👽 Gaudi 👽 Jazz Gone Dub 2025 320 👽

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Gaudi’s Jazz Gone Dub is a masterclass in genre fusion, seamlessly blending the improvisational essence of jazz with the heavy atmospheric grooves of dub. Known for his eclectic approach to music production, Gaudi pushes the boundaries yet again, creating a sonic landscape that feels both nostalgic and refreshingly innovative.

Four years in the making, from the opening track it’s clear that Jazz Gone Dub is more than just a mashup of styles, it's a thoughtful exploration of the intersections between two rich musical traditions.

Gaudi’s multi-instrumental talents are on full display, and the presence of reggae royalty is palpable, courtesy of rootsy melodies from David Hinds (Steel Pulse), Jah Wobble’s iconic bass grooves, Ernest Ranglin’s intricate guitar lines and Sly & Robbie’s rhythmic genius.

Add Colin Edwin of Porcupine Tree, Sardinia’s Train to Roots band, Manu Chao collaborator Roy Paci, veteran guitarist Marcus Upbeat, Mr Woodnote and Tim Hutton’s brass work, Gavin Tate-Lovery’s sultry sax and flute, Horseman’s percussive flair plus Vlastur’s serious basslines, and the result is a rhythmic foundation that’s both solid and fluid, allowing the jazz elements to float freely above the dub undercurrents.

Despite this star-studded line-up, Gaudi remains the glue that holds this gem together: his production is meticulous yet organic, allowing each track to breathe and evolve naturally. The use of space, delays and reverb—a hallmark of dub music—is expertly handled, giving the album a dreamy, immersive quality. Tracks like Susceptible and Alabaster Moon showcase Gaudi’s ability to create mood and atmosphere without sacrificing melodic and rhythmic complexity.

In Jazz Gone Dub Gaudi has crafted an album that feels both timeless and forward-thinking, a celebration of musical synergy where the free-spirit of jazz meets the deep resonance of dub. Whether you’re a fan of either genre or simply appreciate masterful musicianship and innovative production, this album is a must-listen. 

It was released  on the5th Dec 2025 

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2019 - Marina & The Kats - Swingsalabim

2019 - Marina & The Kats - Swingsalabim @320

The stage is set for Marina & the Kats! With their new album "Swingsalabim," they captivate us once again and venture into entirely new territory. Enveloped in the charm of nostalgia, the new songs dance right on the pulse of the times. Ringmaster Marina keeps her Kats firmly in her grasp with her uniquely fresh yet touching voice, constantly conjuring up new ideas from her hat

Her traveling circus has pitched its tents in countless places over the past two years. She knows what it's like to be "on the road," always keeping a small velvet-covered notebook in her red tailcoat, in which she writes little fables illustrated with large pictures. Fables of mice and elephants, endless roads, nights spent drinking, fantastical nightclubs among the stars, and life as a courted princess of the variety show.

But it's also about how to assert oneself as a director in a male-dominated world, how to stand one's ground when one is in charge. She also strikes more contemplative notes, slipping into the costume of a melancholy clown when she sings of the impending loss of a loved one. Emancipated from mere retro sounds, a completely new style emerges from her love for the spirit of burgeoning modernity, a style that is more than just a reference to bygone days. Independent, unmistakable. Sparkling, enchanting, right to the heart.

What was already hinted at on their two excellent albums, "Small" and "Wild," continues seamlessly on "Swingsalabim." The trio effortlessly combines light-footed, catchy rhythms with crisp songwriting and a distinct dose of fun. Marina & The Kats have long since found their identity. On their third album, they break free from sonic clichés and prejudices. The "smallest big band in the world" creates a vintage and retro sound reminiscent of bygone days without being overly confined to the aesthetics of that era. They skillfully keep an eye on current events, both musically and thematically, and blend diverse periods.

Marina and her band impress more than ever with new soundscapes and surprising twists. Alongside the classic, catchy swing elements in songs like "Get On With It" and "1000 Miles Ahead," the band ventures into new territory without losing their timelessly driving vintage sound. The bluesy "I Should Have Known Better" proves to be a powerful reflection on an eventful evening, "No No No" flirts with Balkan melodies, "Say What?" demonstrates that womanhood is free from clichés and patriarchal thinking, and "Wherever You May Go" reveals itself as a gentle declaration of love with graceful fragility.

