Make a trip to Paris and try to find a live concert of the Belleville Birds.  Very romantic!

Eastern and Western musical trends fraternally united.  That is what the world needs: innovation!

FreeWorld has long been a familiar face on and around Beale Street in Memphis. For almost four decades, they have been on stage and accompanied countless artists who visit the musical capital. The release ‘More Love’ is a true tribute to founding band member, jazz and blues saxophonist Dr. Herman Green, who performed with iconic names and historical associations from Rufus Thomas to B.B. King, Lionel Hampton and John Coltrane. Green had been a local fixture in jazz/improvisation groups for years, he passed away in 2020 at the age of ninety. The sound of FreeWorld goes from soul to funk, jazz, blues, reggae and gospel tunes. It is therefore an evolving formation, a multicultural groove of soulmates. “More Love” is FreeWorld's eighth album, it is a creative highlight in musical breadth and originality.

Jazzy experimentation and traditional Indian percussion leads you to an unknown universe.

Smoothly and energetic with colourful variations in melodic and free style compositions.  This is jazz that will convince even the most toughest critic.

Recently you could get acquainted with the first volume about Lafayette Thomas in KokoMojo Records' new series 'Right Hand Man'. A series that puts the musicians in the spotlight who undeniably contributed to the successes of many artists, but who unfortunately did not receive the necessary attention in the history of American roots music. By the way, the second volume about Lafayette Thomas, which highlights the period 1955 - 1962, will be released before the end of the year. But now it is Chuck Norris' turn first. By the way, there will also be 2 volumes about him. The first volume, which deals with the period 1946 - 1955, is available now.
Chuck Norris was born on August 11, 1921 in Kansas City, Missouri and grew up in Chicago. There he studied at DuSable High School with the legendary music teacher Captain Walter Dyett. He became skilled in reading music and always finding connections with the new musical trends and movements. Chuck was therefore very popular and constantly working, resulting in a career that spanned no less than four decades. In the mid-forties, Chuck moved to Los Angeles. Through his performances in local clubs, he came into the sights of independent labels and producers. In that capacity, he came into contact with saxophonist, songwriter and producer Maxwell Davis. Davis had connections at labels such as Aladdin, Modern and Specialty and Norris was able to work there as a session musician. In the late forties and early fifties, the West Coast was ‘the hottest place’ for rhythm & blues. They mixed Texas blues with the big band music of the Midwest, which did not escape Chuck’s notice.
As a solo artist, Chuck released only 16 tracks. The intention of the labels was not so much to build a solo career with him, but rather to use them as filler in their catalogues. They were therefore only pressed in small quantities and could not count on good distribution and are therefore practically impossible to find. Chuck Norris may not ring a bell right away, but be assured that you have heard him as a guitarist or bassist on recordings by Charles Brown, Dinah Washington, Percy Mayfield, Jesse Belvin, Bobby Day, The Robins, The Platters and The Rivingtons. His list of achievements also includes a session for an X-rated film and the soundtrack for the film ‘The Great White Hope’. In addition, Chuck played the banjo behind Louis Armstrong and Barbara Streisand on ‘Hello Dolly’.
With the exception of an interview on the back of the Swedish LP ‘Los Angeles Flash’, not much is known about Chuck’s career. There is also no official collection of his work. As far as Chuck’s earliest recordings are known, they tend more towards jazz. Later he would evolve towards the refined blues of Floyd Dixon and Charles Brown. When the latter left The Three Blazers in 1948, he formed his own trio The Smarties. In addition to Eddie Williams on bass, Norris was part of this trio on guitar. Like his good friend T-Bone Walker, Norris was mainly influenced by Charlie Christian. In order to keep working and earn a living, Norris often had to distance himself from jazz. Jules Bihari of Modern Records often hired Norris as a session musician behind Floyd Dixon, Jimmy Witherspoon and Little Willie Littlefield. As a result, Chuck soon only played blues. Chuck made his first solo recording in 1947 as the Charles Norris Trio with ‘No Better For Me / Money’s Getting Cheaper’. Songs that you will also hear on this compilation and that show that Chuck is also very strong vocally. And pay special attention to his sublime guitar part. Other songs that he recorded under his own name and that you will also find on this album are ‘Hey Everybody’ and ‘Kinda Sick, Mostly Worried’. These were recorded on December 28, 1950 with trumpeter Tom Reeves, alto saxophonist Early Brow, tenor saxophonist Maxwell Davis, baritone saxophonist Jim Wynn, Jesse Belvin on piano and Warren Owens and Peppy Prince, respectively on bass and drums.
The album starts with the 1946 recording by Estelle Edson, together with Oscar Pettford All Stars, ‘Don’t Drive This Jive Away’, which immediately shows Chuck’s love for jazz. A beautiful example of Norris on guitar, you get right on the second track, the instrumental ‘Shuffle Boogie’ by Will Rowland and his orchestra. Incidentally, he also repeats this on the following instrumental songs: ‘Pete Kay Boogie’ by Pete Johnson, the Norris original ‘Shuffle Boogie’ by the Floyd Dixon’s Trio, ‘Early Times’ by Red Callendar Sextette and the sublime ‘Blue Strings’ by Buddy Collette. It continues to be a pleasure, also on the smooth bluesy sounding 'Let's Have A Ball' by Charles Brown, where Chuck knows how to capture the perfect atmosphere for the song on the six strings and switches sounds effortlessly. Versatility and flexibility are qualities that Norris had. How he adapts to the artist without any problems, he shows excellently on 'Who's Been Jivin' You' by Jimmy Witherspoon. Norris is brilliantly bluesy and creative on 'You Had A Good Man' by Roy Hawkins. You hear Chuck swinging on 'Hey Lawdy, Miss Claudie' and 'Looped' by Calvin Boze & His All Stars. Chuck's adaptations to every musical style, is also evident on 'The Hatched Man' by the doo-wop group The Robins. Other artists who could count on Chuck's endless talent can be heard here on tracks by Jesse Belvin, boogie-woogie pianist Little Willie Littlefield, Ike Lloyd and his orchestra and Dinah Washington
The second volume about Chuck Norris will feature even more solo recordings by him, as well as formidable numbers that he recorded between 1946 and 1962 with Pearl Traylor, Percy Mayfield, Johnny Guitar Watson, Linda Hopkins and Larry Williams. Keep an eye on this site!

