John Coltrane
Impressions

First studio album by Terry Edwards and The Scapegoats. Trailblazing genre-busting classic which paved the way for the British punk-jazz movement that followed in it's wake.

We live in divisive times. Multiculturalism rises hand-in-hand with racial tensions, and politicians seem powerless to even bring people within earshot of their convoluted message. It’s time for a different perspective.On his second studio album, More Arriving, Sarathy Korwar blasts out his own vibrant, pluralistic missive for the world to hear. This is not necessarily a record of unity; it’s an honest reflection of Korwar’s experience of being an Indian in a divided Britain. Recorded over two and a half years in India and the UK, More Arriving draws on the nascent rap scenes of Mumbai and New Delhi, incorporating spoken word and Korwar’s own Indian classical and jazz instrumentation. This is a record born of confrontation; one for our confrontational times.With this album, Korwar expands his politicised narrative to envelop the entire diaspora. “This is a modern brown record. The kind of record that a contemporary Indian living in the UK for the past 10 years would make,”Korwar says. “This is what Indian music sounds like to me right now.” It all begins with the title: “More Arriving comes from the scaremongering around Brexit,” Korwar says. “It’s a tongue-in-cheek play on the fact that there are more people coming and you’ll have to deal with it!” Through this defiance, Korwar takes clear pride in the knotty mix of his identity – harking back to the new India of the Mumbai hip-hop kids, as well as identifying with London’s cultural diversity. “I want the idea of brown pride to come through,” he says. “My voice is one amongst a thousand, but this record is a snapshot of something much greater than myself. It’s the chance to send a message.

Jazz saxophonist Tony Lavorgna, sometimes known as Captain Bad, recorded Chameleon with the St Thomas Jazz Quartet in 1982. The title track is a cover of Herbie Hancock's classic from Head Hunters, given a fresh lick on this superlative album of incredible renditions of long time favourites. Ray Charles' 'Georgia On My Mind', War's 'The World Is A Ghetto' and Dave Brubeck's 'Take The 'A' Train' all get a look in, given a soulful treatment which goes down very smooth indeed. On the strength of these, it's a shame the group never recorded more music together, covers or otherwise.

Early Future Records is proud to present the official reissue of the iconic 1979 spiritual jazz classic Visions Of The Third Eye, newly remastered for limited vinyl release and digital download.- Including a 20 page zine featuring an in-depth testimonial and interview with Brandon Ross, and an essay by Andy Votel, as well as archival photos, scores and reviews.12" Vinyl + Download card

In May 1972, the wave of anger and the thirst for freedom that had swept the world in 1968 arrived in Madagascar. The Malagasy youth took the opportunity to exile in search of a brighter future. Several of them, all jazz musicians and often polyintrumentalists, came to Paris with their afro hair and bellbottoms. Their names were Sylvin Marc, his cousin Ange "Zizi" Japhet, Del Rabenja, Gérard Rakotoarivony and Frank Raholison.By chance, they crossed paths with pianist and bandleader Jef Gilson, who they had already met as kids during a series of concert and workshops in Tananarive four years earlier. Gilson was far from an unknown on the French jazz scene. He had played with Boris Vian and André Hodeir at the end of the forties, he was one of the first French composers to move away from the New-Orleans style to try his hand at bebop, had launched numerous young stars (Ponty, Texier, Portal...), was a polemical critic for Jazz Hot, had opened for Coltrane at Antibes/Juan Les Pins, and was part of the Double Six... But it was tough to make a living playing personal compositions and Jef, who didn’t have enough money to return to the island and continue mining the seam of Malagasy jazz, saw an opportunity to relaunch ‘Malagasy’.He had his recording studio in the Les Halles area, at the Foyer Montorgueil, where he was teaching jazz to a choir. He set to work with the new Malagasy group, working on a repertoire and reviving some of his compositions from the 50s/60s ("Requiem Pour Django", "Dizzy 48", "Anamorphose" here renamed "Salegy Jef" as a nod to an ancestral rhythm reworked in a contemporary style...), and also included more recent tunes ("Newport Bounce" which opens this current album is a reworking of a track called "Interlude", recorded in 69 with the drummer from Miles Davis’ first quintet, Philly Joe Jones). The group Malagasy 73 gigged a lot. One of their concerts was recorded on the 14 March in a club, ‘Le Newport’, in rue Grégoire de Tours, Saint Germain des Prés, not far from the ‘Kiosque d'Orphée’ where Gilson worked at the beginning of the 60s when he brought bebop and avant-garde jazz to the attention of a generation of musicians with his records imported from USA.This meeting between two generations and two cultures created a new mix between jazz, traditional music and electric funk. Jef Gilson had reinvented himself yet again, and it wouldn’t be the last time.Jérôme « Kalcha » Simonneau