Marina is always in charge and tells open and honest stories that have happened to all of us. Laughter, shouting, singing along, and even tears are expressly encouraged! Anyone who listens to her snare and cymbal sounds will inevitably start dancing. Thomas Mauerhofer and Peter Schönbauer support her on stringed instruments, creating a distinctive sound that goes far beyond mere swing. Marina & The Kats are a welcome respite from the often harsh realities of our time. With "Swingsalabim," they conjure up a good time and prove themselves masters of creating unique cascades of sound. The perfect soundtrack for parties with style and verve.(Jazz-Fun translated from German)

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2016 - Marina & The Kats - Wild

2016 -  Marina & The Kats - Wild @320

Only one year after their debut album "Small", Marina & The Kats, the smallest big band in the world, were back in the studio. This time it even became a vinyl double album. "Wild" is the name of the second release. There is room for 16 new titles (13 on the CD edition).

Marina and her cats have remained true to their style and their motto SWING SWING SWING. Due to more than 100 concerts, they dive even deeper into the hot, driving sound of juke joints and ballrooms. Groovy gypsy guitars, light-footed melodies, breezy Beserl grooves and Marina's uniquely charming voice melt into a longing, nostalgic cocktail that you can enjoy in the morning at breakfast and in the evening at the dance café, and which involuntarily puts a smile on your face.

On "Small" Marina sang about how life is when you're a little short, but on "Wild" she shows us that behind the sweet, innocent façade lurks a rascal who's got it all wrong. In "Easy Does It", for example, she puzzles over why everyone runs to work early in the morning while she's just coming home from a night of dancing, in "Bamboozle Boogie" she's happy to play tricks on others, in the bluesy "Miss Jekyll & Mister Hyde" she bickers with her lover and sometimes tries to distract herself from all the things she's done with a sweet innocent face ("Wild").

Marina is simply a girl who wears the trousers and in the brash "Treat Me Nice!" she makes it clear how a man has to treat a woman. She knows how to help herself to the sweets on the top shelf and dances the seductive Cha Cha of a femme fatale ("Sweets On The Top Shelf").

Yet she also dreams of quieter times, as on "Moon On The Hill", spiced with rapid vibraphone runs, or reflects on transience ("Forever Young"). She makes declarations of love for coffee (the heartwarming "C O F F E E"), or her hometown ("I Fell For You"), tries to seduce with recipes ("Superb"), or just wants to dance until her feet glow ("Shim Sham").

The album is rounded off by two cover versions. Guns N' Roses classic "Paradise City" and "And Her Tears Flowed Like Wine", which was once performed by the unforgettable Anita O'Day together with Stan Kenton.

Raphael Wressnig (hammond organ), Berndt Luef (vibraphone), Herb Berger (reeds), Georg Schrattenholzer (trombone), Christian Bakanic (accordion), Jörg Haberl (percussion) and Klemens Bittmann (strings) provide the necessary spice as guests.

So you take off with Marina & Kats on a dreamy journey to the time of Django Reinhardts and Cab Calloways, of divas and crooners, of Lindy Hop and Collegiate Shag, of radio shows and revue theatres, of Mirós and Picassos, of Peek-A-Boo's and Victory Rolls, of Buick Rivieras and Cadillac Convertibles between the dim Cotton Club of Harlem and the sun-drenched palms of Santa Monica, and yet always lands gently in the here and now. (Bandcamp)

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2015 - Marina & The Kats - Small

2015 - Marina & The Kats  - Small @320

"Swing! Swing! Swing!" That's the motto of Marina & The Kats. Hot grooves, dreamy melodies, snappy guitars, driving drums, and the captivatingly charming voice of Marina, launching into one of her playfully cascading scat solos. Fingers snap, eyes sparkle, and the dance floor swirls! The story begins at a party in Graz. One evening together sealed the trio's fate. Old 7" singles by Louis Prima, Gene Krupa, Benny Goodman, Anita O'Day... were spinning on the turntables, and it suddenly dawned on the three of them: "Jazz is the ultimate dance music!"