Enchanting songs with creative arrangements.  A jazz duo made for each other.  

The search for unity is at the heart of Otto Kintet's music. Band leader Otto Kint's compositions form the basis for a distinctive sound with a focus on improvisation, layering, unusual time signatures and intriguing chord progressions. The diverse musical backgrounds of the group members resonate in the music that identifies as jazz with influences from pop, rock and classical music

Very rare album with a mix of Brazilian choro and French Chanson.  Worth listening!

This Czech singer will be absolutely not alone on her concerts.  She is very inventive in her compositions and fascinates from start to finish.

Wellknown for her beautiful children books, Syna Awel composes songs like a real French ‘chansonnière’ with a jazzy and traditional touch.

Rhythmic and melodic compositions with a blend of cultures. Not jazz, not folk, not classic but very enjoyable world music!

Brazilian jazz with a sousaphone as bass and the flute as a magical instrument. Great!

Raphaël Gimenes is a really talented guitar player and a sensual singer/composer who loves his new homeland and doesn’t deny his roots. Go with the flow!

"Tiny Big Band 2" from acclaimed bassist and arranger Nikos Chatzitsakos presents the listener with a delightful array of tunes, with repertoire ranging from Cole Porter to Michel Legrand - Antonio Carlos Jobim to Donald Byrd. Tastefully arranged for 6 horns and vocals, this band packs a punch, channeling an affinity for traditional jazz with a contemporary outlook.

