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What would the history of jazz have been without radio? It would certainly have been different, and probably not nearly so successful.
Alongside the long-playing record, the radio was always and still is the main medium for this important popular music genre. Both, radio and Jazz, made their first steps hand in hand in the USA in the 1920s.
Soon afterwards entire Jazz concerts were being broadcast nationwide, and the careers of, for example, Duke Ellington or Benny Goodman received a decisive boost. Jazz mania had already crossed the Atlantic even before the Second World War. And the inspiring and free-spirited Jazz in post-war Germany assumed its natural place in the newly installed public radio broadcasting landscape.

These recordings, which have now been released for the first time in the series “NDR 60 Years Jazz Edition”, are a testament to this sense of a new beginning. From 1953 onwards they were regular guests at NDR: the great stars from overseas and the European talents who were trying out their own unmistakable language of Jazz from an early stage. They have left many grandiose sound tracks behind them. Some them are now again seeing the light of day.

Presented in very cool and sleek digipak editions these albums are a great find!

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Fantastic 2 Albums on 1 CD Editions
of one of the finest jazz-rock fusion bands.
Digitally Remastered

The United Jazz & Rock Ensemble sought to blend the best elements of avant-garde jazz with rock when it was formed late in the 1970s.
Hoping for a contemporary balance between rock and jazz, producer Werner Schretzmeier called upon pianist Wolfgang Dauner (the former leader of Et Cetera).
He Initially recruited musicians from his home base of Stuttgart (then a hotbed of avant-garde jazz). Dauner put together a rotating cast of musicians that featured guitarist Volker Kriegel (who shared writing and arranging duties with Dauner), drummer Jon Hiseman, trumpeter Ack Van Rooyen, and trombonist Albert Mangelsdorff.

As demand for recordings and public performances grew, Dauner solidified the lineup with the presence of such talented musicians like saxophonist Charlie Mariano, saxophonist/flutist Barbara Thompson, trumpeter Ian Carr, and bassist Eberhard Weber.

This nine-piece aggregation recorded the first album under the United Jazz + Rock Ensemble name, Live im Schutzenhaus, in 1977; released on the group's own Mood Records label, the album was a hit, eventually becoming the best-selling German jazz record of all time and remains still the album to obtain. Here it is available along their other super hit Live in Berlin

Other albums featured on this collection are:
1978's Teamwork and 1979's The Break Even Point which placed the group in a studio setting, with the latter featuring trumpeter Kenny Wheeler.
United Live Opus Sechs in 1984, also with Wheeler.
1987's studio album Round Seven, were trumpeter Johannes Faber filled in for Wheeler.
And the 1996 concert album Die Neunte von United were Mariano was subsequently was replaced by tenor saxophonist Christof Lauer, who made his recorded debut on.

See them all here:

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This is their first full-length duo album and is even better than expected.
The thirteen selections are wonderfully varied and paced, so the CD seems far too short. And the band rocks gorgeously around and with the singers.

There isn’t a moment on this album, whatever the mood or tempo, that doesn’t swing. And it’s a deep intuitive swing.

Wrapped on a beautiful digipack edition and with a lively sound thanks to the ever-professional Jim Czak.

Very much recommended!

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Scott Hamilton plays a killer tenor sax coming up with a winner with this tasty set of tunes written by Jule Styne. With the same trio that he used for the fantastic Billie Holliday homage set ‘Remembering Billie’ (Tim Ray, piano, Dave Zinno, bass and Jim Gwin on drums).

This album is full of classic songs, interpreted by the warm tenor of Scott Hamilton, who links the material through an argument of beauty and luxurious undertones in Jule Styne’s melodies. These are songs that you may heard many times before, but not nearly as seductively.

Available from here:

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"Celebrating Fred Anderson"

A new album by Nessa Records. Chicago saxophone icon Fred Anderson died in 2010 and since then his birthday has been celebrated by friends, admirers and colleagues.

