Jazz | Fusion Vinyl 711 Items

LP | 1975 | UK | Reissue (Be With)

Release: 1972 / JP – Reissue

Genre: Organic Grooves

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Ordinarily, private press albums by groups of unknown musicians don’t make their way back into circulation - they are lost due to their inaccessibility for public consumption and routine home clearouts. Little is known about Four-Um, the group who released the covers album Just Us in 1972, other than their association with Buffalo, New York and their own short-lived label Libra 7 Records. Just Us, however, has clung onto record collector shelves owing to the creativity of its jazz and soul-packed interpretations of classic tracks, and its strong cult-following.

Be prepared to be surprised by the shape of these reimagined classics. Aretha Franklin’s 'Day Dreaming' with its lush vocal arrangements echoes through halls of reverb, and sounds spritely psychedelic. Simon & Garfunkel’s 'Scarborough Fair' is stretched over seven minutes with warm break-out organ solos. Other highlights include covers of The Spiral Staircase's 'More Today Than Yesterday' and Burt Bacharach’s 'What The World Needs Now'. P-vine is delighted to reissue Just Us on limited edition vinyl for the first time ever with an obi strip attached.

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Francis Coppieters

Piano Viberations

Et Synchro Rhytmic Eclectic Language

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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Piano Viberations’ “small group jazz featuring piano and vibes with rhythm” makes for a gorgeous Francis Coppieters showcase, surely one of Belgium’s best-kept musical secrets. Released in 1975, and arguably the most low-key of the KPM and Themes records we’re re-issuing, this is easily our current favourite.

“The Open Highway” is the appropriately-named opener, and immediately demonstrates Coppieters’ dexterous interplay between piano and vibes in assured, joyous fashion. The shuffling bossa of “Sales Notes” is a jaw-dropper, well-mined by samplers with impeccable taste. The mellow head-nod drum-break that is “Funky Chimes” brilliantly demonstrates Coppieters’ quiet majestic side with its slow-motion funk rhythm with beautifully reflective notes throughout.

The upbeat and joyful “Cross Talk” closes out side A. Vibes and piano are definitely at the heart of the arrangement here. The quick cut movement of “Piano In Transit” is another gem, driven principally by piano but those vibes along for more than just the ride. On a more gentle, elegiac note, “To Shearing With Love” is a warm, slow, romantic piece in the style of George Shearing. It’s plaintive and sublime.

Piano Viberations is one of those rare library records the original description of which makes as much sense now as it did when it was first released. Piano and vibes with rhythm indeed.

As with all ten re-issues, the audio for Piano Viberations comes from the original analogue tapes and has been remastered for vinyl by Be With regular Simon Francis. We’ve taken the same care with the sleeves, handing the reproduction duties over to Richard Robinson, the current custodian of KPM’s brand identity.

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Franck Valmont

LP | 1976 | EU | Reissue (Sommor)

21,99 €*

Metti Una Sera Cerri White Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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First ever vinyl reissue of this fabulous French / West Indies afro-jazz-funk-caribbean-fusion album from 1976, originally released on the Moshé-Naïm label by poet-singer-painter FRANCK VALMONT, accompanied by multicultural progressive jazz-rock band SYNCHRO.

Featuring JO MAKA (Intercommunal Free Dance Music Orchestra) on sax, LOUIS XAVIER on bass & fuzz-bass, GEORGES NOUEL on electric piano and organ, GERARD CURBILLON from Magma related prog-fusion band SPEED LIMIT on electric guitar, YVES DOLPHIN on drums…

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Franco Cerri

LP | 1973 | EU | Reissue (SAAR)

LP | 1973 | EU | Reissue (Cinedelic)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Franco Cerri is considered by many the best Italian guitarist and one of the best guitarists and 'music stylists' that European jazz has ever produced. He began his long and prolific career in 1945 with Gorni Kramer and in 1949 he accompanied Django Reinhardt. In the '50s he collaborated with great jazz masters. Working with musicians from Chet Baker to Gerry Mulligan, and from Billie Holiday to Lee Konitz, and in modern jazz quartet or quintet, with musicians such as Tullio De Piscopo, Pino Presti, Gianluigi Trovesi, Flavio Ambrosetti and Jean-Luc Ponty, made Franco Cerri a leader in the Italian and European jazz world.