The world's smallest big band was born, and the songs just flowed, quickly finding their way onto tape. Where needed, friends lent a hand, all of whom enjoy an excellent reputation in their field: Raphael Wressnig warmed up individual songs with his guttural, gurgling Hammond organ, clarinetists Herb Berger and Milos Milojevic provided the authentic swing feel here and there, and violinist Klemens Bittmann lent the quieter passages their supporting melodies. Generally speaking, the content of a song is very important to the songwriting duo "Zettl / Mauerhofer." In the title track "Small," for example, they've hidden two approaches: one that vividly describes what it's like to go through life as a small person. On the other hand, there's also a hint of rebellion, along the lines of: "Just because I'm small, nobody should think they don't have to take me seriously!" says Marina.

With this album, a circle closes that the trio began to trace at least ten years ago: All three met while studying jazz and have done pretty much everything except jazz in the past decade. In a way, the Kats have "come home"—to the genre that once inspired them to become musicians. (Jazz-Fun)

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Various Artists (re-uploaded) LAST CHANCE!!

Putumayo presents

Latin Beat

(2012)

 

320

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👽 Various 👽 It's Swing Time (The Album) 2003 320👽

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👽 Various 👽 Classic Ragtime: Roots And Offshoots 1998 320 👽

Recorded between 1907 and 1939. Digitally remastered from original 78s.

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👽Material 👽 One Down 1982 (1992 CD Reissue) Flac 👽

American experimental punk-jazz-funk-noise-electro band, founded circa 1978/79 by bassist Bill Laswell and keyboard player Michael Beinhorn.

Material was not only a band name, but an alias for the intensive production work of the duo (for Afrika Bambaataa, Herbie Hancock, Nona Hendryx ...).

Michael Beinhorn left the 'band' in 1985. In the 90s, Material became more world/indian/afro/ambient/dub-oriented.

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Various – A Twist Of Marley 2001 320 😎

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24-Carat Black

Ghetto: Misfortune's Wealth

(1973)

 

320

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Various Artists

The Many Faces Of The Beatles

[3cds]

(2016)

 

320

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Dan Hicks - 1997 - Return To Hicksville (Best Of)

 

Dan Hicks - 1997 - Return To Hicksville (Best Of) @320

Just where to place the free-range music of Dan Hicks & His Hot Licks -- are they country? jazz? rock? Western swing? comedy? -- has always been a nettlesome problem, confounding the public and hyphen-crazy critics alike. For Hicks and his all-acoustic band were certainly all of those genres and then some, a marvelous amalgam of American music with a large dollop of humor thrown in for good measure. Subtitled "The Blue Thumb Years, 1971-1973," this 16-track collection touches on all of the group's major stylistic bases and more, making this a greatest-hits album on a group who never really had a hit. Pulling half a dozen tracks from their debut album, Where's the Money? (the title track, "I Feel Like Singing," "Reelin' Down," "Dig a Little Deeper," "News from Up the Street," and "The Buzzard Was Their Friend"), seven tracks from Striking It Rich ("Canned Music," "Walkin' One and Only," "The Innocent Bystander," "I Scare Myself" [which later became a hit for techno rocker Thomas Dolby], the wry humor of "Presently in the Past," "You Gotta Believe," Maryann Price's sendup of "I'm an Old Cowhand [From the Rio Grande]"), and three from their swan-song album, Last Train to Hicksville the Home of Happy Feet ("My Old Timey Baby," "Sweetheart [Waitress in a Donut Shop]," and "Long Comma Viper"), this hits almost all the high spots with not a lick of filler anywhere to be found. The transfers to disc sound vivid and dimensional, and the liners by compilation producer and music historian Todd Everett are fun, provocative, and spot-on, getting into just what made this group so special. As all three of their albums are available on compact disc, this compilation makes an excellent first-purchase introduction to this band. (AllMusic)

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Nina Simone - Let It All Out Selected Singles 1961-1978 2025 320 😎

 

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Herbie Hancock - The Warner Bros Years (1969-1972) 2014 320 😎

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Jelly Roll Morton - 2000 - Complete Recorded Sides 1926-1930

