Friday, August 10, 2018

Choi Sun Bae | Motoharu Yoshizawa - Arirang Fantasy (NO BUSINESS RECORDS 2018)


Choi Sun Bae - trumpet
Junji Hirose - tenor and soprano saxophones
Motoharu Yoshizawa - electric vertical five-strings bass
Kim Dae Hwan  - percussion

1. Blue Sky 16:53
2. Remember Bird 7:56
3. The Stream of Time 8:13
4. Korea Fantasy 11:14
5. Arirang Fantasy 21:50

Recorded live at Romanisches Café, Roppongi, Tokyo, June 12, 1995
Recorded by Teruto Soejima
Mastered by Arūnas Zujus at MAMAstudios
Black and white photos by Akihiro Matsumoto / Color photos by Takeo Suetomi
Design by Oskaras Anosovas
Produced by Danas Mikailionis and Takeo Suetomi (Chap Chap Records)
Release coordinator - Kenny Inaoka (Jazz Tokyo)
Co-producer - Valerij Anosov

Kaoru Abe | Sabu Toyozumi - Mannyoka (NO BUSINESS RECORDS 2018)


Japanese free/jazz sax legend, Kaoru Abe, dies at the age of only 29 in 1978, living a fast and crazy life and dieing of a drug overdose. His entire music career was only 10 years, from 1968 to 1978. In that short period, he was well recorded with around 30 releases, ten of which are solo sax efforts, duos with guitarist Masayuki Takayanagi, bassist Motoharu Yoshizawaand drummer Sabu Toyozuma. Mr. Abe also toured and recorded with Milford Graves, Derek Bailey and Toshinori Konda in 1977 & 1978. Sadly, nothing by Kaoru Abe has been in print for many years until now… 

Many of his rare CD’s & LP’s go for big bucks on the resale market. This disc was recorded at two concerts in Tokyo in January and July of 1978, the year that Mr. Abe passed away. Those in the know, free/jazz freaks worldwide, should know of drummer Sabu Toyozumi from his work with Peter Brotzmann, Derek Bailey, Misha Mengelberg and Haino Keiji. ‘Part 1’ kicks things off with an immense blast with Mr. Abe on alto sax and Mr. Toyozumi on drums. Abe sounds a bit like Albert Ayler, although he plays alto & soprano saxes, bending and twisting every note in his own unique way. This duo recorded a few disc together and they sound just right working together, shadowing each other, tightly connecting no matter where they soar. If you savor what is essentially the beginning of fee/jazz in Japan, then you should really hear this disc. It is some 73 minutes long and it all flows together in powerful waves. So good to finally a disc back in distribution that captures the amazing talent & passion filled music of Kaoru Abe and Sabu Toyozumi. - Bruce Lee Gallanter, DMG

Kaoru Abe - alto, sopranino and soprano saxophones
Sabu Toyozumi - drums and percussion

1. Song for Mithue Totozumi - Part I 21:14
2. Song for Mithue Totozumi - Part II 14:44
3. Song for Sakamoto Kikuyo - Part I 4:43
4. Song for Sakamoto Kikuyo - Part II 14:48
5. Song for Sakamoto Kikuyo - Part III 18:28

Bobby Naughton, Leo Smith & Perry Robinson - The Haunt (NO BUSINESS RECORDS 2018)


One of the most immediately accessible of all avant-garde jazz sets because it is pervasively lyrical. A continually floating, melodically curving series of conversations which subtly keep changing colors and timbral intensities while a mysterious implied pulse makes it all cohere in a rather dream-like way. But this is a most vivid dream, the kind that lingers in the mind long after the recording has ended. THE HAUNT is a a permanent and dateless addition to jazz discography.. . . . Nat Hentoff Modern Recording

