Concord 黑胶唱片和CD

Review: Ugetsu from Art Blakey's Jazz Messengers is a live album put out originally by Riverside Records in October 1963. It features six cuts - although more were said to have been played on the night, but didn't fit on the record - and all are played by Blakey on drums, Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wane Shorter on tenor sax, Cedar Walton on piano and Reggie Workman on double bass. It's a straight-up jazz set with classics like 'I Didn't Know What Time It Was' sounding all the better for being live and direct.

Review: ***B-STOCK: Sleeve damaged & record has light surface marks/scratches, otherwise in excellent working condition***


Ugetsu from Art Blakey's Jazz Messengers is a live album put out originally by Riverside Records in October 1963. It features six cuts - although more were said to have been played on the night, but didn't fit on the record - and all are played by Blakey on drums, Freddie Hubbard on trumpet, Curtis Fuller on trombone, Wane Shorter on tenor sax, Cedar Walton on piano and Reggie Workman on double bass. It's a straight-up jazz set with classics like 'I Didn't Know What Time It Was' sounding all the better for being live and direct.

Review: Butcher Brown is a polymath-like band from Richmond, here following their critically lauded 2022 album Butcher Brown Presents Triple Trey with another superb long player. Solar Music arrives vida Concord Jazz and though rooted in jazz, very much finds the band expanding their horizons and exploring the spaces in between traditional genres. Their dynamic approach to recording sees the band draw on their own personal heritages and upbringing in Richmond to blend together elements of soul, funk, rock, and hip-hop. Several top guests including Pink Siifu, Charlie Hunter, Braxton Cook, Jay Prince, Nappy Nina, Keyon Harrold, Michael Millions and more all feature.

Review: When Keyon Harrold lists the influences that he turned to during the creation of his rich and evocative new album Foreverland, he cites the likes of Radiohead, Fleet Foxes, Fela Kuti, John Coltrane, and, for a second, he becomes vulnerable; the list is too basic, too serious-music-listener-starter-pack. But, out of that moment of insecurity, he spins an indelible flex: "You are what you eat, and I have a pretty strict diet in dope shit. Taking in Keyon Harrold's career to-date, it's clear that the 'world-class trumpeter' (Essence) and composer is very serious about that diet. He's a jazz musician but in the most expansive sense, working with a list of dream collaborators: generational legends Keith Richards and Diana Ross; rap stars like Mac Miller and Nas; neo-soul icons Erykah Badu and D'Angelo; and modern soul stars Black Pumas and Leon Bridges. His circle of regular collaborators is formidable and includes his music industry mentor Common (who hired him for his first touring gig), his New School classmate Robert Glasper, and GRAMMY winners Maxwell, PJ Morton, Gregory Porter, and YEBBA. Even apart from its compositional intricacies and stylistic innovations, Foreverland is a triumph of resilience and empowerment. "What will be said when you're gone?", says Keyon. "If you're not living life - getting beat up, getting your heart broken, winning, losing - what are you doing? What about your life can people learn from? If you don't put yourself in the ring sometimes, there won't be anything." On Foreverland, Keyon takes life's challenges head-on - and emerges, in both music and in life, with a renewed sense of purpose.

Review: Ever since Los Angeles noise-rock trio HEALTH provided the score to Rockstar Games' Max Payne 3, both their sonic and career paths have veered down a direction that avid early fans still have trouble reconciling. Shifting from predominantly instrumental, spasmodic chaos to a unique form of laser-focused, industrial metalwave; their 2019 opus Vol 4: Slaves Of Fear newly established them as the ultimate electronic act for metal fans. While lockdown led to the Disco 4 collaborative albums, split into two separate volumes and boasting a remarkably dynamic array of features from the likes of alt hip-hop guru JPEGMAFIA, trap-metal phenom Ghostemane, hyperpop absurdist duo 100 Gecs, industrial overlords Nine Inch Nails and even groove metal legends Lamb Of God, their fifth full-length Rat Wars draws on the insidious influence from these more aggressive collaborators while simultaneously offering some of their most vulnerable, melancholic and fragile material to date. Complete with a Godflesh sample, it's rather fitting when considering HEALTH's attempts to marry such disparate yet equally punishing sonics mirrors Justin Broadrick's forays from decades ago. Grinding, mechanical percussion fuses to ethereal, androgynous vocals all drowned within EBM sickliness, whilst unpacking utterly nihilistic worldviews. Imagine Placebo or The Pet Shop Boys writing an album with Ministry, and you may start to have an idea of the war you're heading into...

Review: Puerto Rican salsa singer Hector Lavoe first released La Voz in 1977 via Fania Records, a specialist imprint formed by execs Johnny Pacheco and Jerry Masucci in 1964, homing in on salsa, boogaloo and latin jazz. Now reissued via Concord, the eight-track, heavy-set salsa album is a slice of Lavoe's life back in the 70s, encapsulating his jolly nature, not least born in part from his crediting for helping pioneer the genre in its early heyday. Listeners will also note the inclusion of 'Mi Gente' in the GTA: Vice City Stories soundtrack, but we've no doubt that, on stumbling on the album here on Juno, they'll appreciate every track here regardless of that chance context.

Review: The Original Jazz Classics Series turns its attention here to the one and only Miles Davis, who worked with his quintet for the boldly titled Workin' With The Miles Davis Quintet album. This period back in the mid-50s was a halcyon one for Davis and jazz and for that reason the band is often called one of the best in jazz history. Alongside Davis on his trusty trumpet, John Coltrane was on tenor sax, with piano from Red Garland, Paul Chambers on bass and Philly Joe Jones on the sticks. This new version of this classic record has been remastered from original analogue tapes and been pressed to 180g vinyl so its sounds superb.

Review: The fifteenth and final studio album by REM, one of the most influential bands of the 1980s and 1990s, came as a triumphant coda for their long-standing career together. The title is noted as the last utterance to ever have escaped the lips of lead singer Michael Stipe on an REM record, tying the bow on a lengthy career while embracing the tide of change. Regarded as relatively upbeat and energetic compared to their balladic former albums, it's a bittersweet goodbye - the likes of 'Uberlin' and 'Oh My Heart', for all their teary jovialty, were never performed in concert, couching the band's sayonara moment in as much mystery as it did finality.

Review: Craft Recordings celebrates the 25th anniversary of R.E.M.'s bestselling 11th studio album, Up, with a series of expanded and remastered reissues. Created in partnership with the Rock and Roll Hall of Famers, the deluxe 2-CD/singular Blu-Ray edition offers a wealth of material for fans, including the band's previously unreleased set from their guest appearance on the hit TV series, Party of Five. Captured in 1999, the performance includes an 11-song setlist (including enduring hits like 'Man on the Moon', 'Losing My Religion,' and 'It's the End of the World as We Know It (and I Feel Fine)', plus a spoken-word introduction.

Review: A quarter of century has now passed since the release of Up, R.E.M's 11th studio album. It was a set that perplexed some critics on its original release in 1998, in part because it was more experimental in tone (while remaining a fine, song-based set) and saw the band employ drum machines and electronic instrumentation to expand their sound palette. As this anniversary reissue proves, Up has aged well and is arguably ripe for reappraisal by those critics who initially panned it. Even so, what makes this double-disc celebratory edition special is CD2, which boasts an 11-track recording of a surprise set the band played in Los Angeles in early 1999. As well as featuring fine versions of tracks from the album ('Daysleeper', 'Lotus'), we're also treated to storming run throughs of such favourites as 'Losing My Religion', 'Man On The Moon' and 'It's The End of the World As We Know It'.