The Standard and Numbered Editions both feature AAA 180g Vinyl, cut by Bernie Grundman and pressed at Gotta Groove. The numbered version is limited to 500 foil stamped copies.
Over the last few years, Jerome Sabbagh has been playing trio with bassist Joe Martin, and legendary drummer Al Foster. The trio’s performances have drawn an enthusiastic crowd, bridging generations and captivating audiences with their exceptional musicianship and collective spirit.
They recently recorded the upcoming album, Heart, an all analog album recorded by James Farber at Power Station that will the first Analog Tone Factory release. The album will be available on August 30, 2024.
Thirty years just flew by – thirty incredible years.
In 1993, the band started playing Monday nights at Visiones in Greenwich Village, a moment that publicly launched the Maria Schneider Orchestra.
In 1994, only one year later, our first album, Evanescence, would be released. That launched another beginning to a long and beautiful recording career that has brought the band eight albums, multiple Grammy Awards, oodles more awards and many beautiful collaborations.
While I deeply treasure our many accolades, what has always most motivated me is human connection: firstly, connections made with my musicians, who despite the countless solitary hours spent honing their individual artistry, always open themselves to be completely vulnerable to one another in every performance as they await the unexpected. That unexpected magic is largely found because of you. You are the deep motivator, and your presence has been key to us developing our music over the years.
An image was just recently brought to my attention by potter, Jack Troy. Many of you will recall that Jack’s work inspired “Stone Song” and his pottery is even “played” on the recording by Johnathan Blake. Anyway, Jack’s email described the effect of robins singing at sunrise in a long succession of song, traveling from the east coast to the west coast as the sun slowly rises along a moving horizon. It got me thinking about recording and how unique it is. When a recording resonates with listeners around the world, it has the potential to form a continuous stream of resonance, perhaps even vibrating continuously around the whole planet. It made me wonder if it’s possible that our recordings have at any time over the years rung continuously for a magically vibrating 24-hour orbit around our whole earth? It’s certainly a wonderful thing to imagine.
Those of us who thrive on vibrational sound, audiophiles and casual listeners alike, generally agree that no recorded sound magically vibrates like vinyl. If I were to wish for my music to make that 24-hour trip around the globe, I’d want those vibrations to start with a phonograph needle moving along the grooves of vinyl. Just one problem: none of my albums have ever been on vinyl.
So, in contemplating how to celebrate these past thirty years in the most special way I can imagine, I’ve decided to release three LPs, each representing some of my favorite music from each respective decade. I’ve been searching my heart for music especially meaningful to me; whether it’s a piece that I feel represents an experience of mine particularly well, or whether it’s a piece that simply makes me look back with satisfaction and say, “Damn, that’s good!”
My next thought was this: I want that these 3 LPs to be beautifully packaged. I knew who to call. Beauty is assured with the artistry of Cheri Dorr who designed The Thompson Fields and Data Lords.
The remastered LPs will come from the following recordings:
Decade I: Evanescence, Coming About and Allégresse
Decade II: Concert in the Garden and Sky Blue
Decade III: The Thompson Fields and Data Lords
For me personally, I’ve found there has been deep value in me looking back on these decades in a way that I’ve not done before. So, I’ll want to share a lot about those newfound perspectives through ArtistShare. And, I will of course include interviews with many of the masterful musicians that have played this music.
I couldn’t be more excited. I sincerely hope you’ll want to be a part of this project as we mark nearly a third of a century and forge ahead into the next unknown.
New record pressing! Albums don’t get much more intimate than the ones made by Stina Nordenstam. The Swedish singer layers her delicate voice over minimal, ambient soundscapes, and her lyrics are impressionistic, personal, and poetic. It’s like you’re swimming in her stream of consciousness, which is a pretty nice place to be, especially on this 2001 album, which presents Stina at her dreamiest and poppiest.
It’s record store day every day here at GGR, but for the official Record Store Day, we recommend you make an added trip to your local independent record store to celebrate! Here are some RSD titles pressed by GGR for RSD 2024:
The Dead Milkmen – Bucky Fellini (only the handmade variants and Wax Mage edition)
Not many of our record pressing customers have their own music festival, but our long-time San Pedro, CA based customer Nomad Eel Records is having a showcase of LA-based bands (all with records pressed by Gotta Groove) on Saturday April 13 at the Grand Annex Music Hall in San Pedro.
Music cut and pressed into this vinyl record is the culmination of 1000+ steps all skillfully crafted and produced to capture T.vic’s best original, heavy and dynamic soundscapes recorded to date. The mesmerizing artwork was created by Brittany Bindrim. Dave McNair Mastering produced the vinyl audio masters.
New record pressing! Bloomsday – The Heart of The Artichoke:
The way Bloomsday’s Iris James Garrison writes songs feels like somewhere between a mirror and a memory. Spacious, full-bodied folk songs, they are an ode to things that are good no matter how small; they sometimes feel like the ghost of a Mary Oliver poem. Bloomsday’s new record, ‘Heart of the Artichoke’, is a relic of unfettered creativity and community. They recount the miracles of the mundane, the memories that become sacred, an ode to all that is holy: nightswimming, songs plucked from the ether, the ways friendship can endure.
New record pressing! Fela Kuti – Zombie (reissue/repress).
The fury stirred up among the Nigerian police and military by Fela’s confrontational Alagbon Close (1974) and Kalakuta Show (1976), and the beatings and harassments Fela and Africa 70 suffered as a consequence, were as nothing compared to the reprisals following 1976’s Zombie. Within months of its release, a brutal army attack left Fela’s Kalakuta Republic compound burnt to the ground and many of its residents, including Fela, assaulted and seriously injured.