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Franco Chiari

Al Sint

Une Bien Curieuse Planète

Release: 1973 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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Franco Chiari, born in 1927 in Naples, was an eclectic artist who is considered a bit of a wildcard of keyboard instruments: he played the piano, accordion, synthesizer, vibraphone and marimba in both jazz and symphony. For three consecutive years (1957/58/59) he won the National Jazz referendum, was vibraphonist in the national TV Orchestra and participated in numerous important broadcasts. He received many awards in his career, and numerous are the artists who have wanted to play live alongside him, including Lionel Hampton, Stéphane Grappelli, Django Reinhardt, Piero Piccioni, Armando Trovajoli, Lelio Luttazzi, and more.

In this album released in 1973, the most groovy in his career, and now the most wanted from collectors, he rearranges the compositions of Mario Bertolazzi electronically with the use of synthesizer on rhythms ranging from latin beats to funk.

Numbered limited edition with digital downloads included and an amazing cover with splashes of paint, making each copy unique and unrepeatable.

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François Jeanneau

LP | 1975 | EU | Reissue (Souffle Continu)

LP | 1970 | EU | Reissue (Souffle Continu)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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Paris, 1965. Pianist François Tusqueslaid the foundation stone of French-style free jazz with his first, soberly titled, album “Free Jazz”. Also in the team were several future key names of the French scene, (Michel Portal, Bernard Vitet, Beb Guérin, Charles SaudraisandFrançoisJeanneau) all of whom honed their skills at the beginning of the decade in JefGilson’s groups, althoughhe was none too fond of the turbulent new face of jazz at the time.Ten years later, Jef Gilsonhad obviously changed his tune, as the label Palmthat he had created in 1973 was now the launch pad for what would become the cream of French and international avant-garde jazz. This would notably be the case for François Jeanneauand “Une Bien Curieuse Planète”. His first album as leader (after brieflyerring into pop with Triangle) was recorded in 1975, a few months after “Watch Devil Go” by his old friend Jacques Thollot, and with more or less the same casting: Jeanneau on sax of course, Jenny-Clarkon bass and percussions, Lubatreplacing Tholloton drums and Michel Grailler(plucked out of Magma) was called in as a reinforcement for his completely ‘out of space*’ synthetiser sounds. Thus began a strange trip to a very strange planet, at the border of experimental jazz and swinging avant-garde.From 1960 to nowadays, from Georges Arvanitasto Laetitia Shériff, from Manu Dibangoto “Mama” Béa Tékielski, everyone has wanted to play with François Jeanneauat some point. There is a good reason for this. The saxophonist is a formidable improviser, but alsoa solid composer, as he demonstrates on this record with, for example, the monumental “Droit d’Asile”, the spooky “Theme For An Unknown Island” or the Coltranesque “Mr J.C. For Ever”. Over half a century later, the planet seems far more familiar to us. And François Jeanneau is always on the front line for a guided tour. Jérôme « Kalcha » Simonneau.

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Francois Tusques

Piano Dazibao

LP | 1971 | EU | Reissue (Souffle Continu)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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In Paris in 1965, F. Tusques mixed with Michel Portal, François Jeanneau, Jean-François Jenny-Clark, Aldo Romano or Jacques Thollot. He also met Don Cherry and above all recorded, with other like-minded Frenchmen (Portal and Jeanneau alongside Bernard Vitet, Beb Guérin and Charles Saudrais), the first album of free jazz in France. Years later his thirst for freedom led him to isolation; between May and September 1970, the pianist recorded, at his home, the first of two albums that he would release on Futura Records: »Piano Dazibao« and »Dazibao N°2«.

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Francois Tusques

Piano Dazibao N°2

LP | 1985 | EU | Reissue (Soul Note)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Between May and September 1970, pianist François Tusques recorded »Piano Dazibao«, an album on which he multiplied joyful escapades as a critical iconoclast. The following year Tusques recorded »Dazibao N°2«, which shows him as an incisive commentator of his times. Following in the footsteps of Don Cherry, who he had met a few years earlier in Paris, Tusques made a plea for “friendship between all the peoples of the world” to the sound of Universalist hymns which transported us from Africa to Asia. But it is really a song to America, evoking the assassination of the activist George Jackson and the mutiny in Attica prison, before covering “Seize the Time” by Elaine Brown – three years after the release of Dazibao N°2, she became the first (and only) woman to lead the Black Panther Party.

The turmoil of Piano Dazibao, was opposed, on Dazibao N°2, by long, labyrinthine tracks with alternating discords and repetitions. Often using prepared piano, Tusques was more percussive (even heady) than ever, exposing a melody with solid hammer strikes or painting an image which radiated peace in spite of the storms. Piano Dazibao and Dazibao N°2 thus form the two sides of one coin, which displays the effigy of François Tusques, an international national monument.