. . . molto lirica. . . Jazz Oltre

THE HAUNT is a brilliant specimen of textural improvisation at its most concordant. Three masters of the art of spontaneous interaction expertly combine their talents and diverse influences to create music that is dissonant(in terms of conventional tonality, that is) yet euphonious, freely structured yet prudently disciplined. The results should prove accessible to anyone with an ear toward creativity and striking sound combinations, whatever the listener's normal musical preferences. Tom Bingham, AUDIO

THE HAUNT is an album of superb compositions played by a trio of superb musicians. Rather than swinging hard over a firm tempo, the music flows at a slow pace, evoking images that undulate according to the immediate texture of the improvisation. Although it explores the nexus between the New Music and Contemporary Classical Music, THE HAUNT is not pretentious or studied in any way. Its music is abstract without succumbing to the sterility of abstraction. THE HAUNT could very well be one of the most important albums released in 1977. Vernon Frazer, CODA

These calm pieces, with a touch of third-stream sonority to them, represent fast-music dallying quite delightfully with slowness…….

There couldn't be a better instance than this record to show how the true instrumental music is fast however slow it gets, and that it can only be created instantly in the swiftness of perception by which the player maintains the tension, the entire weight of the structure on his shoulders.

Peter Riley, MUSICS London

Bobby Naughton - vibraharp
Wadada Leo Smith - trumpet
Perry Robinson - clarinet

1. The Haunt 7:18
2. Slant 5:45
3. Places 8:11
4. Rose Island 9:14
5. Ordette 9:11
6. Slant (alternate take) 6:49

Recorded April 21, 1976, Blue Rock Studio, NYC
All compositions by Bobby Naughton
Tracks 1–5, previously released as “The Haunt” (OTIC 1005)
Track 6, previously unreleased alternate take
Mastered by Arunas Zujus at MAMAstudios
Liner Notes - Ed Hazell
Front Cover Design - W.J. Panek/Public Eye
Back Cover / Booklet Design - Jeff DiPerna
Producer - Danas Mikailionis
Co-Producers - Ed Hazell, Valerij Anosov

August 10 SINGLE from MIguel Zenón and Spektral Quartet



Grammy-nominated saxophonist/composer Miguel Zenón releases new single Milagrosa on August 10, 2018

Acclaimed saxophonist and composer Miguel Zenón will release the single Milagrosa featuring Zenón and the Chicago-based internationally renowned Spektral Quartet on August 10, 2018. The single will be available on iTunes, Amazon, and CD Baby.

The single - featuring Zenón with Chicago-based Spektral Quartet - is from the upcoming album Yo Soy la Tradición, an ambitious concert-length work for drawing upon the rich cultural-folkloric traditions of Puerto Rico and expressed through the modernist lens of Zenón's compositions.

Zenón and Spektral Quartet Upcoming Performances

o Friday, September 21 - Segundo Ruiz Belvis Cultural Center, Chicago, IL
  Benefit concert for hurricane relief.

o Saturday, September 22 - Ripon College, Ripon, WI

o Wednesday, November 14 - UMASS Amherst, Amherst, MA

o Thursday, November 15 - Villa Victoria Cultural Center, Boston, MA

o Friday, November 16 - Kennedy Center Jazz Club, Washington, DC

This track is from the full-length album Yo Soy la Tradición to be released by Miel Music on September 21, 2018. The recording is an ambitious concert-length work for string quartet and saxophone, drawing on cultural-folkloric traditions of Zenón's native Puerto Rico and expressed through the modernist lens of his compositions.

"Milagrosa" begins with an unabashedly futuristic introduction, where nimble melodic shapes played by the strings filter through modern harmonies, before settling into a flowing feature for Zenón's elegant, melodic playing. The inspiration for the work comes from the religious practice of La Promesa-making a promise to a Catholic deity in return for a favor; specifically, the title refers to a promise made to La Virgen de La Milagrosa ("The Miraculous Virgin"), a traditional song upon whose foundations Zenón crafted an entirely new and vital work. The ending is worth the price of admission for the breathless, extended soli passage with saxophone and the entire Spektral Quartet in lockstep-a tour de force of melodic invention that sets the stage for an unadorned statement of a folkloric melody that is frequently related to "La Virgen de La Milagrosa."