Great classical jazz interpretation from Frank Zappa’s work into clarinet and guitar, without losing the typical vibes of FZ or the Mothers.

I’ve been listening again and again. It was like an angel that came down to earth to give a good feeling. Different music genres with a relaxing atmosphere. Recommended!

“No ending, no beginning: only passion for life.” said the late Fellini.  Tornado became an album full of contrast and emotion.  Recommended.

French jazzy chanson with influences from Sade and some Tracy Chapman.  Jazzy worldmusic that feels nice.

The release 'Unheimlich' is released on the high-quality label W.E.R.F. Records. The music and sound of ODIL has a narrative character and the form of the compositions is unusual. 'Unheimlich' is a jazz album that is just as easy to listen as a pop rock album. Equally surprising and beautiful! 

​‘Fever’, first recorded in 1956 by Little Willie John, was covered by Peggy Lee 2 years later and immediately brought her international fame. The song is also featured twice on this compilation. A first time you get the recording from 1958 and a second version is a rare live recording from 1961 made during a concert in New York City. Peggy Lee was one of the greatest voices of her period. Her versatility is formidable on this compilation released by Bear Family in the series 'The Velvet Lounge'. The recordings were made in the period 1948 - 1962 and show Lee in genres such as swinging rhythm & blues, rock 'n' roll, light jazz and pop in both uptempo and ballad forms. Peggy Lee was also accompanied by highly professional orchestras, such as those of Dave Barbour, Gordon Jenkins, Nelson Riddle, Jack Marshall, Ralph Carmichael, Joe Hamell, Quincy Jones and Louis Prima. The 30 carefully selected songs are an anthology from the American Songbook. Songs like 'Alright, Okay, You Win', 'Lover', 'Heart (Corazon)', 'Jump For Joy' and 'Kansas City' speak for themselves. By the way, Lee knows how to leave her mark on all tracks. Even the often covered '(Ghost) Riders In The Sky (A Cowboy Legend)' is given extra shine by Peggy. Handsome is definitely an early version of 'Everybody Loves Somebody'. Peggy Lee already recorded it in 1948. Later in 1964, the song would give Dean a mega hit. The songs by Ray Charles that Peggy Lee covered also bear witness to a rare beauty. That applies to 'Hallelujah, I Love Him So' and certainly to the live performed 'I Got A Man (I Got A Woman)'. She presents a nice example of a compelling ballad with 'Uninvited Dream'. Cliff Richard recorded the ballad ‘I'm Lookin' Out The Window’ in 1962. The original version belongs to Peggy Lee, who recorded it for Capitol in 1959. Along with the aforementioned live versions of 'Fever' and 'I Got A Man (I Got A Woman)', the album closes with 'Yes, Indeed'.
Peggy Lee passed away on January 21, 2002 at the age of 81. The 38-page booklet contains Peggy Lee's biography as well as all the info about the tracks.
This compilation puts the impressive versatility of the legendary Peggy Lee in the spotlights in a fantastic way on the basis of 30 tracks. Recommended!

Strange but intriguing songs in the collaboration of the Japanese singer Ueda and the French Avantgarde band Poil.  Groundbreaking!

​After 'All Arms On Deck!' and 'Luna Umi!' is 'DbREAM' the third single from 'Etudes For Piano'. Short fragments fluctuate with fascinating and longer pieces, jazz and classical mix in a virtuoso way.

​The musical trio Kameel is back with the long-awaited album 'Trugschluss'. And what a kind! Patrick Steenaerts (guitar), Hans Mullens (bass) and Geert Roelofs (drums) again provide an obscene and lewd solid game of musical potpourri. Ten compositions, a melting pot that cuts deep into your musical bones. A labyrinth of styles and atmospheres, the trademark of this trio.

​Debut from the Greece jazz quartet written by Thomas Mitrousis. ‘The Seed’ has planted and will definitely be appreciated in the contemporary jazz scene.