For the 2015 event saxophonist/composer Roscoe Mitchell (one of the key figures in avant-garde jazz) assembled a quartet for a tribute. The quartet is completed by cellist Tomeka Reid, bassist Junius Paul and drummer Vincent Davis.

Mitchell prepared four original pieces and adaptations of two Fred Anderson compositions, Bernice and Ladies in Love.

The concert was presented at Constellation in Chicago on March 27, 2015.


New Albums Available.

Once again Smalls Club open its doors with four new albums inviting a worldwide audience into the intimate confines of the Greenwich Village club.

Mark Soskin Quartet,
Tim Ries Quintet (with Nicholas Payton!),
Dwayne Clemons Quintet and
Joel Press Quartet

Smalls has become a hothouse for modern jazz, where up-and-coming musicians can hone their craft before an enthusiastic crowd, and veteran artists can stretch out in front of an audience full of attentive and discerning ears.
Smalls is not a concert venue: It's a club, a hang, and a jam session every night!!

“If you want to try to learn how to play jazz, work at Smalls.” - Ethan Iverson - The Bad Plus

You can buy them from here:

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The second installment on the Concord Jazz series that bring to vinyl great albums is already available.

Chick Corea’s LP ‘Remembering Bud Powell’ were in 1996 he gathered together some notable young all-stars (tenor-saxophonist Joshua Redman, trumpeter Wallace Roney, altoist Kenny Garrett, bassist Christian McBride, plus veteran drummer Roy Haynes) for explorations of tunes by the innovative pianist. A truly fantastic LP.

Butterfly Dreams is the album that really launched Flora Purim’s career and it is supported by a superlative cast. Stanley Clarke, Joe Henderson, George Duke, David Amaro and Purim's other half, percussion legend Airto Moreira.

Seven, Come Eleven is the second album pairing Herb Ellis and Joe Pass after what it was effectively the first Concord release ever ‘Jazz/Concord’ and would become the definitive mainstream jazz label. This second album was recorded just one day after the recording of the first with a Joe Pass that was beginning to be discovered as the giant he would become soon after.

Heat Wave is Cal Tjader’s last album. He passed away just four months after recording this album with the great Carmen McRae. This recording is one of the earlier truly equal marriages of jazz and Latin music, where both parts work together, and the playing is fantastic!

All print outs, as usual with this series, are limited edition, 180 gram pressings and they really look very cool.

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Sweden through the 50’s was a hot hub for Jazz in Europe. The country had come out practically unscathed from World War II and its geopolitical position made it a good ally for the US, which at the time had shifted its political agenda towards the USSR. All this combined, generated a long period of economic prosperity… and jazz is one of its facets.

In Stockholm the Nalen Venue became what was known at the time as the Swedish Harlem. Many American jazz players came to play along with local jazz players.

These two great albums for Stan Getz in which he plays with Jan Johansson and Bengt Hallberg are from that period in time.

These two recordings had been lying undiscovered for more than 50 years and should be an indispensable addition to any Getz collector as well to those who want to listen good, cool jazz.

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The 4th installment of the great Bootleg Series from Miles Davis is already available. A 40-track anthology of live recordings from the iconic jazz festival, spanning twenty highly creative years with nearly 4 hours of unreleased material!!

Davis first performed at the Newport Jazz Festival in 1955, stealing the show with a breakout solo on "Round Midnight" where he placed the bell of his trumpet right up against the microphone. The performance earned him a deal with Columbia Records.

Miles Davis at Newport 1955 - 1975 arrives 60 years after that first appearance and celebrates Davis' lengthy relationship with the festival and its founder, George Wein, while also tracing his development as a performer and artist. Though much of the collection comprises sets Davis delivered at the festival's home base in Newport, Rhode Island, it also features Jazz Fest-affiliated performances in New York City, Berlin and Switzerland.

