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GoGo Penguin

RMX

    Cooked up in the Blue Note Lab, RMX presents last year’s band-defining masterpiece, GoGo Penguin, re-imagined through the filter of some of the world’s finest producers and remixers. For RMX the idea was both simple and inspired; commission a remix of every track from last year’s album and present a total re-imagination of the record, a remix, or as the band title it, a RMX. In the end they went one better; with a remix of every track (and two of one) plus a remix of the track Petit_a, which was originally released only in Japan before surfacing on their Live from Studio 2 digital EP. The idea behind RMX was also the catalyst for a remarkably inspired collaboration. The Manchester trio's music has always drawn heavily on electronica (alongside jazz, indie and classical influences) and so commissioning ten of their favourite artists to rework their music made perfect sense - and the results are spectacular. One of the very best remix projects you will hear anywhere. Amongst the many highlights are Squarepusher’s thumping remix of F Maj Pixie, alongside Japanese producers Cornelius and Yosi creating sublime new landscapes with the band’s music on Kora and Embers. James Holden assembles an epic synth odyssey around Totem and Portico Quartet produce a sympathetic reworking of Don’t Go. Band faves Clark and Nathan Fake produce inimitable reworkings as does noted French producer Rone, while American producer Machine Drum turns Atomised into dance floor friendly ‘belter’ which is also the first single. Finally, the band have not forgotten their hometown - Manchester is well represented, with remixes from elder statesman and dance music legend Graham Massey (808 state) and new discovery Shunya, whose enigmatic reworking of To The Nth almost steals the record.

    STAFF COMMENTS

    Barry says: You only need look at the lineup for this to get some idea of how far GGP have come. From their early days as mellow jazz underdogs to their staggering newest LP for the legendary Blue Note records, they've proven their undeniable talent at every turn. This project sees a number of stratospherically big names remixing their work with incredible results. Stunning.

    TRACK LISTING

    1. Kora (Cornelius Remix)
    2. Atomised (Machinedrum Remix)
    3. Embers (Yosi Horikawa Remix)
    4. F Major Pixie (Rone Remix)
    5. F Major Pixie (Squarepusher Remix)
    6. Open (Nathan Fake Remix)
    7. Signal In The Noise (808 State Remix)
    8. Totem (James Holden Remix)
    9. To The Nth (Shunya Remix)
    10. Petit_a (Clark Remix)
    11. Don’t Go (Portico Quartet Remix)

    All formats come with a free Piccadilly Records EOY Sampler CD whilst stocks last.

    When did Tony Allen’s There Is No End become my album of the year? July 24th, Night & Day cafe, DJing. I had just put needle to groove on “Rich Black”, naively unprepared for the bass to meet the bar’s booming soundsystem - and then it HIT! The dancefloor was probably fearing for its life, but I was in love.

    A collaborative hip hop masterpiece, There Is No End has a real exploratory feel to it, which (as Allen’s spoken word introduction points out) is the whole purpose of the album - to push, to innovate, and to move, through music. With various up-and-coming singers, rappers, and poets lending their talents to each song, the tracklist reads like a supergroup of Next Big Things: there’s Lava La Rue’s no-nonsense flow and controlled beauty, The Koreatown Oddity’s comic images and hard-hitting home truths, Ben Okri’s inspired mess of creationist myths, fairytale tropes, and apocalyptic visions, and Sampa the Great’s unnerving, vocoded whisper loops - and that's just a fraction of the mavericks on mic duty here.

    All this is to say nothing of the drumming. “Brilliant” would be a gross understatement of just how diverse and original Allen’s beats are - by turns claustrophobic, metronomic, wild, and stuttering, the drums make each song as distinct and… well, brilliant, as the vocals do. Throw swampy bass synths, thickly affected backing vox, and a smorgasbord of tuned percussion into the mix, and what you get is There Is No End: a dizzying swan-song by one of music’s great innovators, and a glimpse into hip-hop’s bright, bright future.

