Now-Again Records

Oriental Jazz

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Born in 1938, and raised in Glendale, California, Lloyd Miller has had one of the most unusual careers in all of jazz. By age 12 he had declared an intent to make his living as a jazz musician, and by high school he had already begun to experiment, shunning swing music's mechanical perfection, and chafing at his parents’ desire for him to nurture his talents with formal training. This tumultous relationship with his parents would eventually lead to a stint in a psychatric hospital, before reuniting with them in moving to Iran, his father having accepted a job working for the Shah. Stops in Hong Kong, Japan and Pakistan on the way to Iran deepened Miller's connection to other cultures he’d first felt while listening to old world music compilations. He felt a definite calm and peace, an immense respect from everyone towards everyone else, and immersed himself in other cultures and languages immediately. Miller spent a year in Iran with his family, picking up Farsi after a few short months, and steadily gaining more and more of an appreciation for how deep the roots of Persian art run. However, still committed to his decision forge a career in jazz, Lloyd left Tehran in 1958 to head to Europe to see if he could make a living from jazz music. Miller kicked around the continent, first in Germany, then in Switzerland, Sweden and Brussels. He collaborated and performed alongside 60s jazz legend Jef Gilson, and experimented with exotic instrumentation before returning to America to resume his studies at Brigham Young University in Utah. In the years following his stint with Gilson, Miller had become more and more disillusioned with both modern music and modern society, which had ashewed jazz for rock music, which he detested. In Miller’s conception, for a music to have value it had to have a deep connection to a tradition, specifically connecting jazz to African lore. To Miller, something like “Tuareg African music is blues, just with no chord changes.” Oriental Jazz was recorded, compiled and self-released in 1968 while Miller was studying at Brigham Young. The record, originally pressed in a quantity of 300 copies, sought to combine a cool, modal style with the exotic arrays of instruments and styles that Miller had picked up during his travels. Miller included songs he’d cut with Gilson in his Parisian studio years before, and a solo piano piece that he recorded in one of the school’s practice rooms. Despite Lloyd’s professed aversion to modernity, there nevertheless is something strikingly new sounding about this music, which fits together in startling juxtapositions. Traces of Bill Evans, Stan Getz and Jimmy Giuffre rub shoulders with Persian santur, Arab oud and Turkish saz music. Copies of Oriental Jazz languished in Miller's home for years after numerous failed bids for record contracts, before finally ending up in the hands of record collectors decades later. After its release however, he would find a second life after returning to Iran, doing field recordings, and eventually hosting a weekly television show that programmed both American jazz and the best traditional Persian musicians he could find. It was not to last however, as he abruptly abandoned the country to return to the US in the late 1970s, predicting the arrival of the Islamic Revolution.

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NA 5183LP

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35.00
Tracklist: 

Side 1
1. Gol-E Gandom
2. Njonja Mirah & Yona
3. Tanya
4. Guzel Gozler Or Amber Eyes
5. Natanie
Side 2
1. Hue Wail
2. Njonja Mirah & Yona (Second version)
3. Impression Of Bhairava Raga
4. Prelude To The Iranian Mode Shur
5. Pentalogic
6. Sahar-E Meh-Alude Or Early Morning Mist

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Non
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Disco Roar

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The re-discovered third album by India’s best known psychedelic-rock ensemble, presented in its entirety. The companion piece our Atomic Forest anthology Obsession (NA 5087) Covers of Deodato, Stevie Wonder and “Spectrum,” the heaviest Indian psych-funk jam unearthed to date.Over the course of four years, culminating in 2011, we at Now-Again Records assembled the Atomic Forest anthology Obsession, which delved into and told the story of India’s 70s rock underground and this psychedelic ensemble’s story. At the time we issued Obsession, we were not aware of the third album that the Atomic Forest had recorded, issued under Kanga’s name as Disco Roar. When it came to our attention, we figured that we owed it to anyone entranced by this hard-to-believe, underground, Indian rock scene to issue this, the first album that the Atomic Forest recorded. “That Disco Roar album was the first time we were doing anything like that. It was the first thing we did. It progressed into the Hit Film Themes album. Then these guys came with more commercial potential songs (which became Obsession ’77).But originally it was just a band, the live performances that we did, that made us very popular, these simple songs,” guitarist Abraham Mammen recalls.Atomic Forest’s story stands in for the untold stories of many of India’s underground bands, bands remembered vividly by those who witnessed their performances, bands that often homemade, cassette recordings – that have been lost to time. Mammen, now a traveling preacher splitting his time between India and the United States, reflects on the unlikely reissue of the Atomic Forest’s recordings: “What’s left of the Atomic Forest? It’s just like smoke: smoke on the water.’ With the release of Disco Roar, that smoke keeps rising.

