Saturday, June 19, 2021

Happy Father's Day! Free Shipping this Weekend

Single Records Available 

Free Shipping on all Box Sets and single orders within the US this weekend
Legendary Father and Son Duo Ellis and Jason Marsalis available for single release

This Father's Day Weekend
(starting now)

Free Shipping with the offer code


Our Complete Discography is
available for individual purchase

Stock is limited
Our legendary Box Sets available while supplies last with free shipping. USE the code FATHERSDAY at checkout

Parking Attendants - Prisoner (Live Session at WoW Records) June 19, 2021

This album was recorded, mixed and mastered at WoW Records by Felice Tazzini. It Features Mauro La Mancusa, trumpet, Attilio Sepe, alto sax, Guglielmo Santimone, piano and rhodes, Antonio Izzo, bass and Marco Salvador, drums.

1. Ambrosia Acocain 03:49
2. Dying River 04:51
3. Fireland 05:26
4. Prisoner 07:48

Tommy Flanagan - Solo Piano (June 2021 Storyville Records)

Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first recording as a leader in 13 years and, most importantly, because it is very good music.

Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist.  It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.

When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.

That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.”
On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.

To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.”

By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. 

1. Parisian Thoroughfare 03:36
2. Wail 02:38
3. Isn't It Romantic 03:37
4. Sleepin' Bee 04:46
5. Yesterdays 03:29
6. Stompin' At The Savoy 04:42
7. Strayhorn Medley 11:50
8. Con Alma 03:07
9. If You Could See Me Now 03:26
10. Ruby My Dear 03:02
11. Lover 02:43

Tommy Flanagan - Piano

Luís Vicente Trio - Chanting In The Name Of (June 2021 clean feed records)

A Portuguese trumpeter more and more present in the international scene, in such a way that he has more concerts scheduled in other countries than on his own, Luís Vicente never seems to stop: after the success of his partnership with John Dikeman, William Parker and Hamid Drake in “Goes Without Saying, But It’s Got to Be Said”, he turns to national silver (represented here by Gonçalo Almeida and Pedro Melo Alves, both protagonists of their own projects) and signs an album that inspires Drake, the above mentioned master drummer, to write (in the liner notes) that Vicente’s work is a lesson about «keep looking, searching for new possibilities, broadening ones views» and part of «the underlying code of the whole universe», as Sufi mystic Hazrat Iayat Khan put it. Once again applying his never apologetic «sense of freedom», Vicente is back with a powerful album that is a joy to listen to. He may not take any prisoners, but just because he releases them.

1. Anahata 10:33
2. Keep Looking 10:13
3. Chanting in the Name Of 11:54
4. Connecting the Dots 06:00
5. May's Flavour 07:07

Luís Vicente trumpet
Gonçalo Almeida doublebass
Pedro Melo Alves drums and percussion

Recorded on the 9th and 10th of January, 2021 at Soundinnovation Studios, by Fábio Miranda | Mixed by Pedro Melo Alves | Mastered by Marcelo dos Reis
Produced by Luís Vicente | Executive production by Pedro Costa for Trem Azul | Design by Travassos

Pedro Carneiro | Pedro Melo Alves - Bad Company (June 2021 clean feed records)

Carneiro and Melo Alves aren’t bad companions to each other, as you’ll soon find out. The title of this recording comes from a story by Japanese writer Yasuoka Shotaro, reminding us how literature influences the creation of good music. Percussionist, conductor and composer, Pedro Carneiro's main activity is in the realm of contemporary classical music, mostly with his huge bass marimba, either playing his own music or compositions by Iannis Xenakis or other 20/21 century radical composers. On the side, he’s very much present in the field of free improvised music, with the likes of Carlos “Zíngaro” and pianist Rodrigo Pinheiro, already known by the Clean Feed listeners as a member of Red Trio. 

Pedro Melo Alves is the new prince charming of the Portuguese jazz scene, as a specially accomplished composer and drummer, with projects like Omniae Ensemble, In Igma (with Mark Dresser), The Rite of Trio and symph. Together, they engendered an opus which has everything of the best percussion music of these present days. This time, made totally in the moment, spontaneously and intuitively, even when it doesn’t seem so. A very welcomed gem.