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ISKRA 1903. One of the finest groups around at the time!!
Rutherford named the group after 'Iskra' (the Russian word for spark) which was the paper that Lenin edited before the Russian Revolution.

The '19' indicates 20th century music, and the '03' is the number of performers. It is, possibly, the last long-term fixed-personnel group that Bailey worked in.

As 'The Penguin Guide to Jazz put it “This is improvised music of the highest order, not three musicians seeking an idiom, but rather three musicians who have already learned to live without one, creating consistently fresh musical discourse in the process.”

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As the first annual outdoor music festival in the USA, The Newport Jazz Festival served as a cornerstone in the history of Jazz and as a guiding light in the evolution of the presentation of all music.
Today is 61 years since the first Newport Jazz Festival in 1954!



A follow up from ‘Tight But Loose’, also on Organic Music, the album ‘Second Time Around’ is the quintessential cool jazz album.

Velvet music with a blend of tone and style which is elegant, mellow and hot! The themes are masterfully articulated on trumpet and tenor saxophone altogether as if made from one cast.

This kind of recordings had, have and always will have an enduring allure to any jazz fan. Dusko & Scott have produced a truly magical album from beginning to end!

Everything is wrapped up with its excellently recorded sound that leaves each instrument with its own character.


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A hidden jewel – never before released!! A RARITY!
Great album, great memorabilia and a great story behing this music!
Available in CD and LP

Paris in the late fifties had become the Mecca of modern jazz. Among other international stars such as Lester Young, Bud Powell, Kenny Clarke, Zoot Sims, Stan Getz, Chet Baker, Oscar Pettiford, Art Blakey and the Jazz Messengers played in jazz clubs such as the Chat qui pèche, the Club Saint Germain and the Blue Note. Miles Davis recorded the soundtracks for several films in Paris with musicians like Barney Wilen, and Duke Ellington performed in the city with his "Famous Orchestra".

Shortly after the start of a multi-year sojourn in Paris, Sandro Bocola designed the project of an avantgarde jazz film in 1958 together with his friend Dennis Bailey, as a modern version of the legendary short film Jamming the Blues with Lester Young, with a group of musicians in a recording studio who produced a record. They had planned to first record the soundtrack. Then the musicians should be filmed in a studio with multiple cameras, as they repeat their original sound recording in a kind of playback. The resulting footage was then alienated in colour, as rhythmic montage cut to the original soundtrack.

After They had found a sponsor in one of Sandro’s clients, who would finance the project, he put a little band together with the help of his friend Barney Wilen, which ultimately included the musicians Donald Byrd (tp), Walter Davis (p) Jimmy Gourley (g ), Al Levitt (dr), Doug Watkins (b) and Barney Wilen (ts). Boris Vian, who held a senior position at the record company Phillips, provided the recording studio where they met the musicians in July 1958 for the recording of the soundtrack. It should start with a quick piece, followed by a slow blues, and eventually followed by another quick piece, A Night in Tunisia.

After several test runs, during which they made a series of preparatory photographs, the soundtrack of the planned film was recorded. Now it could start with the first shooting for which they had won the famous cameraman Raoul Coutard. Unfortunately, the unexpected bankruptcy of the sponsor François Peyron finished the project. The laboratory, whose bills could not afford to pay, refused to deliver the previously developed film material and the musicians turned back to their own affairs. The only thing they had were the shellac records of the soundtrack, of which Dennis and Sandro kept one copy to listen to them from time to time for their pleasure.

As Patrick Wilen worked up the musical legacy of his late father in 2012, he came across the soundtrack of the aborted project Jazz in camera at Sandro’s place, which he, after more than fifty years, now makes accessible to the public for the first time on this CD.

Buy it here:

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(…and pass it on nicely!)
Available now on CD and LP!

Newly unearthed live recordings of jazz bass and cello legend Oscar Pettiford and his quartet from Hamburg in 1958, featuring the great Kenny Clarke (dr), Hans Koller (ts), Attila Zoller (g) & guests in front of an excited audience.