Yo Soy la Tradición, Zenón's eleventh release as a leader and fourth for Miel Music, is a work of startling clarity, synthesizing and building upon Puerto Rican folkloric forms through Zenón's unmistakable, multilayered compositional approach. Commissioned by the David and Reva Logan Center for the Arts and the Hyde Park Jazz Festival, Yo Soy la Tradición is a collection of eight works for alto saxophone and string quartet which feature Zenón and the Spektral Quartet. These chamber works reach far beyond the formula of a horn backed by strings, with the Spektral Quartet taking a central role in both driving and navigating the intricate compositional forms that are a trademark of the saxophonist's music.

Zenón set out to compose a series of chamber pieces taking both creative inspiration and formal patterning from his native Puerto Rico's cultural, religious, and musical traditions. The results are thrilling, and defy neat categorization with their emergent contemporary sensibility: structural beauty paired with emotional urgency.

The traditions Zenón takes as his points of departure include some he has explored in depth before such as Jíbaro, a major musical genre of rural Puerto Rico and the namesake of a groundbreaking album by Zenón in 2005. Other inspirations include traditions, both musical and not explicitly musical, that he had not studied in depth previously.

Miguel Zenón © Jimmy Katz

"My goal is to identify the elements that make each tradition unique," says Zenón. "If these elements are musical in nature, I'll extract them and use them as the main seed for a new piece of music-not trying to emulate the original, but using the original source as inspiration."

Another musical tradition informing Yo Soy la Tradición occurred as a result of Zenón's extensive preparation in string quartet writing. Although he has previously written music for string quartet on Awake, his fourth album released a decade ago, this new hour-long work led him to revisit works by the masters of the Western canon.

"I studied many chamber works from various periods," Zenón says, noting the collaborative aspect of working with Spektral as part of his compositional process. "As I was writing and revising, I was also able to integrate feedback from the members of the quartet, whom I would send sections and passages to."

In one sense, Yo Soy la Tradición is a culmination of Zenón's study of the cultural traditions of Puerto Rico. For over a decade, his regular trips to the country and his ongoing field research has granted him uncommon insight into the artistic resources afforded by the culture of the Island-in his words, a "seemingly endless well of information and inspiration," which is continually replenished by the families and communities who carry it forward as it evolves over generations.

With Yo Soy la Tradición, Zenón has attained another milestone in his musical development, music that stands at both the intersection and forefront of the musical traditions that he has studied and now made his own.

Miguel Zenón's new record for string quartet and sax out Sept. 21, 2018


MIGUEL ZENÓN
Yo Soy la Tradición

An ambitious concert-length work for string quartet and saxophone,
drawing upon the rich cultural-folkloric traditions of Puerto Rico and expressed through the modernist lens of Zenón’s compositions

ALBUM TO BE RELEASED SEPTEMBER 21, 2018 ON MIEL MUSIC

With his eleventh release as a leader and fourth for Miel Music, saxophonist and composer Miguel Zenón has produced a work of startling clarity, synthesizing and building upon Puerto Rican folkloric forms through his unmistakable, multilayered compositional approach.

Yo Soy la Tradición, commissioned by the David and Reva Logan Center for the Arts and the Hyde Park Jazz Festival, is a collection of eight works for alto saxophone and string quartet which feature Zenón and the Chicago-based, internationally renowned Spektral Quartet. These chamber works reach far beyond the formula of a horn backed by strings, with the Spektral Quartet taking a central role in both driving and navigating the intricate compositional forms that are a trademark of the saxophonist’s music.

Zenón set out to compose a series of chamber pieces taking both creative inspiration and formal patterning from his native Puerto Rico’s cultural, religious, and musical traditions. The results are thrilling, and defy neat categorization with their emergent contemporary sensibility: structural beauty paired with emotional urgency.

