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(SOYUZ)'s fourth album, reflecting the journeys the band has navigated in recent years, having moved to Warsaw due to political unrest in their homeland of Belarus and the outbreak of war in Ukraine. Embracing the uncertainty became both the inspiration and main lyrical theme for Alex Chumak, SOYUZ' composer and arranger, who also decided to go a step further and change the language in which he writes songs from Russian, which is used as lingua franca in many post-Soviet countries, to his native Belarusian. The result is nine songs about dreams and outer space, ordinary miracles, things very close and very distant at the same time. In early 2022, Chumak and original members, Mikita Arlou and Anton Nemahai, joined tens of thousands of Belarusians seeking safety abroad. Resettling in Warsaw, the band released Force of the Wind in October 2022, garnering widespread acclaim, a string of major European gigs, and led to Polish musicians Albert Karch and Igor Wisniewski joining the band. 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Lush string and woodwind arrangements written by Chumak and Karch were recorded at the Polish Radio studio in Warsaw, and Rhodes parts were added by Chumak at Sven Wunder's studio in Stockholm. Though primarily recorded in Brazil, KROK is not a Brazilian or MPB album. It blends the band's Eastern European roots with jazz, folk and global influences. The genre of the music is hardly identifiable: there are folk ballads and jazz-driven pop compositions covered in lush and often dissonant string and woodwind arrangements where each note is placed with care and meaning behind it. The title track was the first song Chumak wrote in Belarusian as an adult, making for a fitting opener and one of the band's finest tracks. Darker than most of SOYUZ' songs, the tensions lift and lighten as the track progresses. 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They were introduced by Verocai himself, which led to their collaboration on Jazz Is Dead 025, which marks a bold new chapter in Dafé's career. In Los Angeles, Dafé was captivated by Younge's creative process. \"I was in awe of the stupendous arrangements Adrian had created, so I made sure to leave plenty of space for the instrumentals to shine,\" Dafé said. Alongside collaborators BID, Gabriel Moura, his wife Marilda, and son Jorge Mário Dafé, he wrote melodies, lyrics, and spoken-word passages inspired by stories he once told his children.\r\n\r\nDafé also sought spiritual inspiration during the recording process, visiting a nearby church to pray for guidance. Reflecting on a conversation with Tim Maia from the 1970s, he noted how Maia had predicted the rise of spoken-word pop music, foreshadowing rap. 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After hearing Eraserhood's work with Kendra Morris, Angelo Outlaw, and Say She She, he knew he'd found the perfect match: \"The Eraserhood sessions were fuelled by focus, hard work, and pure\r\ndetermination. In the late summer of 2023, I approached Vince and Max from Eraserhood with the vision of making an album-despite not having a single song written. We booked a winter session, and I spent the next four\r\nmonths writing.\"\r\nFast forward a few months, and Thomas flew out to Philadelphia alongside his confidant on keys, Raynier Jacildo (The Volcanos, The Black Keys) for 4-days in Eraserhood's Philly studio - formerly owned and purpose-built by Questlove. The results of working in a studio rich with history are clear when listening to 'Jr. Thomas in the Eraserhood'. An authentic, analog-focused take on soul music, it pays respect to the genre whilst joining a growing movement that seeks to bring the uplifting energy of the music to a new generation of listeners. 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Representing a critical moment in his career, Chet Baker hooked up with a superlative band for these recordings: George Coleman; Kirk Lightsey; Herman Wright and Roy Brooks play throughout on these thrilling sets, which were originally issued by Prestige Recordings. New Land has gained full access to the original analog mono tapes, and Kevin Gray has remastered and cut (AAA), giving them fresh sonic detail. At the centre of this package is a book featuring an incredibly detailed essay by GRAMMY® award nominee James Gavin which intertwines the true story behind these recordings with interviews from those who were involved. Illustrated with rare photographs and ephemera, this is the deepest dive into these recordings to date. These aren't just \"late-era\" Chet recordings - they're a document of reinvention. 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Out this September via Root Records (DeepMatter Records), 'Cicero Nights' consists of eight immersive and transportive instrumentals that manage to evoke both the neon-lit haze of late city nights, and the meditative atmosphere of sunlit daytime strolls, all through the lens of organic, cinematic instrumentals.