Whirlwind Recordings label boss Michael Janisch (above centre) steps back into the spotlight as bassist and bandleader for his upcoming sixth album, Worlds Collide, which is released on his label on 6 September. The recording features a stellar cast of US players, including saxophonist John O’Gallagher, trumpeter Jason Palmer, drummer Clarence Penn and Indo-American guitarist Rez Abassi, all appearing on sessions cut at Abbey Road’s Studio 3, with additional parts added by saxophonist George Crowley, keyboardist John Escreet and drummer/percussionist Andrew Bain.
The album shifts the bassist’s sophisticated compositions into a higher gear, with the band digging into several hard-driving tracks including the cool strutting ‘Another London’ and the horn-powered ‘An Ode to a Norwegian Strobe’, alongside the extended lines of the jazz-rock tinged ‘Frocklebot’. Janisch tours the music this autumn with a heavy-hitting Brit band (pictured above) featuring saxophonists Nathaniel Facey and the aforementioned Crowley, pianist Rick Simpson and drummer Shaney Forbes who play the following UK-wide dates: Blue Arrow, Glasgow (24 Sep); The Jazz Bar, Edinburgh (25 Sep); East Side Jazz Club, Birmingham (26 Sep) and Kings Place, London (album launch, 27 Sep).
– Mike Flynn
For more info visit www.michaeljanisch.com
Watch an exclusive video preview of the album here
With their sleekly modern good looks, extraordinary expressive range, and inextricable relationship with jazz, the instruments of the saxophone family have become quintessentially associated with some of the most exciting musical developments of the 20th century.
Yet, by the time early jazz musicians first seriously got their hands on them in the 1920s, these instruments had already been in existence for around eight decades – and in the classical arena had suffered a prolonged, painful neglect orchestrated by influential figures who should have known better.
When he unleashed his new invention onto the Parisian scene in the early 1840s, Adolphe Sax immediately ran up against opposition from the manufacturers of orthodox wind instruments. Wagner hated it and infamously declared that it sounded like the made-up word Reckankreuzungsklankewerkzeuge.
Legal challenges, insolvency and the occasional death threat were some of the more serious consequences endured by Sax at the hands of his conservative opponents. And those who preferred not to sue, bankrupt or threaten to kill him plagiarised his designs, fully aware of their potential significance in the longer term.
As today, high-profile performers of traditional winds endorsed models made by their favourite manufacturers, and had the power to prevent the introduction of saxophones into established orchestras. Sax had designed one set specifically for use in classical orchestral music, and another (in different keys) with an eye towards their potential adoption by military bands.
It was the latter which came temporarily to his rescue when the French Government reformed its provision of military music in 1845 and the nation’s bands adopted saxophones into their ranks; but even then a powerful musical trade union attempted to prevent Sax from being granted a patent for his designs.
Helped by the patronage of Napoleon III, Sax established a saxophone class at the Paris Conservatoire in 1857, and this encouraged classical musicians to take it seriously. But the venture folded in 1870 after France was defeated by Prussia, and it was not until 1942 that the class resumed under the leadership of saxophonist Marcel Mule.
When (composed) ragtime fused with the (improvised) blues to create early jazz in the 1910s, the instrumentation of marching bands became crucial to the dissemination of the new music. Cornets, clarinets and trombones could all be cheaply acquired owing to a huge surplus of second-hand military instruments in the aftermath of the Spanish-American War in 1898; the saxophone fell into the same category, but was slower to establish itself as a leading voice in jazz, starting to come into its own in dance bands during the 1920s.
This article originally appeared in the October 2014 issue of BBC Music Magazine.
Étant des collectionneurs nous-mêmes, nous n’avons souvent pas hésité à débourser de conséquentes sommes pour se procurer un disque rarissime ou très peu pressé. Nous étions curieux de voir si nos records personnels pouvaient rivaliser avec les vinyles les plus vendus dans la Marketplace Discogs depuis 2005.
Pour ne pas froisser les partis impliqués, nous ne dirons pas si ces dernières atteignent le haut de la liste mais nous avons pensé que vous ne seriez intéressé par ladite liste et les disques vendus le plus cher.
Nos critères comprennent les albums qui ont été vendus et payés sur Discogs. Tous les prix ont été convertis en dollars américains basés sur les taux de conversion au moment de la vente. Des doubles peuvent apparaître dans la liste car vendus plus d’une fois.