The traditions Zenón takes as his points of departure include some he has explored in depth before such as Jíbaro, a major musical genre of rural Puerto Rico and the namesake of a groundbreaking album by Zenón in 2005. Other inspirations include traditions, both musical and not explicitly musical, that he had not studied in depth previously.

“My goal is to identify the elements that make each tradition unique,” says Zenón. “If these elements are musical in nature, I’ll extract them and use them as the main seed for a new piece of music—not trying to emulate the original, but using the original source as inspiration.”

Another musical tradition informing Yo Soy la Tradición occurred as a result of Zenón’s extensive preparation in string quartet writing. Although he has previously written music for string quartet on Awake, his fourth album released a decade ago, this new hour-long work led him to revisit works by the masters of the Western canon.

“I studied many chamber works from various periods,” Zenón says, noting the collaborative aspect of working with Spektral as part of his compositional process. “As I was writing and revising, I was also able to integrate feedback from the members of the quartet, whom I would send sections and passages to.”

In one sense, Yo Soy la Tradición is a culmination of Zenón’s study of the cultural traditions of Puerto Rico. For over a decade, his regular trips to the country and his ongoing field research has granted him uncommon insight into the artistic resources afforded by the culture of the Island—in his words, a “seemingly endless well of information and inspiration,” which is continually replenished by the families and communities who carry it forward as it evolves over generations.


Miguel Zenón © Jimmy Katz

The album begins with “Rosario,” whose title references El Rosario Cantado, a tradition related to the Holy Rosary of the Catholic Church. The ceremonial quality to this opening of the suite—variations on a theme framed in variously contrapuntal and contrasting episodes which move between the lyrical and the animated—echoes the format of traditional rosarios, settings of the Rosary to music typically reserved for funerals and religious occasions. This accompaniment is passed down by musicians and has developed striking formal qualities due to the functional nature and specific context of the music.

“It’s one of those things that’s very folkloric, but can be very complex,” says Zenón. “Some of those songs might have a bar of five beats followed by a bar of seven and a bar of three, because the composers and songwriters were trying to accommodate a lyric or a phrase within a specific harmonic sequence.”

Cadenas,” a lively work that features the Spektral Quartet in expansive rhythmic layering, evokes the work of recent Minimalist composers while harkening to the origins of las cadenas, traditional Puerto Rican music that takes its name from a chain-like dance formation (cadenas means “chains”). With alternating passages of expressive verse statements and propulsive string interludes, “Cadenas” exemplifies Zenón’s uncanny ability to juxtapose rhythmic complexity and melodic directness in honor of this tradition with deep roots in Spanish and African music.

In “Yumac,” Zenón takes the listener on a suspenseful ride as the strings produce interwoven bursts of pizzicato while the composer improvises a delicate, virtuosic solo statement. Named after the town of Camuy (with the letters spelled backwards), where singer Germán Rosario originated this style in the mid-twentieth century, “Yumac” comes out of the Jíbaro tradition in its structural organization, but its jagged harmonies and breathtaking unison passages for violin and saxophone are unmistakably Zenón’s.

Milagrosa” begins with an unabashedly futuristic introduction, where nimble melodic shapes played by the strings filter through modern harmonies, before settling into a flowing feature for Zenón’s elegant, melodic playing. The inspiration for the work comes from the religious practice of La Promesa—making a promise to a Catholic deity in return for a favor; specifically, the title refers to a promise made to La Virgen de La Milagrosa (“The Miraculous Virgin”), a traditional song upon whose foundations Zenón crafted an entirely new and vital work. The ending is perhaps worth the price of admission for the breathless, extended soli passage with saxophone and the entire Spektral Quartet in lockstep—a tour de force of melodic invention that sets the stage for an unadorned statement of a folkloric melody that is frequently related to “La Virgen de La Milagrosa.”

