Jazz

In 1977, it was love at first sight when Mireille and I bought a long 18th-century farmhouse in a remote hamlet in the Seine-et-Marne department called Noisement.The barn, with its majestic secular exposed beams, became an original recording studio where Alain Gandolfi settled behind the console. Free of any contractual obligations, between two advertising commissions, a regular jazz program on a Radio France FM station, and the recording of jingles and a few albums by neighboring musician friends such as Siegfried Kessler, Rosalie Dubois and Claude Giacomi, we recorded some twenty CORTEX tracks here, which would remain unreleased long after our separation in 1981.Fortunately rediscovered 25 years later, when I decided to re-form Cortex, the first edition of the “INEDITS 79” album had only a limited edition... Until its discovery and the use of a sample of my track “I Heard a Sigh” in Amnésie by Damso.This sample became legendary and was later used in the USA by Raekwon and Masta Killa from Wu Tang, Blockhead, Sopico, etc.The cover of this new edition by Trad Vibe Records is based on the original poster for Cortex's first concert, created in 1973 by my graphic designer friend Jean-Jacques Grand.Thank you all for your support, Alain Mion founder and leader of Cortex

- Limited Edition Black Vinyl- Limited to 200- Comes with Insert, 1 Black Record, Hudson Hifi inner sleeves

At daybreak, as sunlight travels through the atmosphere and begins to reach Earth’s surface, daylight gradually emerges. This marks the transition from night to the beginning of a brand-new day. As the temperature rises—especially after clear, calm nights—relative humidity decreases, and mist, formed of tiny suspended droplets, begins to evaporate. Warm air rises and cool air sinks, creating an interplay of temperature, humidity and sunlight that gives way to a soft, diffuse glow. The sea breeze slowly clears the morning mist, setting life in motion once again as the world wakes up.‘Daybreak’ is Sven Wunder’s fifth full-length album, seamlessly continuing the progression of his musical oeuvre. It takes the listener on a vivid maritime expedition, beginning the moment the first rays of light break the darkness of the night and embarking on a lush journey through the early hours of the day and far beyond, until the light slowly fades and night falls once again. True to Wunder’s now-distinctive artistry, ‘Daybreak’ is marked by elaborately crafted compositions and elegant pop-jazz arrangements for flute, percussion, brass and strings—supported by a decisive rhythm section, all of which add depth and build on his body of work, continuing to unfold his creative path.