    STAFF COMMENTS

    Barry says: There are very few drummers (no shade on drummers here) that would be well known of their own accord like Tony Allen is. Having been consistently inventive and undeniably brilliant throughout his life all the way up to his 2020 masterpiece with Hugh Massakela, 'Rejoice', it's really no surprise that this Posthumous release is chock-full of wonderful rhythmic surprises, and has a lineup of perfectly chosen guests. A fittingly wonderful album from one of the greatest (and original) Afrobeat drummers of all time.

    TRACK LISTING

    CD (14 Tracks)
    Tony’s Praeludium
    Tony Allen

    Stumbling Down
    Tony Allen Featuring Sampa The Great

    Crushed Grapes
    Tony Allen Featuring Lord Jah-Monte Ogbon

    Très Magnifique
    Tony Allen Featuring Tsunami

    Mau Mau
    Tony Allen Featuring Nah Eeto

    Coonta Kinte
    Tony Allen Featuring Zelooperz

    Rich Black
    Tony Allen Featuring Koreatown Oddity

    One Inna Million
    Tony Allen Featuring Lava La Rue

    Gang On Holiday (Em I Go We?)
    Tony Allen Featuring Jeremiah Jae

    Deer In Headlights
    Tony Allen Featuring Danny Brown

    Hurt Your Soul
    Tony Allen Featuring Nate Bone

    My Own
    Tony Allen Featuring Marlowe

    Cosmosis
    Tony Allen Featuring Ben Okri + Skepta

    There’s No End
    Tony Allen

    2LP (12 Tracks)
    There Is No End
    Tony Allen

    Rich Black
    Tony Allen Featuring Koreatown Oddity

    Coonta Kinte
    Tony Allen Featuring Zelooperz

    One Inna Million
    Tony Allen Featuring Lava La Rue

    Stumbling Down
    Tony Allen Featuring Sampa The Great

    Crushed Grapes
    Tony Allen Featuring Lord Jah-Monte Ogbon

    Gang On Holiday (Em I Go We?)
    Tony Allen Featuring Jeremiah Jae

    Mau Mau
    Tony Allen Featuring Nah Eeto

    Très Magnifique
    Tony Allen Featuring Tsunami

    Hurt Your Soul
    Tony Allen Featuring Nate Bone

    Cosmosis
    Tony Allen Featuring Ben Okri + Skepta

    My Own
    Tony Allen Featuring Marlowe

    Art Blakey & The Jazz Messengers

    Moanin’

      More than any other album in the canon of Art Blakey & The Jazz Messengers, 1958’s Moanin’ — featuring the great drummer with trumpeter Lee Morgan, tenor saxophonist Benny Golson, pianist Bobby Timmons, and bassist Jymie Merritt —was the perfect crystallization of the band’s bluesy, soulful sound, and it still stands today as perhaps the most quintessential hard bop recording of all-time.

      Originally self-titled, the album was later renamed Moanin’ due to the popularity of Timmons’ unforgettable opening track. The album also introduced several indelible Golson compositions that would become standards of the jazz songbook including “Along Came Betty” and “Blues March.”

      This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

      TRACK LISTING

      1. Moanin’
      2. Are You Real
      3. Along Came Betty
      4. The Drum Thunder Suite
      5. Blues March
      6. Come Rain Or Come Shine

      Hank Mobley

      Soul Station

        Tenor saxophonist Hank Mobley had already led nine dates for Blue Note Records by the time he arrived at Rudy Van Gelder’s studio on February 7, 1960 with pianist Wynton Kelly, bassist Paul Chambers, and drummer Art Blakey, but on that day the quartet laid down what would become his masterpiece: Soul Station.

        The crystalline six-song set was a showcase for Mobley’s lyrical flow from the breezy opening take on Irving Berlin’s “Remember” through bluesy originals like “Dig Dis” and the title track, and the swinging up-tempo numbers “This I Dig of You” and “Split Feelin’s.” Soul Station endures as a jazz classic for the ages..