Eight tracks full of bluesy modern jazz, with a gloomy version of Friedrich Gulda`s “Dark Glow” or the cheerful “Gertberg Walk”, written by Pettiford especially for the occasion.

Excellent sound quality, carefully mastered in 2015, comes with new liner notes and unseen concert photos from the same evening.

Oscar at his best, passing the message of jazz as it was received!

Check it up here

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Talk about spontaneity!!!. The material that comprises Affinity was taped almost 40 years ago by Stan Getz's brother-in-law, bassist Peter Silfverskjöld, during an after-supper jam session at the Silfverskjöold home and was never intended for commercial release. Nonetheless it has and excellent sound quality!!

From Liner Notes from Peter Silfverskjöld:
“The first time Stan and I played together was at my home in Lund when I was practicing with Lars. Stan played with us, convalescent following hospitalization from a life threatening pneumonia and entered the room in pyjamas and saxophone asking if he could sit in. We found no reason to refuse.

Since then we played and performed locally when he came to visit during years to come.

On this occasion (September 30th, 1977) Stan was invited for a shellfish meal together with a few of my (jazz) friends. I had borrowed a deck-tape recorder which I left on during the following jam session. As you can hear, the setting is very informal – eg: if you listen closely you can hear my grandfather's clock chime and my then six year old son's voice at times between tracks."

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From 1994 to 2003, Smalls Jazz Club served as a base of operations for a close-knit group of musicians anchored in bop. Its atmosphere was characterized as being young, bohemian, and talkative. The music started each night at 10:30 PM and would last until 6:00 AM the following morning. The entrance fee was US$10.00 and no alcohol was served.

Musicians who played here in their earlier years include Ehud Asherie, Ari Hoenig, Kurt Rosenwinkel, Avishai Cohen, Guillermo Klein, Mark Turner, Zaid Nasser, Avishai Cohen (trumpeter), Sacha Perry, Jason Lindner, and Tommy Turrentine. The house pianist was Frank Hewitt. A veritable scene within itself, some musicians went as far as to sleep at the club when they could find nowhere else to stay.

Due to financial difficulties the club closed in 2003, however it was fully restored in 2006, refurbished, and the sound quality improved. Nowadays the first music set begins at 7:30 PM, and now, instead of the all night jazz sessions, there are two or three sets per night. These sets are recorded for the club’s own label. These CDs encapsulate the real essence of the jazz pulse in New York clubs

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The purpose of Solar Records is to bring up to light exceptional studio and live dates. What makes this French label stand out compared to others is that all its titles are either really hard to find or previously unissued altogether.

You can find from an exclusive Ben Webster & Johnny Hodges playing live on a studio or Milt Buckner albums that are issued on CD for the first time ever to exclusive live dates from John Coltrane, Ella Fitzgerald or Billie Holiday

… And the box sets are mind boggling!: complete sessions by Charlie Rouse & Julius Watkins (The JazzModes), Buck Clayton, Louis Armstrong & The Dukes of Dixieland, Sonny Rollins at the Village Gate, The Complete Felsted Mainstream Collection or Jazz at The Philarmonic in Stockholm 1960!

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Wonderful in all senses!!!

You are about to be transported back in time. Jazz in the 1960’s, the Golden Era of Jazz. This is a time capsule document unlike any other. This is a ticket for you, up-close, front and center to hear a Bill Evans (the most influential and interesting piano player in the world at the time) concert as well as the first existing recordings of his trio with Eddie Gomez and Marty Morell.

This trio spent 4 weeks of engagement at the Club, The Top of The Gate, directed by the eccentric and flamboyant jazz empresario Art D’Lugoff. During the same period on the lower club, no less than The Village Gate, had two resident groups which played alternatively. The Thelonious Monk Quartet and The Charles Lloyd Quartet. On the latter there was a young pianist called Keith Jarrett!