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Frank Lowe

Decision In Paradise

LP | 1982 | EU | Reissue (Soul Note)

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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This is tenor saxophonist Frank Lowe, a major voice in the 70's New York loft scene, at the head of a stellar line-up featuring: Don Cherry - trumpet, Grachan Moncur III - trombone, Geri Allen - piano, Charnett Moffett - bass and Charles Moffett - drums. An outstanding cast of creative jazz luminaries for a hard swinging, blues driven studio session dated 1984.

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Frank Lowe Quintet

Exotic Heartbreak

Watertown 50th Anniversary Deluxe Edition Incl. Original Poster

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Memphis-born saxophonist Frank Lowe with his muscular tenor sax voice shines along with Butch Morris' cornet and Amina Claudine Myers' piano on top of Wilber Morris (bass) and Tim Pleasant (drums) angular rhythms. "This 1981 date is recognized as one of Mr. Lowe's finest albums. "Lowe's turn-of-the-decade band traded on raw finesse. There is nothing here... which swaps subtlety for power. And both should help dispel any notion of Lowe as an unsubtle roarer" Penguin Guide TO Jazz "Frank Lowe has developed a thoughtfully muscular approach to the tenor saxophone that's exceptionally resourceful and personal, and his bandmates... are similarly animated by both an exploratory bent and a love for the hard-bop tradition". Robert Palmer (nyt)

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Frank Sinatra

LP | 1972 | EU | Reissue (Capitol)

52,99 €*

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Fred Frith & Totsuzen Danball

LP | 1982 | JP | Reissue (P-Vine)

A Blow For Me, A Toot For You

Release: 1982 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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The combined powers of Fred Firth (ex. Henry Cow) and Totsuzen Danball! Originally released on cassette in 1982, the collaborative album is getting its first release on vinyl!

The first album from Totsuzen Danball, Can I? (1981) made waves with its experimental new wave sound, and the band suddenly found themselves with more overseas fans than they knew what to do with. Chief among them was Fred Frith, guitarist and co-founder of British art-rock group Henry Cow, who played with Totsuzen Danball during what was no doubt a legendary live show at Shinjuku Loft on July 23rd 1981. The recording from that night, originally released on cassette from Totsuzen Danball’s own label Floor - is finally getting an analog release! Listen as the sounds, and occasional noises, of two guitars, a pump organ, and drums intermingle to create something that’s never been heard before or since!

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Fred Wesley

LP | 1977 | EU | Reissue (Speakers Corner)

Freddie Hubbard & Art Blakey

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Thanks to their first-class training in funk and soul while playing in James Brown’s Band, Fred Wesley and Maceo Parker were the obvious choice when it came to participating in George Clinton’s P-Funk empire – the Godfather of Soul had had an enormous influence on Clinton anyway. In 1977, Clinton and Bootsy Collins produced "A Blow For Me, A Toot For You", the début album by Fred Wesley & the Horny Horns – an ensemble with Wesley on the trombone, Parker on the tenor and alto saxophone, as well as Rick Gardner and Richard 'Kush' Griffith on the trumpet. The majority of the numbers are by Clinton and Collins, so it is not really surprising that much of the LP is pure P-Funk. The album begins rather gloomily with a remake of Parliament’s "Up For The Down Stroke", and the influence of Parliament is also unmistakable in the other numbers. With regard to the instrumental numbers, "Four Play" fuses funk and jazz, while Wesley’s atmospheric "Peace Fugue" reflects the CTI sound of the 1970s. Actually "Peace Fugue" is the work which least sounds like Clinton on this LP. "A Blow For Me, A Toot For You" scarcely ranks behind Parliament’s "Mothership Connection" or Funkadelic’s "One Nation Under A Groove" and is certainly more than just a recommendable LP, which every funk lover should get to know.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. More information under www.pure-analogue.com. All royalties and mechanical rights have been paid.

