 studio recordings. He’s joined by drummer Kenny Clarke, Sadi Lallemand or Michel Hausser (who also doubles on xylophone) on vibes, and either Paul Rovere or Jymie Merritt on bass, as well as percussionist Humberto Canto (on one of the two sessions). The music of Neon White draws from the vibes of turn-of-the-millenia electronica, evoking mental flashbacks of PlayStation 2 and Dreamcast startup screens. It’s a brilliantly constructed soundtrack, built in the way only the experts known the world over as Machine Girl are capable of. This is music for freaks, by freaks, and it needs to be heard to be believed. What better way to hear it than with a proper iam8bit vinyl release? Angels, say hi to the Neon White Soundtrack Part 1: “The Wicked Heart” 2xLP. It’s more than an hour of weirdo-approved Machine Girl music, pressed on Neon Red and Purple Splatter vinyl. You want hot throwback album art? We’ve got it. Artist Rebecca Ryan nailed the old-school aesthetic, and Neon White creator Ben Esposito brought the album’s design together into one triumphant package. Volume 1 features the finest tracks built for Neon White’s uber-fast and uber-frantic speedrun-style gameplay, the kind of synthy strains and chords you can really grind your teeth to. Gatefold jacket version. A never-before released Nathan Davis 1966/67 live recordings. Official release with the full permission and cooperation of the Nathan Davis Estate & INA (Institut National de l’Audiovisuel). Nathan Davis, The Hip Doctor. Style is not a given. Not many musicians reach the level of artistic personality where you can unmistakably recognize them. It takes character, roots, honesty, soulfulness. Nathan Davis had style. Sahib Shihab (Edmund Gregory) played with many of jazz’s finest musicians. Shortly after he became one of the first jazz players to change their names due to an Islamic conversion, he joined Thelonious Monk for his Blue Note sessions. He also played with Art Blakey, Dizzy Gillespie, Oscar Pettiforn and Quincy Jones. A unique musician, he was at home in every musical style, from the experimentalism of Thelonious Monk to the more direct hard bop of Art Blakey. Ronnell Bright was in Paris for just a simple stopover during the European tour that Sarah Vaughan was doing to represent the United States at the Universal Exhibition in Brussels. This rare date was cut at Studio des Dames in Paris on June 5, 1958 for french Polydor label and it’s a stripped-down trio date with a nicely relaxed feel – one that has Ronnell Bright really opening up on the keys, in ways you don’t always hear on his material with singers. This session took place in a certain euphoria on Thursday of Corpus Christi, and you can feel the joy and dynamics in music. The other players in the trio are Richard Davis on bass and the English drummer Art Morgan. Hard bop had arrived! Hallelujah! On its first French appearance, in July ‘58 at the Cannes Festival – the first and only Cannes jazz festival – the Donald Byrd Quintet had brought the house down. Yet four of its five members were relatively unknown in France… The French knew that the leader had replaced Kenny Dorham in the Jazz Messengers, that Doug Watkins was the Messengers’ bassist, and that pianist Walter Davis Jr. was still only 18 when he’d played with Charlie Parker. As for Art Taylor, even if his name meant something to fans, it was still difficult for people to have a more precise idea of his musical qualities. Only Bobby Jaspar was well-known to Paris audiences, and the tour marked the return of the prodigal son, the musician who’d decided, after setting the Club St. Germain on fire, to try his luck in the States early in 1956 – J.J. Johnson had hired him, and then Miles Davis (for a short spell) before Donald Byrd brought him into the group he was taking to Europe. This new tour would climax at the Olympia theatre during one of the “Jazz Wednesdays” that were organised there, ever since the Jazz At Carnegie Hall” tour – Zoot Sims, JJ. Johnson, Lee Konitz, Phineas Newborn – had inaugurated the series a little earlier. qorakitobchi aka Anvar Kalandarov is a music archaeologist, musician and producer from Tashkent, Uzbekistan whose work is dedicated to uncovering forgotten sounds from across Central Asia. For this mixtape, Kalandarov turns his attention to the synth-pop, disco and electronic music that flourished across Central Asia during the 1980s and 1990s. Drawn from rare vinyl records, private archives and forgotten recordings, this selection explores a period when Soviet modernity, regional traditions and emerging synthesiser sounds merged to create a uniquely Central Asian vision of the future. From Uzbek disco and Tajik synth-pop to lesser-known oddities, the mix offers a glimpse into a musical world that remains largely unexplored outside the region. Art Blakey was the new hero on the Paris jazz scene, thanks to his Olympia concert on November 22nd 1958, and his subsequent appearances at the Club St. Germain. People swore by his ‘Blues March’ and ‘Moanin’, so why not get him to do the soundtrack for the film Molinaro just finished? The only problem, albeit a major one, was that time was short, so an original score was out of the question: the Jazz Messengers would have to preach the good word by other means. Fortunately, the band’s tenor and arranger, Benny Golson, had become an expect in the art of making something new out of something old, and he did it with equal talent and intelligence. Waxwork Records, in partnership with Watertower Music is proud to present the EVIL DEAD BURN Original Motion Picture Soundtrack by Double Danger as a deluxe 2xLP edition created for the most devoted fans of the Evil Dead franchise. Pressed on Demonic Inferno-colored vinyl (translucent black with heavy fiery orange splatter), this collector's release is housed in a heavyweight gatefold jacket featuring all-new artwork by Steve Reeves, who previously collaborated closely with Waxwork Records on the acclaimed packaging for 2023's Evil Dead Rise soundtrack. Beck returns with Ride Lonesome, his first album of all-new material since the GRAMMY-winning Hyperspace, arriving September 18, 2026 via Capitol Records. Harkening back to the rich, atmospheric sounds of Morning Phase and Sea Change, the album reunites Beck with musicians from those acclaimed releases. Produced by Beck and mixed by Nigel Godrich, Ride Lonesome marks a compelling return to the intimate, cinematic style that defines some of his most celebrated work. The Definitive Sound Series (DSS) One-Step sets the benchmark for audiophile vinyl, using a meticulous process that preserves every detail of the original recording. Sourced from the best available masters and pressed on ultra-quiet 180g vinyl, it delivers unmatched clarity, depth, and dynamics. Each limited, numbered edition features premium packaging, offering collectors the ultimate listening experience and the pinnacle of vinyl craftsmanship. Available at indie retailers. Premium historical reissues! Recorded in July 1956 and released in 1957, Jazz by Sun Ra Vol. 1 is known to be the first LP by Sun Ra. The album showcases all the musical ideas the musician had previously experimented with: advanced time signatures coupled with harmonic scales based on mathematical equations, all in the service of a clever mix of hard bop, swing and African influences. Released in 2003, Tsubakiya Shijusou's debut album, TSUBAKIYASHIJUSOU," is being issued on vinyl to commemorate the 25th anniversary of DAIZAWA RECORDS. Capturing the sharp, impulsive sound and richly atmospheric world that defined the band's earliest days, this release stands as a true statement of their origins. Its striking face-cover artwork returns with even greater impact in the larger vinyl format. Just by Myself; I Remember Clifford; Are you Real; Moanin’; Justice; Blues March; Whisper Not