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In cooperation with Laurie Pepper (Art’s widow) and her own label (Widow’s Taste Music) Omnivore Recordings has released a series of previously unissued live recordings by Art Pepper called Neon Art.

The first editions to come out were in colored vinyl with see-thru jackets but now all 3 volumes of this collection are available in CD (jewel box) as well.

The Neon Art Series can easily please both, the longtime Art Pepper aficionado and collector as well as to those just coming to know Art’s work working as an entry point into the multifaceted colorful world of Art Pepper!!

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A significant price-drop in these three box-sets available now!

The packaging (reduced from the original editions) still is outstanding, with plenty of information and photos. This music is sourced from the original master tapes (the sound is superb throughout) and is totally comprehensive in all three cases; every extant and relevant recording in one box… plus bonuses.

This music is part of the foundation of anyone's jazz collection--or if it isn't--it should be.


The Zurich Concert, April 8th, 1960

Can you imagine assisting to a concert night and see the following line-up?
Stan Getz Quartet – Miles Davis Quintet – Oscar Peterson Trio

Well, in March & April 1960, jazz empresario Norman Granz took the Oscar Peterson trio, the Stan Getz Quartet and the Miles Davis Quintet on a Jazz At The Philarmonic (JATP) tour through Europe.

The only Swiss concert of this tour took place on April 8th, 1960 at 20:30 pm at the Kongresshaus Zurich. Organized by the E. Kantorowitz concert agency and recorded by the Swiss Broadcasting Corporation and remained unissued until Swiss label TCB released is in 2012, complete, in 3 albums…

What a treat!

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Ben Webster could be a difficult man and periodically he was seriously drunk. On his first arrival in Britain he had to be removed from the boat train at Victoria Station on a porter’s trolley!!... but on this rediscovered session, recorded at Ronnie Scott’s Club in 1968, he is on marvelously mellifluous form.

The music here, performing with Stan Tracey in-house trio at the time, has lain unheard on the original tape reels for 48 years and had never been released in any format, making it a remarkable discovery.

Both volumes benefit from the rare marriage of workable audio quality and musical excellence as well as perfectly capturing the atmosphere of the club in 1968 ( including Ronnie Scott as MC !).

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Our Lady Of The Flowers
Matthew Shipp continues with his homage to Jean Genet’s shocking and unsettling novel “Our Lady Of The Flowers” with the Declared Enemy Quartet, consisting no less of Sabir Mateen (ts, cl), William Parker (b) and Gerald Cleaver (dr) and music entirely composed by Shipp, represents his further feelings and involvement with Genet’s work as well as his own ideas of individual & group voicing and expression.

Entropy/ Enthalpy
This album, recorded live, is a trail left after an exploratory tour across France that took place between February 5th and 22th, 2014, as part of The Bridge, a transatlantic network for creative music. With Harrison Bankhead, Benjamin Duboc, Hamid Drake and Ramon Lopez as well as special guests Jean Luc Capozzo, Lionel Garcin and William Parker.

See here the catalogue:

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Ahmad Jamal, who is 85 today!, disciplined technique and minimalist style had a huge impact on trumpeter Miles Davis, and he is often cited as contributing to the development of cool jazz throughout the 1950s.

Here we present you three of his most celebrated club concerts/ residencies, Pershing Lounge (January 1958) Spotlight Club (September 1958) and Alhambra (June 1961) and a wonderful deluxe box set compiling of all of the originally issued recordings made by the classic Ahmad Jamal Trio with Israel Crosby and Vernel Fournier between 1958 and 1962.
Israel Crosby, credited with taking the first recorded bass solo on his 1935 recording of 'Blues for Israel' with drummer Gene Krupa (Prestige PR 7644) when he was only 16, died on August 11th 1962.