Moving into an elegiac register, “Viejo” highlights Zenón’s mastery of traditional musical expression, conveying emotional impact through the tonal shifts between major and minor. In this pensive movement, the saxophone is incorporated more as an ensemble voice as the string quartet moves into the spotlight. The majestic and dignified melodies in “Viejo” are fitting as an allusion to Aguinaldo Viejo, a genre of Jíbaro believed to be the tradition’s oldest example, with a harmonic cadence traced by some historians to medieval times.

Harmony also provides the organizing principle for “Cadenza,” a brooding exploration of two fundamental cadences found in Puerto Rican traditional music, La Cadenza Jíbara (from the same Aguinaldo Viejo in the preceding movement), and La Cadenza Andaluza, which suggests tinges of Flamenco, with Andaluza referring directly to Andalucía, Spain. The latter presents an opportunity that Zenón embraces with a clever, surprising coda of accented handclaps, which through aural sleight of hand slowly morphs back into a chorus of plucked strings before concluding.

The longest piece in the hour-long suite is “Promesa,” which presents an imaginative rendering written from the same inspiration as “Milagrosa.” In this case, it alludes to the most famous promesa of all: La Promesa de Reyes, in reference to the celebration of the Three Kings.  Beginning with a haunting, accompanied statement in the cello, the work cycles through repetitions of varied melodic elements whose even, steady elaboration reveals the patience underlying Zenón’s approach—a cinematic sense of pacing that rewards the attentive listener.

Yo Soy la Tradición concludes with “Villalbeño,” named after a variant of El Aguinaldo Jíbaro from the town of Villalba. With a self-assured sense of forward motion, the Spektral Quartet lays down a restrained but infectious groove over which Zenón holds forth; this builds until a sudden breakdown section, where a repeated figure gains momentum over shifting rhythmic subdivisions leading to the climactic ending.

In this momentous work, Zenón succeeds in finding common ground between various traditions—jazz, classical, and folk musics—while continuing to elevate, honor, and extend the cultural heritage of Puerto Rico as he has done over the course of his career. “Puerto Rican music is an integral part of who I am,” Zenón writes, “and my ultimate goal as an artist would be to synthesize and express everything it means to me.”

With Yo Soy la Tradición, Zenón has attained another milestone in his musical development, music that stands at both the intersection and forefront of the musical traditions that he has studied and now made his own.



Clara Lyon, violin
Maeve Feinberg, violin
Doyle Armbrust, viola
Russell Rolen, cello


A multiple Grammy® nominee and Guggenheim and MacArthur Fellow, Zenón is one of a select group of musicians who have masterfully balanced and blended the often-contradictory poles of innovation and tradition. Widely considered one of the most groundbreaking and influential saxophonists of his generation, Zenón has also developed a unique voice as a composer and as a conceptualist, concentrating his efforts on perfecting a fine mix between Latin American folkloric music and jazz. Born and raised in San Juan, Puerto Rico, Zenón has recorded and toured with a wide variety of musicians including Charlie Haden, Fred Hersch, Kenny Werner, Bobby Hutcherson and Steve Coleman and is a founding member of the SFJAZZ Collective.

About Spektral Quartet

Spektral Quartet actively pursues a vivid conversation between exhilarating works of the traditional canon and those written this decade, this year, or this week. With its most recent album described by Gramophone as “highly-interactive, creative and collaborative...unlike anything its intended audience—or anyone else—has ever heard,” Spektral is known for creating seamless connections across centuries, drawing in the listener with charismatic deliveries, interactive concert formats, an up-close atmosphere, and bold, inquisitive programming.

MO'WAX / JAMES LAVELLE film soundtrack feat. DJ SHADOW, UNKLE, THOM YORKE, DR. OCTAGON, BLACKALICIOUS, QUEENS OF THE STONE AGE, DJ KRUSH, IAN BROWN, ATTICA BLUES and more


‘The Man from Mo’Wax’ charts the life of influential label owner, DJ, producer and latterly musician James Lavelle.