        This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

        TRACK LISTING

        1. Remember
        2. This I Dig Of You
        3. Dig Dis
        4. Split Feelin’s
        5. Soul Station
        6. If I Should Lose You 

        Joe Henderson

        Page One

          While Joe Henderson seemed to arrive fully formed on his auspicious 1963 debut Page One, the album was really a showcase for the transcendent collaboration between the tenor saxophonist and trumpeter Kenny Dorham who would form a potent frontline team on numerous mid-60s Blue Note classics. Page One opens with a pair of indelible Dorham compositions (“Blue Bossa” and “La Mesha”), with the balance of the six-song set penned by Henderson including his enduring theme “Recorda-Me.” Dazzling performances by pianist McCoy Tyner, bassist Butch Warren, and drummer Pete La Roca further elevate this album making it one of the crown jewels of the Blue Note catalog. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

          TRACK LISTING

          A1. Blue Bossa
          A2. La Mesha
          A3. Homestretch
          B1. Recorda-Me
          B2. Jinrikisha
          B3. Out Of The Night

          Cannonball Adderley

          Somethin' Else

            “Is that what you wanted, Alfred?” we hear in Miles Davis’ unmistakable rasp at the end of “One for Daddy-O,” making it clear that the legendary (and assertive) trumpeter was not just playing the role of sideman on Somethin’ Else, the sole Blue Note album by Cannonball Adderley. The alto saxophonist was a member of Davis’ band at the time and the depth of their musical camaraderie lifts this session up to rarefied heights throughout, from the breath-taking performance of “Autumn Leaves” that opens the album to the thrilling call-and-response theme of the title track. Pianist Hank Jones, bassist Sam Jones, and drummer Art Blakey round out the quintet on this timeless classic. This Blue Note Classic Vinyl Edition is all-analog, mastered by Kevin Gray from the original master tapes, and pressed on 180g vinyl at Optimal.

            TRACK LISTING

            A1. Autumn Leaves
            A2. Love For Sale
            B1. Somethin' Else
            B2. One For Daddy-O
            B3. Dancing In The Dark

            GoGo Penguin

            GoGo Penguin

              When a musical ensemble chooses to self-title an album mid-career, it usually signifies their conviction that they’ve struck upon the motherlode, hit the jackpot, stepped up and generally arrived at a point they’ve always striven for but never quite attained before.

              Coming from GoGo Penguin at this stage in the game, it’s quite a bold statement: the instrumental trio from Manchester, England have fielded plaudits and rave reviews for inspiration and originality at every turn since 2013,when they settled on their dream line-up of Chris Illingworth (piano), Rob Turner (drums) and Nick Blacka (bass).

              Fusing jazz, classical and electronic influences(amongst others) with a thirst for innovation, they’ve been garlanded as makers of one of the Mercury Prize album of the year (in ’14) and have enjoyed success on record and in the live arena matched by precious few vocal-free groups post-millennium.

              TRACK LISTING

              1. 1_# 2.02
              2. Atomised 4.23
              3. Signal In The Noise 6.09
              4. Open 4.46
              5. F Maj Pixie 5.49
              6. Kora 5.33
              7. Totem 3.54
              8. Embers 3.00
              9. To The Nth 4.34
              10. Don’t Go 3.38

              Herbie’s classic debut album was originally recorded at the Van Gelder Studio, Englewood Cliffs, New Jersey, on 28th May 1962.
              Featuring a truly impressive quintet of Freddie Hubbard (trumpet), Dexter Gordon (tenor), Butch Warren (bass) and Billy Higgins (drums), "Takin' Off" is rooted firmly in hard bop but also showcasing the exquisite ballad ‘Alone And I’.
              Features the all-time classic Herbie standard ‘Watermelon Man’, a top 100 pop hit for Herbie and #10 hit for Mongo Santamaria. The famous cover art was designed and photographed by Reid Miles.