\r\n\r\nThe 'Blue Earth Sound' name reflects James' Blue Earth County, Minnesota roots, with the music effortlessly melding the golden hour nostalgia of youth with the hardened soulfulness and inclusive experimentation of his adopted Chicago home. Throughout it's enveloping tracklist, Cicero Nights boasts an arc - an ebb and flow that feels thoughtful, curated, and easy to lose yourself in. 'Half \u0026amp; Half' takes cues from the Midwest soul of Curtis Mayfield and Donald Byrd, with summery, hook-laden horns from Prizy and Miller marrying with James' buoyant bass lines. Inspired by the 'Hoop Dreams' soundtrack, 'On The Court' adds a boom-bap beat, a cloud of Wurlitzer, and smoky wah-pedal guitars. He shares: \"I just wanted to make tunes that a DJ could play at a Chicago bar like Danny's at 8:30 pm that would set a good vibe.\"\r\n\r\nHis debut album features an incredible cast of collaborators. 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This speed issue affected the album's first three tracks, 'So What,' 'Freddie Freeloader' and 'Blue in Green,' making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records - or their latter-day parent, Sony Music - on a CD reissue in the late '90s. This edition also contains on Side 4 'Flamenco Sketches (alternate take)' cut at 45 RPM.Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into 'Best Of' lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody.It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wynton Kelly playing piano on 'Freddy the Freeloader.'Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. 'The music has gotten thick,' Davis complained in a 1958 interview for The Jazz Review. '... There will be fewer chords but infinite possibilities as to what to do with them.' Kind of Blue is, in a sense, all melody - and atmosphere.None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.Miles remained proud of the album, performing at least two of it's tracks - 'So What' and 'All Blues' - for years after, until his musical path took him in a different direction.History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records - LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day - Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.This LP bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment.180-gram double LP 33 1\/3 edition (Side 4 will be 45 RPM)Side 1 Speed Corrected for recording adjustmentPressed at Quality Record Pressings using Classic Records parts that were mastered by Bernie Grundman from the original master tapeIncludes 4-panel insert with corrected speed information and liner notes by Robert PalmerStoughton Printing Old Style tip-on gatefold heavyweight jacket with scuff-resistant matte finishStandard black vinyl pressingTracklist:Side 1 (Corrected Speed) - 33-1\/3 RPM1. So What (9:22)2. Freddie Freeloader (9:46)3. Blue In Green (5:27)Side 2 - 33-1\/3 RPM1. All Blues (11:33)2. Flamenco Sketches (9:26)Side 3 (Original Speed) - 33-1\/3 RPM1. So What (9:22)2. Freddie Freeloader (9:46)3. Blue In Green (5:27)Side 4 - 45 RPM1. 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This speed issue affected the album's first three tracks, 'So What,' 'Freddie Freeloader' and 'Blue in Green,' making them a barely perceptible quarter-tone sharp. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records - or their latter-day parent, Sony Music - on a CD reissue in the late '90s. This edition also contains on Side 4 'Flamenco Sketches (alternate take)' cut at 45 RPM.Legends have a way of sticking around. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis' Kind of Blue. The top-selling jazz album of all time, it has been lauded, entered into 'Best Of' lists and Halls of Fame, and universally acknowledged as a landmark recording - a five-track masterpiece of melancholy mood and melody.It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wynton Kelly playing piano on 'Freddy the Freeloader.'Kind of Blue is more than Miles Davis's most enduring recording, it's a testament to Miles' experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time. 'The music has gotten thick,' Davis complained in a 1958 interview for The Jazz Review. '... There will be fewer chords but infinite possibilities as to what to do with them.' Kind of Blue is, in a sense, all melody - and atmosphere.None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.Miles remained proud of the album, performing at least two of it's tracks - 'So What' and 'All Blues' - for years after, until his musical path took him in a different direction.History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records - LPs; high-end turntables, and other stereo components). Kind of Blue also benefited from Miles' being signed to the leading major record company of the day - Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio.This LP pressed on blue vinyl (limited to 1,500 copies) bridges the time span since the album's original recording in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise. 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