The interactive playing in Jamal's trio and the music contained in these albums was the music that made Jamal famous!!

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With 40 years on its back this year Hatology Records, founded in 1975 by Werner X. Uehlinger, continues its level of transcendence into the free improvised scene. There’s something brave, radical and committed imbued within the label and all this ends up transpiring into the works it publishes. Its easy to look back now and see the path but the path itself never existed until now.

As the Spanish poet Machado put it:
“Wanderer, your footsteps are the road, and nothing more; wanderer, there is no road, the road is made by walking. By walking one makes the road, and upon glancing behind one sees the path that never will be trod again. Wanderer, there is no road-- Only wakes upon the sea."

3 of its latest releases have elongated that wake and received loud and praising awards. French Magazine JazzMan, the oldest magazine in Europe, has given its highest distinction, a CHOC, to them.

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The new website is already up and running. We are always striving to improve how our web works to make it is easy for you to use.
We sincerely hope you like it and, much more important, that it is helpful and easy to use.
Jazz Messengers Team



-"Unadulterated New Music For People Who Like New Music Unadulterated."-

Founded in 1974 by Martin Davidson assisted by Madelaine Davidson - which explains the name- to document the London free improvisation scene.

OLIV & FAMILIE. Spontaneous Music Ensemble (SME) was the brainchild of drummer John Stevens. Founded in 1965 with saxophonist Trevor Watts, it was one of the very first free jazz improvisatory groups to appear in England. This is a long overdue reappearance of the third Spontaneous Music Ensemble LP. Also included are one and a half takes of Familie by an eleven piece group, the earliest recorded example of a large group SME performance.

ISKRA 1903. One of the finest groups around at the time. Rutherford named the group after 'Iskra' (the Russian word for spark) which was the paper that Lenin edited before the Russian Revolution. The '19' indicates 20th century music, and the '03' is the number of performers. It is, possibly, the last long-term fixed-personnel group that Bailey worked in.
As 'The Penguin Guide to Jazz put it “This is improvised music of the highest order, not three musicians seeking an idiom, but rather three musicians who have already learned to live without one, creating consistently fresh musical discourse in the process.”

GHEIM. A short-lived improvising trio, featuring the trombonist with PAUL ROGERS (double bass) and NIGEL MORRIS (drums), that the leader put together to explore more free jazz-like areas than usual. Rutherford and Rogers play to their expected very high standards (even though it was one of the bassist's earliest recordings), while Morris shows why he is missed so much since he quit this music.

JON RUSSELL With… . Since the mid-'70s, John Russell has been constantly active in and around London, although sometimes behind the scenes as a teacher and concert organizer. But his signature style has been heard in Chris Burn's Ensemble, in the John Butcher-Phil Durrant-John Russell trio, and in duos with Roger Turner and Stefan Keune. In this album, which captures his 60th birthday concert at Cafe Oto in London, he plays with the likes of John Edwards, Thurston Moore, Evan Parker, Henry Lowether, Phil Minton or Satoko Fukuda.

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Bernard Stollman died last 19th of April at 85.

We at Jazz Messengers would like to render homage to a great man. Unknown to most but a legend to many, he was one of the most important non-musicians in the history of the 1960s jazz avant-garde.
Stollman, a lawyer by profession, founded the ESP-Disk label in 1964, initially so he could release Ni Kantu En Esperanto, an album of songs and poetry in Esperanto (a language invented in the 1880s and intended to transcend national boundaries and thus foster international peace and understanding).

The imprint’s second release, though, turned out to be one of the landmark jazz albums of all time — saxophonist Albert Ayler’s Spiritual Unity. Scorching and raw, this trio session can still take the top of your skull off.

Over the next few years, ESP-Disk released well over 100 titles, ranging from free jazz to avant-garde rock to vintage live recordings by Charlie Parker and Billie Holiday.

Ripozu en paco Mr Stollman.

See ESP-DISK Catalogue here:

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