              TRACK LISTING

              Watermelon Man
              Three Bags Full
              Empty Pockets
              The Maze
              Drftin'
              Alone & I

              Shop favourites (2016 end-of-year chart high-rollers) Gogo Penguin return for their latest outing on legendary jazz label, Blue Note. The thing about Gogo penguin is, they're a jazz band, but without all the things you'd associate with a jazz band. The beards are as few as their years, and the chin-stroking is not only minimal, but actively discouraged. Their last outing (the stunning 'Man Made Object') mixed the subtle downtempo percussion and slowly unfurling progressions of traditional jazz with tender, minimalistic electronics and ambient textures reminiscent of modern-classical contemporaries liberally littered around the Erased Tapes roster.

              Whilst their compositions are completely instrumental, there seems to be a wealth of outside influence making itself known through the phrasing and keys used. While 2015 / 2016 were in no way dream years for society in general, it was clear that there was a playfulness in their delivery of songs like 'Quiet Mind' (incidentally, this particular piece reminded me of the other 'Penguin' band, no bad thing).

              As soon as we finish the frenetic buzzing and claustrophobic atmospheres of 'Prayer', it becomes clear that the rather torrid world climate has indeed osmosed into their compositions, swapping out the languid bobbing atmospheres of yesteryear for a highly charged, powerfully visceral sound experience. While the melodic counterpoints are as ever, impeccably realised (and perfectly accentuated by Turner's mindblowing skin-smacking), the euphoric peak is often hidden behind a flurry of call-response dialogue, the peak only being reached through an intentionally laboured conversational swell.

              While throughout the album, the simmering malaise invariably breaks through into a grand and sweeping relief, it is in pieces like 'A Hundred Moons' that we get the full-force of their compositional genius, breaking through the residual gloom with airy, tropical percussion and a cleansing palate of major-key lifts and twinkling plucks. Without waxing lyrical about every song in turn, there really isn't much more that can be said, you'll just have to listen to it yourself. Truth of the matter is, Gogo Penguin are one of a kind, and continue to pioneer their own spellbinding brand of electronic jazz. 


              It’s been an astonishing couple of years for GoGo Penguin, the UK trio of drummer Rob Turner, double bassist Nick Blacka and pianist Chris Illingworth. Their trademark mash-up of minimalist piano themes, deeply propulsive bass lines and electronica-inspired drums has seen their 2014 album 'v2.0' shortlisted for the Mercury Prize. Drawing on a heady brew of influences from Brian Eno, John Cage, Massive Attack and Aphex Twin, GoGo Penguin has created a brave new sound that is wholly their own.

              Now signed to iconic jazz label Blue Note Records the trio release their new album. 'Man Made Object is the sound of a band confidently pursuing their own path. “The title is partly inspired by my fascination with ideas of robotics, transhumanism and human augmentation,” says pianist Illingworth, a statement that begs for elaboration. “We’re recreating electronic music on acoustic instruments. It’s like a man-made object that has become humanized and it seemed like a good album title, one that also means something different to each of us, and hopefully to each listener.”

              Indeed, although they're predominately an acoustic piano trio, GoGo Penguin’s music draws from many areas of contemporary electronic music, one where you can hear arcade game bleeps, glitchy breakbeats, hypnotic Aphex-style melodies, grinding bass lines and a rumbling low-end. It has been described as “acoustic electronica”, a term which perfectly sums up their modus operandi. “Many of the songs on this album started out as electronic compositions that I made on sequencing software like Logic or Ableton,” says drummer Turner. “I’ll then play it to the band and we’ll find ways of replicating it acoustically.”

              TRACK LISTING

              1 All Res 5:16
              2 Unspeakable World 4:44
              3 Branches Break 4:23
              4 Weird Cat 5:39
              5 Quiet Mind 4:24
              6 Smarra 6:31
              7 Initiate 4:47
              8 GBFISYSIH 3:22
              9 Surrender To Mountain 3:59
              10 Protest 4:45
              11 Fading : Feighning 5.05

              Albert Ammons

              Boogie Woogie Stomp

                THIS IS A RECORD STORE DAY 2014 EXCLUSIVE, LIMITED TO ONE PER PERSON.

                2 track 12" on Blue Note

                Limited to 200 copies.


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