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NA 5188LP

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1
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35.00
Tracklist: 

Side 1
1. 2001 Space Odyssey
2. Life Is Anew
3. Proud Mary
4. Devil Woman
5. You Are On My Mind
6. Thank You Lord
7. Smack Water Jack
Side 2
1. Spectrum
2. I Wish
3. Rock 'N' Roll
4. Disco Queen
5. Nights In White Satin
6. Another Star

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Non
Forthcoming: 
Non
Origine: 
Original
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Earth Rot

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a propos: 
Earth Rot is visionary composer/arranger/producer David Axelrod’s third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it features choral vocals and marks a departure for Axelrod’s signature sound, which would take on a jazzier feel in the 1970s. This definitive version of Earth Rot, overseen by Now-Again’s Eothen Alapatt in conjunction with Axelrod’s estate is an audiophile reissue, with the vocal version lacquered directly from Axelrod’s original master tapes at Capitol Records by Ron McMaster. The master was approved by Axelrod’s son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father.Contains a 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview. “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” – T-RayCOMES PACKAGED IN A GATEFOLD JACKET WITH A 28-PAGE BOOKLET!

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NA 5186

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33.00
Tracklist: 

Side 1
1. The Warnings (part I)
2. The Warnings (part II)
3. The Warnings (part III)
4. The Warnings (part IV)
Side 2
1. The Signs (part I)
2. The Signs (part II)
3. The Signs (part III)

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Non
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Non
Origine: 
Re-Issue
Newsletter: 
Non
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Earth Rot Instrumental Version

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a propos: 
Earth Rot is visionary composer/arranger/producer David Axelrod’s third album, and the last of his Capitol trilogy. Recorded as a concept album about the decrepit state of the environment in 1970 Los Angeles, and scheduled for release on the first Earth Day, it marks a departure for Axelrod’s signature sound, which would take on a jazzier feel in the 1970s. The instrumental version of Earth Rot was first issued by Now-Again , overseen by the label’s Eothen Alapatt in conjunction with Axelrod’s estate as a limited double LP offering. The instrumentals are now available for the first time ever as a stand-alone LP. The master was approved by Axelrod’s son Michael, who adapted ancient lyrics for the album in one of three collaborative projects he did with his father.Contains a 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview.

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NA 5187LP

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33.00
Tracklist: 

Side 1
1. The Warnings (part I)
2. The Warnings (part II)
3. The Warnings (part III)
4. The Warnings (part IV)
Side 2
1. The Signs (part I)
2. The Signs (part II)
3. The Signs (part III)

Second_hand: 
Non
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Non
Origine: 
Re-Issue
Newsletter: 
Non
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Non Ex Orbis