Drawing upon meticulous research and exclusive access to Lavelle’s rare/unseen personal video library (as well as DJ Shadow’s), debut director Matthew Jones assembles archive footage, stills and original interviews.

Key focus is given to James’ pioneering, taste-arbiting label Mo’Wax, his relationship with DJ Shadow and their chart-topping UNKLE project, which included collaborations with Thom Yorke, Richard Ashcroft, Ian Brown, Josh Homme and Kool G Rap.

‘The Man from Mo’Wax’ is an exhilarating, fascinating and insightful insight into the transient nature of creative peaks and music industry success. A puff piece it most definitely is not.

The narrative arc follows a trajectory from the cooler-than-cool golden teenager’s ascension, tough and arid later times, to the beginnings of salvation.  

The film is an honest and unflinching portrayal achieved by the protagonist’s brave and candid permission for nothing to be concealed. Musical, familial and romantic relationships are also explored, as is his battle with drugs.



The film soundtrack features music by artists that inspired Lavelle, including Marie 'Queenie' Lyons and embryonic Massive Attack incarnation The Wild Bunch. Seminal Mo’Wax classics by DJ Shadow, La Funk Mob, Attica Blues, Dr. Octagon and DJ Krush also feature, as do essential Lavelle productions/co-writes as UNKLE.

Flourishing in a fertile period alongside fellow iconic labels Metalheadz, Ninja Tune, Warp, Junior Boys Own and Strictly Rhythm, Mo’Wax was most synonymous with trip hop, which culminated in the release of DJ Shadow’s peerless classic ‘Endroducing’ and his first seminal UNKLE album ‘Psyence Fiction’, recorded in collaborative partnership with Lavelle, in August 1998.

Other Mo’Wax classics of the aforementioned genre included tracks by DJ Krush, La Funk Mob and The Psychonauts, but its reach and remit was far wider, releasing still-fresh-today music by Air, Carl Craig’s Innerzone Orchestra, Special Forces (Photek), Urban Tribe, Autechre, Source Direct, Black Dog Productions, Jungle Brothers, Skull (Trevor Jackson), Dillinja, Liquid Liquid, Motorbass, Plastikman (Richie Hawtin), Luke Vibert, Andrea Parker, Blackalicious, Money Mark and Peshay.

With not only a keen focus on forward thinking, groundbreaking sounds but also high aesthetic standards and visual identity, Lavelle’s label model paved the way for many imprints that followed, from Brainfeeder, Lobster Theremin, Eglo, Apron, Monkeytown, Rhythm Section, Plug Research to Ghostly International.

Sonically, it’s easy to hear the legacy of Mo’Wax in the soul, jazz and hip hop infused grooves of Flying Lotus, Bonobo, The Avalanches, Ras G, Gonjasufi, Fatima, Tenderlonious, Kamaal Williams, Gorrilaz, Matthewdavid, Steven Julien and Lone.

The film will be released in selected cinemas nationwide on the 31st August – celebrating the 20th anniversary of ‘Psyence Fiction’’s release. Following that the DVD/Blu Ray will be released September 10th with TV streaming TBA.



Vinyl tracklist:

A 1 Orchestre Symphonique de Montréal & Charles Dutoit — Holst: ‘The Planets, Op.32 - 2. Venus, the Bringer of Peace’ (edit)
A2 Zimbabwe Legit — ‘Doin' Damage in My Native Language’ (Shadow’s legitimate remix)
A3 Marie 'Queenie' Lyons — ‘See and Don't See’
A4 The Wild Bunch — ‘Friends & Countrymen’
A5 RPM — ‘Food of My De-Rhythm’
B1 Hioshi Fujiwara + KUDO featuring DJ MILO— ‘Return of The Original Art Form’ (D.J mix)
B2 La Funk Mob — ‘Ravers Suck Our Sound and Get Fuck’
B3 Attica Blues — ‘Contemplating Jazz’
B4 Dr. Octagon — ‘Blue Flowers’
B5 DJ Krush — ‘Kemuri’
C1 UNKLE  — ‘Back and Forth’
C2 DJ Shadow — ‘What Does Your Soul Look Like’ (part 3)
C3 RPM — ‘Flow’
C4 DJ Shadow — ‘Organ Donor’ (extended overhaul)
C5 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
D1 Blackalicious — ‘Swan Lake’
D2 UNKLE featuring Ian Brown — ‘Reign’
D3 Queens Of The Stone Age — ‘… Like Clockwork’
D4 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)