1. revelry 05:21
2. a touch of self-satisfaction 05:42
3. restlessly in circles 02:27
4. from a starless sky 06:23
5. A secret domain 02:33
6. between retreat and return 02:38
7. a totally unexpected joy 04:22
8. From street to street 06:23
9. gross exaggeration 02:59
10. making a veritable religion 05:11

Pedro Carneiro marimba with quarter tone extension
Pedro Melo Alves prepared drums

Recorded and edited by Pedro Carneiro and Pedro Melo Alves at Orquestra de Câmara Portuguesa (OCP), Algés, Portugal on January 6 and 7, 2021 | Mixed and Mastered by Nicolas Baillard at Studios La Buissonne, Pernes-les-Fontaines, France
Produced by Pedro Carneiro and Pedro Melo Alves | Executive production by Pedro Costa for Trem Azul | Liner photo by Bruno Vicente | Design by Travassos

Mario Pavone The Tampa Quartet - Isabella (June 2021 clean feed records)

Mario Pavone recorded two albums in the final stages of a cancer that he fought for 17 years, when 2021 was starting: “Blue Vertical” (Out of Your Head Records) and this “Isabella”. Now that Pavone isn’t with us anymore, the second of these two final editions has a special significance: it’s a pungent tribute to his granddaughter Isabella, who died in 2020 when she wasonly 23 years old and whom, he said, «stole my heart since her birth». The feelings involved are deep and they’re reflected in the inner tissue of the music. Pavone had one thing in mind: «My joy will be in re-uniting with her.»

This is the antecipation of that joy turned into music. An autodidact double bassist with very personal techniques (firstly shown to the world when he joined Bill Dixon and Thomas Chapin) and a rich musical mind needing the collaboration of others (Marty Ehrlich and Steven Bernstein in the past) to put it on paper, this time he had trumpeter Dave Ballou as the arranger and accomplice in translating his ideas to a group sound. With his son Michael playing guitar and with friends Mike DiRubbo and Michael Sarin, Pavone created the most beautiful suite about the noblest of all emotions, love, and about how love survives even death.

1. Twardzik 06:45
2. Philosophy Series 06:20
3. Blue Vertical 07:27
4. Isabella 07:05
5. Good Treble 07:43
6. OKWA 05:03
7. 2/3rds Radial 04:59
8. Double Elkna 01:07

Michael Pavone guitar
Mike DiRubbo alto saxophone
Mario Pavone double bass
Michael Sarin drums

All compositions by Mario Pavone (Pavo Publishing/BMI) | All arrangements by Dave Ballou

Recorded on February 28 and March 1 at Springs Theatre, Tampa, Florida | Recorded and mixed by John Stephan | Mastered by David Zuchowski
Produced by Mario Pavone | Executive Producer Pedro Costa for Trem Azul | Design by Travassos

Danilo Gallo Dark Dry Tears - A View Through a Slot (June 2021 clean feed records)

Italian jazz is a reality on its own, due to its caustic humor, the folkish way it uses melody, the liking for rhythm patterns, the cinematic perspectives and we could continue to bring arguments to the list. When bassist (every kind of bass, be it double bass, electric bass guitar, acoustic bass guitar, bass balalaika, whatever, with an important exception: baritone guitar) Danilo Gallo is involved you have it in spades: more melodies to listen, more riffs (and be sure “A View Through a Slot” grooves and rocks like hell) and more sarcasm. Take the technical notes: this was (suposedly, of course) recorded in Gronland in 2077, mixed by one Péppino La Piccirella (you’ll have to know Italian to laugh) in Italy and then mixed again in Bogota, Colombia, and mastered by Nonnasonica somewhere in the world. It’s Gallo’s way to say that it really doesn’t matter where or when the music happens. 

Don’t be surprised if some tunes are deconstructed at the final minutes: the musicians involved, including American extraordinaire drummer Jim Black, go crazy very quickly. And there’s something else: a sense for the poetic and the sad that can bring tears to your eyes. In these difficult times this is what you need for a definitive catharsis. Give also a special attention to what the two saxophone players, Mr. Milesi and Mr. Bigoni, do, and to the romantic rock cinematic guitarist Mr. Corti, and stay safe. 

1. Demolition 06:39
2. No Boundaries 05:34
3. Eyes of Twilight 06:48
4. The Tree and the Water 06:39
5. Rubble Dust 08:59
6. I Can’t See You 06:56
7. Gummy Wall 03:27
8. No Boundaries (reprise) 02:00
9. If You Raise a Wall You Get Low 08:18
10. Short Memory 08:07

Danilo Gallo bass, fx
Massimiliano Milesi tenor and soprano saxophones
Francesco Bigoni tenor saxophone, clarinet
Jim Black - drums

feat. Lorenzo Corti guitar

Luís Lopes Lisbon Berlin Quartet - Sinister Hypnotization (June 2021 clean feed records)