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Kraut-jazz-rock produced by JJ Whitefield (Poets of Rhythm/Whitefield Brothers). The long-standing band’s third album. Featuring Marja Burchard (Embryo). It’s been over ten years since Karl Hector and the Malcouns’ Sahara Swing saw release on Now-Again in 2008. The album swung with influences from across the African diaspora and set the stage for a cult, but influential following. Hermes designer Christophe Lemaire picked tracks from Karl Hector and The Malcouns as amongst his favorites in the Now-Again catalog, and included them on his Where Are You From anthology. Festival promoters intrigued by the possibility of resurrecting the careers of once forgotten African mavericks – from Ghana’s Ebo Taylor to the progenitors of Zambia’s Zamrock scene – brought Hector and crew across Europe playing festivals for ecstatic fans. Producer JJ Whitefield even founded an Afro-Rock band, Johnny!, with Taylor’s son Henry. Unstraight Ahead, their sophomore release from 2014, found the band exploring territories even outside of the expansive scope of Sahara Swing: West African sounds of Ghana and Mali met the East African sounds of Mulatu Astatke’s Ethiopian jazz, tied together with the groove heavy experimentalism of The Malcouns’ 70s Krautrock godfathers: Can, of course, but also more obscure and equally adventurous groups like Agitation Free, Ibliss and Tomorrow’s Gift. “We look to Middle Eastern funk and psychedelic fusions, and to various ethnic records for sound and phrasing,” Whitefield stated at the time of Unstraight Ahead’s release. “We’re trying to combine the global experimentalism of Krautrock with the backbeat of funk.” Non Ex Orbis, the band’s third studio album, digs deeper into the Krautrock history embedded deep in the soil of their native Munch - three of the most influential bands of the 1970s experimental German rock scene spurng from there: Amon Düül, Popol Vuh and Embryo. Influenced by these musical heroes, Whitefield shapes a sound that takes the experimental approach of the classic Krautrock era and slides between beat-heavy drone and spacey, prog-rock suites. Marja Burchard, daughter of Embryo mastermind Christian Burchard, fronts the group on keyboard, vibraphone and other-worldly vocals. Al Markovic joins longstanding Malcoun Zdenko Curilija to round out the ensemble. Non Ex Orbis, read by Whitefield and the band as Out Of This World, symbolizes an innocent way of composing and improvising music, free from the influences of our contemporary environment, preserving a childlike way of hearing sounds in their unfiltered purity. “Some will classify this as a retro, but for the band it simply is a form of creating, Whitefield states. “We’re drawing from an established musical vocabulary which was popular at a time in Germany, when underground musical culture had its creative peak.“

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NA 5184LP

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30.00
Tracklist: 

Side 1
1. Non Ex Orbis
2. Crawling Through Your Mind
3. Hymnin5 (extended)
4. Stossgebet
Side 2
1. Asteroid
2. Inhale/Exhale
3. Mother Seletta
4. Dekagon

Second_hand: 
Non
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Non
Origine: 
Original
Newsletter: 
Non
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The Grodeck Whipperjenny

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Sho is Funky Down Here and The Grodeck Whipperjenny are a pair of albums that are the result of an unlikely but highly productive musical relationship between James Brown, a superstar at the creative and commercial peaks of his long career, and David Matthews, a then young arranger-musician whose limited professional experience had little or nothing to do with the funk and soul of his collaborator. The Grodeck Whipperjenny A psychedelic classic, created by his James Brown’s bandleader David Matthews, the first album issued on Brown’s famed People imprint. As progressive as it is funky, this album was issued in tandem with another Matthews project issued under Brown’s name – Sho Is Funky Down Here. One of the deepest albums in the Brown catalog, its story is finally told. Both albums were lacquered directly from the original master tapes at Capitol Studios. This is the first official reissue of both of these rare titles. Each album contains an extensive booklet with full annotation, liner notes by Brown historian Alan Leeds and never-before-published photos.

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NA 5182LP

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38.00
Tracklist: 

Side 1
1. Sitting Here On A Tongue
2. Wonder If
3. Why Can't I Go Back
4. Conclusions
5. You're Too Young
Side 2
1. Put Your Tongue On Me
2. Inside Or Outside
3. Evidence For The Existance Of The Unconscious

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Non
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Non
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Re-Issue
Newsletter: 
Non
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Country Fried Chicken

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Jazz, funk, disco and boogie from the unlikely city of Houston, Texas: the definitive issue, with bonus tracks, mastered from the original tapes.Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane. Country Fried Chicken, his fourth LP with his Lightmen band is his most accessible, a mixture of funk and spiritual jazz.Contains second disc with bonus tracks: alternate, synth-lead mixes of songs from his first two LPs as well as rare and unreleased disco and boogie tracks. Extensive booklet, download card for WAV files and footage of live performances included.

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NA 5158LP

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36.00
Tracklist: 

Side 1
1. Country Fried Chicken
2. All In Love Is Fair
3. Survival Song
Side 2
1. Herbs (Of Life)
2. Famous Last Words
3. Sweet Ray
Side 3
1. Country Fried Chicken
2. Luke 23:32 (Synth version)
3. Ujimma (Synth version)
4. Ashie (Synth version)
Side 4
1. Looking Back At Summer (feat John Henderson)
2. Boogie Down (part 1)
3. Boogie Down (part 2)
4. Let Me Play The Music

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Non
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Non
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Re-Issue
Newsletter: 
Non
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Songs Of Experience