Jelly Roll Morton - 2000 - Complete Recorded Sides

1926-1930 @320

 JSP's five-CD set devoted to Jelly Roll Morton contains all of his Victor recordings cut between September 1926 and October 1930. The sound quality is excellent and complete discographical information is provided along with insightful liner notes. Alternate takes are presented on separate discs so as to avoid redundancy. This creates doppelgängers, as it were, of most of the sessions involving larger ensembles. Jelly Roll Morton is heard as a solo pianist and as leader of his trios, Red Hot Peppers, and orchestra. The only shortcoming is the absence of eight titles recorded for Victor's Bluebird imprint in 1939 by Morton's New Orleans Jazzmen. Had the producers of this otherwise excellent compilation opted for these classic latter-day Jellies instead of obsessing over every single alternate take from the earlier sessions, this would be a serious contender for the "best and most affordable Jelly Roll Morton set" award. As it stands, JSP's hefty anthology is a great way to obtain most of Morton's major work on CD at relatively little cost. The very best way to study this artist is to start at the beginning of his discography using the Classics Chronological Series and then move forward. After hearing these canonic classic jazz recordings as presented by JSP, some folks will indeed want to zoom in for close-ups and study every recorded episode in this primal jazzman's life and works.(AllMusic)

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Jah Wobble - 2000 - Full Moon over the Shopping Mall

Jah Wobble - 2000 - Full Moon over the Shopping Mall @320

I'm happy to thoroughly recommend the latest  dispatch from  Jah Wobble's ongoing musical journey, boldly going where no musician has gone before. In short, another stunningly original set of tunes. I'll do my best to describe it, but keep in mind that these folks stick as many ideas into a single song than most bands could fit into a box set retrospective. I could spend all day trying to describe the various twists and turns each song takes. I've listened to it about three times a day for the last four days and I still hear something new in each tune each time. The album has the loose, friendly, improvised, feel of a live jam session. In mood it reminds me of nothing more than a classic Alice Coltrane record. The constant is the foundation that Wobble's bass and Liebezeit's drums provide.

For most of the record they're like one instrument. Various other musicians and instruments go at it on top of them. The first four tunes have an Indian feel to them, thanks to the sitar, tabla, and wordless vocals of B Shrivastav. And as if that wasn't enough, you also have C Bell's various high end pipes skitting around and JP Rasle's low end pipes getting a word in too. JP Rasle and B Shrivastav go home before the fifth track, 'Acting the Goat' starts. They're replaced by Wobble on keyboards. C Bell takes advantage of the extra space, honking and piping all over the place. Headphones recommended for the stereo goathorns solo! The sixth and last track is a whole new direction, as Wobble, Liebezeit, and J Cadbury channel Fela Kuti with their own version of an Afro-beat rhythm. C Bell's gone home, so H Becket's trumpet takes centre stage with Wobble and C Murphy making with the keyboards when you least expect it. Another masterpiece from start to finish. (Fodderstompf)

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Various Artists

The Many Faces Of Santana

[3cds]

(2017)

 

320

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Weekend – La Varieté (1982) Cherry Red Remaster & Expanded version 2006 320😎

Weekend were a Welsh band formed by Alison Statton in 1981, following the split of Young Marble Giants. The band was a merger between two projects. Statton began writing with Spike of Z Block Records and Reptile Ranch in Cardiff, Wales in the summer of 1981, before moving to London where she teamed up with Simon Emmerson (at that time using the name Simon Booth) of Methodishca Tune. The band signed to Rough Trade Records in December 1981, but recorded only one studio album, La Variete.

La Variete was released in 1982 on the Rough Trade label and made it to no. 4 in the UK Indie Chart staying there for 15 weeks. It was revered by critics on release as a bold new departure from the prevailing post-punk ethos, and served as a major influence on Saint Etienne, the Sundays, Belle and Sebastian and many others.

According to Cherry Red, La Variete is: "A beautifully realised and delicate collection of songs set against a jazz backdrop, it switches across myriad musical settings including samba, cabaret, Afrobeat and highly personal, confessional pop."

After splitting up in 1983, members Simon Booth and Larry Stabbins formed the more jazz orientated Working Week. The other members later reunited as a duo under the name "Alison Statton and Spike", issuing the albums Tidal Blues (1994), The Shady Tree (1997) and Bimini Twist (2018). 