Luis Lopes’ Lisbon Berlin Quartet immediately references the residences of the contributing musicians, Lopes and Rodrigo Pinheiro from Lisbon, Robert Landfermann and Christian Lillinger from Berlin, but there’s more than this that feeds the specific urban relations of this music. To say each is a city with a past, is understatement. If Berlin will loom larger in general histories, from the nightmare of Nazism and the following decades of division, the wall and the refined horrors of the Stasi, Lisbon has a special claim on duplicity, given the half-century reign of the Salazar dictatorship, a fascist regime that preferred relationships with major Western ‘democracies’_ England, America_ which in turn found secret police, torture and oppression easily overlooked for an ally in the war against communism. It was a duplicity that once made Lisbon an espionage hub, a network of spies, lies and conspiracies as much as a city. 

Lopes’ Lisbon Berlin references all of that indirectly, but it’s a contemporary vision—forcefields and fault lines, underground and skyline, alive from road to rail to phone to rail to phone to cloud, all that data congealing in space, messages breaking up into compound futurities.

The band exercises a brilliant fury, parts mirror one another, sounds may be distinct_ there’s definitely something special about Landfermann’s upright bass, often bowed but through pedals and amp creating a hybrid monster of acoustic and electronic genes_but it’s the wild reflective possibilities of all those high-volume sounds, bouncing off studio walls at a pace in which sonic after-images present undreamed of future cities, third-world Metropolises with contemporary social problems wed to future mutations.

Pinheiro, elsewhere master of a certain contemporary classicism, here pursues his own electronic bent, a happy partner and prod to Lopes’ amplified kinetics, while Lillinger, here and elsewhere, exercises a combination of chance and precision that could make him the defining drummer of a generation.

1. Identification 03:38
2. O Andróide que Sonhava Ser Humano 08:17
3. Sinister Hypnotization 13:10
4. Werther's Memories 04:38
5. Berlin Line (Picture of Berlin in Three Movements) 07:45

Luís Lopes electric guitar
Rodrigo Pinheiro fender rhodes
Robert Landfermann double bass (with effects)
Christian Lillinger drums

Garfo - Garfo (June 2021 Clean Feed Records)

If you were still uncertain about the relevance and the freshness of Portugal’s contributions to the worldwide jazz and improvised music circuits, this is for you: Garfo (Fork in English) is a band formed by four of the youngest generation of musicians active in the city of Lisbon. Lead by saxophonist Bernardo Tinoco, but with all members composing its repertoire, they play a empathic music with mind-puzzling structures and crossed time signatures, with lots of free improvisation to open up the frames. Coming from a family with strong ties with classical and jazz music, Bernardo has a sweet tenor sax sound rather unnusual in these domains.

A former pupil of trumpeter Peter Evans, João Almeida’s sonic constructions give the maximum effect to his minimalist approach: just a few motives are enough to make a blast. Bassist João Fragoso and drummer João Sousa keep the motion with an energy that never dissolves. And that’s it: jazz turned again a music made by twenty-something years old innovators, with urgency but also a very surprising maturity. And they’re conquering the local scene, obliging the older musicians to keep the pace. It’s predictable that a new Portuguese jazz boom will come from this. 

1. Quadrado 04:48
2. Improv. 03:40
3. Terminal 01:45
4. Ciclo 05:47
5. T 04:38
6. Oito 02:37
7. Alderpoint 03:44
8. Piglet 03:13
9. Giraldo 03:52
10. Palavras 05:51

Bernardo Tinoco tenor saxophone
João Almeida trumpet
João Fragoso double bass
João Sousa drums

Orest Filipov & Nicklas John - Inside You (June 2021)

This music is the moments of inspiration, nostalgia, observation and melancholy what exists in all of us. I came up with the idea of duo in order to create more intimacy and liveliness. Duo opens up horizons of infinite creativity and, what important for Jazz, flowing dialog between performers. This album is leads you through pictures of life, imaginary life, nature and of course memories that you and i keep deep inside.
Music was recorded live at BMH in Essen with wonderful pianist Nicklas John whom i had an honor to know and play with. Nicklas playing always captures me with a creativity and strong ability of storytelling.

This album was produced by me with the huge support of a NRW "Auf geht's" scholarship program aimed to help artists and creators during hard times of a Sars Cov 19 crisis.

1. Mom 13:46
2. Snow in the Moonlight 10:08
3. World Inside You 05:44
4. What Birds Bring 14:20
5. Memories 08:41

Nicklas John - piano
Orest Filipov - soprano saxophone, composition, production