Recording: 1977 at United Sound Systems, Detroit, by Jim Vitti and Hollywood Sound Recorders, Los Angeles, by Jim Callon Production: George Clinton and Bootsy Collins

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Feel The Wind Black Vinyl Edition

LP | 1989 | US | Reissue (Tidal Waves Music)

Freddie Hubbard & Art Blakey

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Im pulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

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Feel The Wind Clear Vinyl Edition

LP | 1989 | US | Reissue (Tidal Waves Music)

Freddie Hubbard & Stanley Turrentien

Release: 1989 / US – Reissue

Genre: Organic Grooves

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Welcome to ‘Feel The Wind’…maybe one of the greatest team-ups in Jazz history featuring jazz superstars Art Blakey and Freddie Hubbard! Art Blakey (1919–1990) needs little introduction, the American Jazz drummer and bandleader made a name for himself in the 1940s & 1950s playing with contemporaries such as Miles Davis, Dizzy Gillespie and Charlie Parker. He is often considered to have been Thelonious Monk's most empathetic drummer (he played on both Monk’s first recording session in 1947 and his final one in 1971). In the decades that followed Blakey recorded for all THE labels that mattered in the field of jazz (Columbia, Blue Note, Atlantic, RCA, Imp ulse!, Riverside, Prestige, Verve, etc.). His collaborations were numerous and include working with equally legendary artists such as Sonny Rollins, Max Roach, Chet Baker, John Coltrane….and countless others. Art Blakey was a major figure and a pioneer for modern jazz, he assumed an aggressive swing drumming style early on in his career and is known as one of the inventors of the modern bebop style of drumming. Blakey was sampled and remixed by major acts such as The Black Eyed Peas, Digable Planets, Buscemi, KRS-One and Madlib. The legacy of Art Blakey is not only the music he produced, but also the opportunities they provided for several future generations of jazz musicians. Freddie Hubbard (1938-2008) also needs little introduction, he was one of the most renowned American jazz trumpeters who played bebop, hard bop and post-bop from the early 1960s onwards. His unmistakable and influential tone contributed to new perspectives for modern jazz and bebop. At the age of 20, in New York, he began playing and recording with some of the best jazz players of the era, including Don Cherry, Quincy Jones, Ornette Coleman, John Coltrane, Wayne Shorter, Oliver Nelson and Herbie Hancock. Freddie Hubbard recorded for labels such as Blue Note and Atlantic and he became a prominent member of Art Blakey’s Jazz Messengers. Hubbard achieved his greatest popular success in the 1970s with a series of landmark albums. Hubbard's trumpet playing was featured on the track 'Zanzibar' from the 1978 Billy Joel album 52nd street (the 1979 Grammy Award Winner for Best Album) and in 1988, Hubbard played with Elton John contributing trumpet and flugelhorn solos. In 2006, the National Endowment for the Arts accorded Hubbard its highest honor in jazz, the NEA Jazz Masters Award. Freddie Hubbard was sampled and remixed by renowned artists such as Raekwon, A Tribe Called Quest, Beastie Boys, Jungle Brothers and Kamasi Washington. On the album that we are presenting you today (Feel The Wind from 1989) , you’ll find six sublime tracks recorded in 1988 by renowned engineer Max Bolleman at the Studio 44 Monster in Holland. These recordings were originally released on the legendary Dutch jazz label Timeless Records (and produced by its owner Wim Wigt). Supporting Hubbard and Blakey is an all-star line-up of musicians from the likes of Leon Dorsey (Lionel Hampton), Lonnie Plaxico (Dizzy Gillespie, Ravi Coltrane), Benny Green (Joe Henderson, Houston Person, Milt Jackson), Mulgrew Miller (Frank Morgan, Donald Byrd) and Javon Jackson (Cedar Walton, Curtis Fuller, John Hicks). The combination of this being one of Art Blakey's final recordings near the end of his life and a glorious rejuvenating return by Freddie Hubbard gives us all the ingredients for a unique album that sounds as innovating today as back in the day when it was released. Expect supercharged hard bop with striking notes, no-holds-barred musicianship, high swinging solos, screaming choruses and plenty of solid virtuosity to spare. This release is not only a classic but also a bonafide hit and a must have for any self-respecting jazz fan or collector. Tidal Waves Music now proudly presents this much-needed vinyl reissue that pairs up two iconic jazz legends at the top of their game. Originally released in 1989, this is the first time these unique sessions are being reissued as a deluxe 180g vinyl edition w/obi strip.

