Concord Vinyl & CDs

Review: Matt Berninger, voice and wordsmith behind The National, returns with his sophomore solo effort Get Sunk: for his sharp enough to cut adamantium and melodies that linger like motion ghosts, Berninger digs deep into the questions of identity: who we once were, what happiness really means, and the search that never ends. The album doesn't spell out autobiography but channels a narrator exploring selfhood amid possibilities and pitfalls, balancing on the edge of joy and despair. Collaborating with Hand Habits on 'Breaking Into Acting', and from the reefing 'Inland Ocean' to the reflective 'Times of Difficulty,' Get Sunk is a true personal snorkel dive, tracing both bound ties and yet unwondered roads.

Review: This is The National's Matt Berninger's second solo album and treads a sonically similar path to the Cincinnati band, with some forlorn lyrics and gloomy delivery. Berninger is clearly a fan of plumbing the depths of his heart and fortunately has the talent to be considered one of the top merchants of emotion around these days. Of the tracks here, 'Breaking Into Acting' is a beautiful slice of stately Americana and his vocals interlock beautifully with Meg Duffy, aka Hand Habits. For something more energetic try 'Bonnet Of Pins' as it's a pulsating chamber pop cut with thumping rhythms and a tear-jerking yet rabble rousing atmosphere. Live, this one will ultimately go down a treat.

Review: A striking departure from the classic piano-bass-drums format, this 1962 session brings together a rare quintet configuration, weaving trumpet and guitar into the fabric of post-bop elegance all based around New Jersey-born pianist Evans. The interplay is both literal and musical between the musicians. With trumpet lines that alternate between burnished lyricism and bursts of fire and guitar passages that glide with subtle precision, the ensemble creates a sound that is both spacious and tightly knit. The repertoire leans into standards, yet each tune is rendered with a fresh rhythmic spark and harmonic sophistication. 'I'll Never Smile Again' shimmers with wistful melancholy, while 'When You Wish Upon a Star' is recast with a gentle yet cerebral charm. Fans of more intimate trio settings might initially find the added instrumentation unfamiliar, but there's an undeniable allure in the expanded sonic palette. The drummer drives the group with crisp energy while the bassist anchors with subtle authority and the collective chemistry elevates the session beyond typical quintet fare. This is a bold, beautiful detour in the legacy of modern jazz and one that rewards the listener. A reissue worth revisiting, or discovering anew.

Review: The New Jersey-born pianist returns to the studio here for the first time since the sudden loss of bassist Scott LaFaro, whose death in 1961 marked a devastating rupture for one of jazz's most intuitive trios. Now joined by Chuck Israels on bass, Evans leads with a newfound clarityiless conversational, more contemplative. Recorded in 1962, this was the group's first step into a quieter but no less daring phase. 'Re: Person I Knew' (an anagram of producer Orrin Keepnews) sets the tone: ghostly, elliptical, and harmonically dense. 'I Fall in Love Too Easily' and 'Polka Dots and Moonbeams' drift by in breathy half-light, while 'Very Early', a waltz penned by Evans, closes the set with delicate finality. In the absence of LaFaro's dancing counterlines, Evans doesn't fill the space, but lets it speak. The result is a study in restraint: American post-bop pared down to its emotional core. Not a debut, nor a reinvention, this is a quiet reckoning and a beautifully unresolved response to loss.

Review: The Blackbyrds, Washington Direct-Current pioneers of jazz-funk from the early 70s, overloaded the jazz circuit with City Life, a hair-frying album renowned for its flowing, fulminous rhythms. Core tracks 'Happy Music' and 'Rock Creek Park' set the stage for a long sampling legacy: the latter was famously sampled by both De La Soul and Nas, on 'Bitties In The BK Lounge' and 'Fried Chicken' respectively. This reissue, cut from the original tapes (AAA) by Kevin Gray and pressed on 180-gram vinyl at RTI, reupholsters the Blackbyrds' debut worm-catching funk pecks for the world's ears to witness once more.

Review: ***B-STOCK: Creasing to corner of outer sleeve but otherwise in excellent condition***


This early gem - in fact, it was the maestro's first ever 12" record - shows a masterful command of space and melody, spotlighting a warm, muted trumpet tone alongside a pared-down ensemble. Without a saxophone, the spotlight remains squarely on the lead, providing ample room for expansive solos and lyrical interpretations. Anchored by a stellar rhythm section featuring a buoyant bassist, impeccable pianist and dynamic drummer, the performances exude a relaxed yet precise energy. Highlights include a fresh, distinctive take on the Dizzy Gillespie classic 'A Night in Tunisia', where the group reimagines the piece with effortless ingenuity. Original compositions add further depth, with a witty riposte to a well-known standard and a contemplative piece that lingers in the listener's mind. A transitional moment for one of the all time greats, hinting at the greatness to come all the way back in 1955.

Review: Wedged between the high points of Brilliant Corners and Monk's Music, Thelonious Monk's fourth Riverside outing marks a quieter yet pivotal chapter in his discog. Recorded in 1957, a transformative year for Monk, it hears the pianist almost entirely alone at the keyboard, chancing a rare but studious view into his inner compositional world. This session packs a deeply felt solo reading of ''Round Midnight', one of his most enduring pieces, not to mention the cloistered but still group-recorded cut 'Monk's Mood'; the latter track holds special historic significance, as it marks the first recorded appearance of John Coltrane with Monk, alongside unbeaten bassist Wilbur Ware. Though less boisterous than its neighbouring releases, this session reveals Monk in the away-with midsts of a rare creative "zone": distilled, raw, and searching.

Review: A powerhouse combination , Taj Mahal and Ken Mo join forces once again as TajMo and show why fans consider them two of the finest American musicians of their respective generations. Their first collaboration since 2017's TajMo, which won them a Best Contemporary Blues gong at the Grammy Awards, this is journeyman, soul, rock & roll, country and - of course - blues, at its most modern and finest. That said, Room On the Porch is resolutely rooted in the origins of the canons. At times, like the sax-heavy 'Blues'll Give You Back Your Soul', you can almost feel the balmy heat of a night in a Deep South bar and taste the sour mash. 'Rough Time Blues' even comes with the crackle and raw sonic aesthetic of an original early recorded music tome, adding to the sense of authenticity.