Includes official film illustrated artwork by Ken Taylor
Includes special inlay

CD tracklist:

1 UNKLE  — ‘Back and Forth’
2 Zimbabwe Legit — ‘Doin' Damage in My Native Language’ (Shadow’s legitimate remix)
3 Marie 'Queenie' Lyons — ‘See and Don't See’
4 The Wild Bunch — ‘Friends & Countrymen’
5 Hioshi Fujiwara + KUDO featuring DJ MILO— ‘Return of The Original Art Form’ (D.J mix)
6 RPM — ‘Food of My De-Rhythm’
7 Blackalicious — ‘Swan Lake’
8 La Funk Mob — ‘Ravers Suck Our Sound and Get F**k’
9 Attica Blues — ‘Contemplating Jazz’
10 Dr. Octagon — ‘Blue Flowers’
11 DJ Krush — ‘Kemuri’
12 DJ Shadow — ‘Organ Donor’ (extended overhaul)
13 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
14 Queens Of The Stone Age — ‘… Like Clockwork’
15 UNKLE featuring Ian Brown — ‘Reign’
16 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)

Includes exclusive 16 page booklet with photography, artwork and director’s notes

Download / stream tracklist:

1 Orchestre Symphonique de Montréal & Charles Dutoit — Holst: ‘The Planets, Op.32 - 2. Venus, the Bringer of Peace’ (edit)
2 The Wild Bunch — ‘Friends & Countrymen’
3 Attica Blues — ‘Contemplating Jazz’
4 DJ Krush — ‘Kemuri’
5 DJ Shadow — ‘Organ Donor’ (extended overhaul)
6 UNKLE  — ‘Back and Forth’
7 DJ Shadow — ‘What Does Your Soul Look Like’ (part 3)
8 UNKLE featuring Thom Yorke — ‘Rabbit In Your Headlights’
9 UNKLE featuring Ian Brown — ‘Reign’
10 DJ Shadow — ‘What Does Your Soul Look Like’ (part 1)

Motion picture: ‘The Man from Mo’Wax’

A film about important beats maven James Lavelle, featuring interviews by DJ Shadow, Thom Yorke, Josh Homme of Queens of the Stone Age, Massive Attack’s Robert Del Naja, Ian Brown, Giles Peterson, Futura and Grandmaster Flash.

Launch event at BFI Southbank on 30st August 2018:

- Screening + Q&A with James Lavelle and director Matthew Jones
- Exclusive preview of 3 tracks from UNKLE's new album ‘Lost Highway’ with Pitch Black
- James Lavelle DJ set. tickets

Select previews on 30th August and main nationwide cinema release from 31st August. tickets

DVD/Blu Ray released September 10th. pre-order

Soundtrack: ‘The Man from Mo’Wax (Music From The Motion Picture)’

Soundtrack on Island/UMC featuring DJ Shadow, UNKLE feat. Thom Yorke and Ian Brown, Dr. Octagon (Kool Keith), Queens Of The Stone Age, Marie 'Queenie' Lyons, The Wild Bunch, DJ Krush, Blackalicious, Attica Blues and more

2LP coloured vinyl – 1 disc red, 1 disc blue
1CD card digipack with 16 page photo booklet, including director's notes
Download
Stream