Chacun de ces disques ont une histoire unique qui en retour explique leur valeur. Nous avons inclus un lien vers chacune de ces sorties où vous pourrez trouver des informations dans les notes présentes sur la page! Elles vous aideront à comprendre l’origine de leur célébrité.
Est-ce que vous avez remarqué d’autres tendances intéressantes? Laissez-le nous savoir dans les commentaires. Nous publions aussi une liste des disques les plus chers achetés dans le monde.
Si vous avez des disques en tous genres que vous voulez vendre, sachez qu’à Discogs vous pouvez vous connecter avec des acheteurs du monde entier. Apprenez comment utiliser Discogs et éditer un prix ou vendre des disques en ligne.
The post Top 100 Des Albums Les Plus Chers Vendus Sur Discogs: France appeared first on Discogs Blog.
Daupe! is an independent label from the UK specializing in rare rap releases on vinyl. Since its inception, the label has been highly influential in the world of indie hiphop thanks to the quality, limited runs, presentation, and even the format of releases.
Some of the records can fetch a pretty penny on Discogs, and it’s clear with the commitment to quality that Daupe! treats physical media and vinyl culture with the greatest respect. We wanted to catch up with head honcho The Purist to get to know the philosophy of the brand a bit better.
Thanks for taking the time to talk to us. Can you tell us a bit about yourself?
I’m The Purist. I’m a producer (sometimes), DJ, and creative director of Daupe!
You’re a self described “purveyor of luxury rap beats,” and your label is a testament to that, with releases selling out almost instantly every time and high quality control. You definitely seemed to be a precursor to a new type of label in rap music. How did you know there was a demand for this kind of material?
I had just always done it for the love of the music and the culture. People weren’t really doing vinyl releases that much, and if they were it was on the “stack high, sell it cheap” model. I knew it would come back, but not like this. I suppose now people are just jumping on the bandwagon looking for a quick buck.
What effect did Discogs have in terms of resale on your releases? Once you saw what was happening, did that inform how you operated as a label?
Well, we had to limit the Japanese releases to one per customer as we saw the resale market taking off. People started trying to cop 20-30 copies of each release.
Speaking of the Japanese releases, can you explain the motivation to do different versions of each release — particularly the Japanese releases at a time when people were not doing obi strips outside of Japan as much as they are today?
Well we were still wholesaling a small amount of the releases at the time. And a Japanese store called Jet Set took a quantity of my album Trill, so we made some custom obi strips just for them. We just carried on from there. Never thought it would catch on like it has. Shout out to Jet Set.
Looking at what Roc Marciano did with his releases this year, he claims to have had success with a more independent approach. With the growing trend of artists working apart from major labels, what can labels like yours offer these kinds of artists?
We offer a fairer split of profits than a major or previous indies, giving the bulk to the artist. We put a great deal of care into the design and manufacture of the finished product. The delivery of these takes a great deal of expertise. Also, the sheer logistics of getting the product to the customer isn’t to be sniffed at.
As a producer, how is sampling and physical media a central part of your workflow?
Every track I’ve made is 100% sampled and 100% sampled from vinyl. Kick, loop, effect; everything.
What does your record collection look like these days? What kind of things are you buying?
It’s not as crazy as it used to be. So I’ve been moving on stuff, just trying to keep it sane. I’ve currently got the entire SPM library sitting in my kitchen. These days mainly stuff from Japan and the former Soviet Union. Always on the lookout for gospel, too.
Aside from records to sample, what kind of things are you listening to?
Everything from Ghanaian disco to Japanese boogie. Kadhja Bonet still gets played on the daily.
Being from the UK, how do you manage to stay up on genres that just are not so prevalent over here; gospel for example?
You have to travel. It’s no good digging for gospel in London.
Having been a collector from both the pre- and post-Discogs eras, what impact has Discogs had on the culture?
Dealers cant pass off trash records just because they are rare anymore. By the same token, it’s hard to come up on any steals, as everyone knows a record’s value at the click of a button.
We ran a great event in Brighton this year As the hub of your operation, why did you choose Brighton and what do you like about the city there?
It’s a cool city; close to home and close to London. It was no-brainer.
For those people travelling to Brighton to visit and dig, what are your recommendations for the city?
Go digging in Rarekind Records. It’s something of a Brighton institution. For some local seafood hIt up, Ridde & Finn’s or 64 Degrees.
Finally, what should we be keeping our ears/eyes open for in the coming months from the label?
The new Westside Gunn 4th Rope record is out now. Everything else is top secret.