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Audiophile reissue, lacquered directly from Axelrod’s original EQ’ed master tapes at Capitol Records by Ron McMaster, housed in a deluxe gatefold jacket “Songs of Experience was supposed to have a different feel than Song of Innocence. You see, music is a great outlet. And regardless of what the titles say, and as close as I wanted it to be to William Blake, what was going on in my life took precedence.” – David Axelrod Songs of Experience is visionary composer/arranger/producer David Axelrod’s second album, it was recorded after the death of his beloved son Scott. Experience is an ominous affair, an album concerned with mortality and spirituality – the solitary, pastoral musings of William Blake set to the urban bombast of a full Los Angeles orchestra, with Wrecking Crew vets grounding the proceedings with dark funk. This is the next Now-Again issue in a series of reissues centered around Axelrod’s Capitol Trilogy – Song of Innocence, Songs of Experience and Earth Rot – which will see release through 2018. Contains oversized, 28 page booklet that delves into Axelrod’s incredible life and music, replete with never before published photos and an interview with Axelrod by Eothen Alapatt and Wax Poetics’ Brian Digenti. “There are very few people who see the Grand Picture of the Universe and understand the Nothingness that it all comes from. There are even fewer who can express these ideas through music - David could do it all.” – T-Ray

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NA 5166LP

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38.00
Tracklist: 

Side 1
1. The Poison Tree
2. A Little Girl Lost
3. London
4. The Sick Rose
Side 2
1. The School Boy
2. The Human Abstract
3. The Fly
4. A Divine Image

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Non
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Non
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Re-Issue
Newsletter: 
Non
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Song Of Innocence

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David Axelrod delivered one of the great psychedelic albums with 1968’s Song of Innocence, based around the poetry of William Blake. It is considered by many his masterpiece.Song of Innocence is this weird hybrid that no one, not even Axelrod himself, could ever really describe. The listener is pulled in by his melodies, simplistic at first blush, but colored by odd chord progressions and turn arounds, grounded by the drummer Earl Palmer and Carol Kaye’s funk, torn between the juxtaposition of musical elements – a jazz vibraphone solo here, a fuzz guitar tear here, a nod to the baroque in Don Randi’s clavichord comps – and put at ease, always, by Axe’s arrangements, which utilize brass and strings in a way that no 1960s arranger did.It’s worth noting that there are really count-on-your-hand examples of anything that might even be compared to Song of Innocence. Perhaps Arthur Verocai’s self-titled and only artist album, issued on the Brasilian Continental label in 1972, or the collaborations between Serge Gainsbourg and Jean Claude Vannier, which found their epitome in 1971’s Histoire de Melody Nelson. But even these albums, superb, in any thinking music fan’s canon of the best from this era, perhaps in their lives - and perhaps in line with Song of Innocence - are one-offs. Axelrod’s Song of Innocence set in path a series of artist albums on Capitol and other labels and influenced the world countless times over, from The Verve to DJ Shadow to Madlib to J.Dilla.Remastered from the original tapes in a new transfer, with extensive liner notes and unpublished photos.

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NA 5165LP

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38.00
Tracklist: 

Side 1
1. Urizen
2. Holy Thursday
3. The Smile
4. A Dream
Side 2
1. Song Of Innocence
2. Merlin's Prophecy
3. The Mental Traveler

Second_hand: 
Non
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Non
Origine: 
Re-Issue
Newsletter: 
Non
Partager: 

Fancy Pants

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a propos: 
Revolutionary, spiritual jazz from the unlikely city of Houston, Texas, reissued for the first time.Drummer, bandleader and activist Bubbha Thomas had toured America with R&B revues, served as a session musician for Peacock and Back Beat Records, and played straight ahead jazz with legends before the political and social upheaval of the late 1960s led him to a path first charted by Coltrane.Fancy Pants is his second LP with his Lightmen band and, like the deep-set, maverick jazz issued by the likes of Tribe and Strata East, is amongst the best of the 1970s jazz underground, a collective voice of resistance to the musical and cultural status quo. Presented in both stereo and mono mixes. Extensive booklet, download card for WAV files and footage of live performances included.

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référence du label: 
NA 5156 LP

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35.00
Tracklist: 

Side 1
1. Sorrow Bitterness & Revolution (Now He’s Gone)
2. Fancy Pants
3. On The Road Home
Side 2
1. Blue Tip
2. Hope
3. Song Of Praise
4. Ujimma
5. Ashie

Second_hand: 
Non
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Non
Origine: 
Re-Issue
Newsletter: 
Non
Partager: 

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