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Frank Zappa - 1970 - Funky Nothingness (2023)

Frank Zappa - 1970 - Funky Nothingness (2023) @320

Funky Nothingness is Prime Frank Zappa

Especially if you’re a fan of that Hot Rats/Chunga’s Revenge era

For some, the generosity of the Zappa Family Trust has reached critical mass.

Yet where others might grimace at the idea of another collection of unreleased Frank to lighten their wallets, I say pick your battles but by all means don’t let that stop Ahmet and Diva from flooding the market with their dad’s genius. 

Funky Nothingness is an especially tasty treat for those FZ fans with a particular affinity for the Hot Rats/Chunga’s Revenge era. In fact, these sessions are considered to be the bridge connecting Rats and Chunga, 25 unreleased and incredibly rare tracks, recently unearthed from the Vault after more than five decades, recorded shortly after Zappa’s groundbreaking solo debut, Hot Rats, with several of the same musicians.

The sessions, which took place primarily in February and March 1970 at the newly opened Record Plant in Los Angeles, included the five-piece band of Mothers member Ian Underwood (keyboard, saxophone, rhythm guitar), violinist and vocalist Don “Sugarcane” Harris, Wrecking Crew bassist Max Bennett, drummer Aynsley Dunbar and Zappa on guitar, vocals and percussion as well as production duties. 

Together the group recorded hours’ worth of original material, including covers and extended improvisations that drew from Zappa’s R&B and blues roots, while blending influences of the emerging jazz fusion scene and groups like Santana and Return To Forever. Largely instrumental, these recordings showcased the guitarist’s virtuosity, while offering what could have easily been the sequel to Hot Rats, had it ever been released.

“Funky Nothingness, as an album, is special in that it features at least three written compositions, three cover versions and multiple instrumental jam-oriented segments, all previously unreleased,” explains longtime Zappa vaultmeister Joe Travers, who co-produced the set with Ahmet. “It’s very rare to find that amount of music from one set of sessions that has gone unheard for such a long period of time.”

An accompanying 28-page booklet includes photos from the recording sessions by photographer John Williams plus liner notes and an individual track-by-track by Travers. Disc 1 features Zappa’s vintage mixes alongside several modern mixes by Craig Parker Adams who also mixed the bonus material on Discs 2 and 3,  which includes multiple takes on such Disc 1 highlights as “Chunga’s Revenge,” “Twinkle Tits” and “The Clap.”. All audio was mastered by John Polito at Audio Mechanics. In all, the 25-track collection includes 23 unreleased tracks totaling nearly three and a half hours of never-before-heard music. 

“With archival releases from the vault, it is normal to find different arrangements of past tunes featured in live concerts and studio settings with other bands, but actual NEW compositions are few and far between, especially from within Zappa’s golden years of the ‘60s and ‘70s,” explains Travers. “Funky Nothingness delivers on all fronts, showcasing Zappa’s love for rhythm and blues, picking up where Hot Rats left off with extended instrumental work-outs fusing rock, jazz and classical elements into music that can only be described as ZAPPA. The guitar work and virtuoso musicianship are in full effect.”

Tracklis

CD 1: Funky Nothingness – The Album

Funky Nothingness

Tommy/Vincent Duo I

Love Will Make Your Mind Go Wild

I’m A Rollin’ Stone

Chunga’s Revenge (Basement Version)

Basement Jam

Work With Me Annie / Annie Had A Baby

Tommy/Vincent Duo II

Sharleena (1970 Record Plant Mix)

Khaki Sack

Twinkle Tits

CD 2: Zappa/Hot Rats ’70 Session Masters and Bonus Nothingness

Chunga’s Revenge (Take 5)

Love Will Make Your Mind Go Wild (Take 4)

Transylvania Boogie (Unedited Master)

Sharleena (Unedited Master)

Work With Me Annie/Annie Had A Baby (Alternate Edit)

Twinkle Tits (Take 1, False Start)

Twinkle Tits (Take 2)

CD 3: Zappa/Hot Rats ’70 Session Masters and Bonus Nothingness

The Clap (Unedited Master-Part I)

The Clap (Unedited Master-Part II)

Tommy/Vincent Duo (Unedited Master)

Chunga’s Revenge (Take 8)

Halos and Arrows

Moldred

Fast Funky Nothingness

 

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(A thankyou is always appreciated)

Simphiwe Dana

Grand Masters

(2015)

 

320

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