A high-energy, modal/spiritual, face-melter of a jazz record that packs a mighty wallop. Fans of McCoy Tyner’s early 70s Milestone records will go bonkers over this. Kohsuke Mine handles both tenor and soprano sax and is the composer of all five mid-to-long tracks on ‘Daguri’. He’s joined by Hideo Miyata (tenor sax), Fumio Itabashi (piano), Hideaki Mochizuki (bass) and Hiroshi Murakami (drums).

Exclusive EP comes with the German magazine ROCK HARD Vol. 390 (Nov. 2019).

The first compilation of the facebook page Doom Jazz / Dark Jazz / Funeral Jazz, a new tribute to these sounds with some of the best bands of the genre and currently active. Compilation edited by Adriano Vincenti (Macelleria Mobile di Mezzanotte, Detour Doom Project, Senketsu No Night Club, Last call at Nightowls) with the help of Maria Ruvalcaba Uribe (Last Call in Nighthowls) and Sam Obscure (Midnight Radio - Noir Jazz).

Hallelujah are sometimes thought of as a German band but although they were based in Germany they were in fact British. The band centred around the duo of Paul Vincent Gunia (guitar and vocals) and Keith Forsay (drums). They returned to England to record and release their one and only album, "Hallelujah Babe" in 1971 with the help of session musicians Pete Wood (keyboards) and Rick Kemp (bass). Kemp may be known to folk fans for later becoming a member of Steeleye Span. To add to the confusion the album was to receive its original release only in Germany. Musically the band played heavy rock with a progressive edge with psychedelic and folk touches. Forsay later went on to become an in demand session drummer as well as producer in Germany.

“Clarity was one thing that made this performance a marvel. Another was the flexibility of Barenboim’s speeds…. The flexibility of Barenboim’s tempi meant that Bruckner’s charm – an often overlooked aspect of his genius – shone through, especially in the genial Trio.” (The Telegraph) Bruckner’s 8th is the last symphony completed by the Austrian composer. Many of his contemporaries regarded the symphony as “the pinnacle of 19th century music”. Even today, this monumental work fascinates listeners with its virtuoso orchestral technique, its immensity of sound, and its inexhaustible richness of detail.

Swing-to-boppers Gibbs (vibes) and DeFranco (clarinet) love playing unison melodies, and the sonorities of those two instruments coming together provides the springboard for this swinging music. It's all based on the witty compositions of Steve Allen, songs the general public have rarely heard. The combination fits all of the participants to a T.
This is mainstream jazz at its current best, but unless you're a hard core fan (or Steve Allen himself, ) you'd be hard pressed to say you know this material intimately. There are some familiar sounds, "Until I Left Chicago (I Never Had The Blues)" is similar to Louis Jordan's "Is You Is Or Is You Ain't My Baby," while "Alabama Baby" strikes a pose akin to "Comin' Home Baby"…

They could have opted for the easy given its long history in common: 15 years of collaboration contemplate the singer Córdoba "The Kejío" and pianist Chano Dominguez , And to do that they do so well: flamenco jazz. But no. What they have done in this first album co-signed by the duo is going to Flamenco more serious and modern. They are not 'flamenquitos' or 'flamencólicos' are musicians who make flamenco here and now.