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In Concert

2LP | 1976 | EU | Reissue (Speakers Corner)

55,99 €*

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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LP | 1971 | US | Reissue (CTI)

Freddie Hubbard

Straight Life

Release: 1971 / US – Reissue

Genre: Organic Grooves

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LP | 1971 | UK | Reissue (Pure Pleasure)

Freddie Hubbard

Straight Life

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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12" | 1980 | EU | Reissue (Far Out)

Freeez

Keep In Touch (Pinky 1)

12,74 €* 14,99 € -15%

12" | 1980 | EU | Reissue (Far Out)

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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Two individually sold Vinyl 12"s. Far Out Recordings presents a double bill of two monumental Brit funk classics. 'Keep In Touch' and 'Stay' were the first two 12" singles by the iconic Freeez, both self-funded passion projects of its founding member John Rocca, for his own Pink Rythm imprint.

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Freeez

Stay (Pinky 2)

14,99 €*

Rise And Shine: Live At The Aketa's

Release: 1980 / EU – Reissue

Genre: Organic Grooves

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Fumio Itabashi Trio

LP | 1977 | EU | Reissue (Studio Mule)

LP | 1982 | JP | Reissue (P-Vine)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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This is the third reissue of fumio itabashi on mule.

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Fumio Itabashi

Watarase: Echo

39,99 €*

LP | 1975 | EU | Reissue (Musica & Entretenimiento)

Release: 1982 / JP – Reissue

Genre: Organic Grooves

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Watarase" is one of jazz pianist Fumio Itabashi's most famous compositions from the 1980s. This compilation is a collection of previously unreleased versions of the song and takes that were released only as independent recordings and were not widely known. Minoru Wakasugi, one of the pioneers of the Japanese jazz scene, compiled this unknown take on "Watarase," now in the limelight of jazz fans around the world, from the contemporary perspective. Composed by Fumio Itabashi in the early 80's, the beautiful melody of this song is reminiscent of the music of Pharaoh Sanders, Ahmad Jamal, and Dollar Brand, or even surpassing them, it is a superb and super spiritual jazz anthem of Wamono Jazz. When this song was first released, it gradually gained popularity in the jazz scene, and it was a popular song in the scene. This album looks back over 40 years of history and carefully selects "Watarase" to be heard today. We can enjoy a fragment of his life here as he continues to express the ultimate in the art of jazz with all his might.

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Fusion

Top Soul

Dai Primitivi All' Elettronica

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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"Top Soul" (1975) by Fusion is released now on vinyl, from the original IRT masters! The experience of the group Fusion, historically considered the first Chilean electric jazz project, according to musicologist Alvaro Menanteau in his book Historia del jazz en Chile (History of jazz in Chile). Luna was the son of Peruvian diplomats settled in Chile. He had lived and studied art in New York and for that reason he had first-hand knowledge of the current jazz scene: the last years of John Coltrane in the avant-garde and the mutation of Miles Davis to electric jazz. He had studied at the Boston school of Berklee and had an important collection of records by Davis himself and his disciples: Joe Zawinul, Herbie Hancock, Chick Corea, Wayne Shorter, Miroslav Vitous. While Pizarro, who had appeared in the mid '60s as a very young pianist, of outstanding technique, advanced ideas and notorious musical culture, was also returning from a period of study at Berklee. The workshop meetings, jam sessions and auditions of new music were held at Pizarro's house, on Hernando de Aguirre and Eliodoro Yánez streets, and there was no jazz musician during those years who did not go through the experience of attending the initiation sessions. According to Chilean musicologist Alvaro Menanteau in his book Historia del jazz en Chile (2003), from the youngest (pianists Manuel Villarroel and Mario Lecaros or drummers Patricio Villarroel and Pedro Greene), to the most experienced (saxophonists Patricio Ramírez and Sandro Salvati or drummer Jaime Farfán), they frequented Pizarro's house and consolidated the core of musicians that faced the hard decade of the 70s. That was the seed of the foundation of Fusion, a group that adopted its name directly from the generic topic that began to understand and describe the music promoted mainly by Miles Davis in those years. In 1972, Fusion launched its project with the Luna-Pizarro-Salvati trio, using electric instrumentation, experimenting with rhythmic patterns of soul, funk and rock, but keeping intact the impulse of the original jazz improvisation and an important factor of Afro-Latin music, full of percussion. Although to record the album "Top Soul" (1975), the band ended up with soloists like David Estánovich (tenor sax) and Lautaro Rosas (guitar), plus a rhythm trio with Mario Lecaros (electric piano, ex Village Trio), Enrique Luna (bass) and Orlando Avendaño (drums, ex Nahuel Jazz Quartet), plus guests like trumpeter Daniel Lencina, and the young percussionist Santiago Salas (from the group Santa y su Gente). But it was, in any case, a brief history with few live appearances. One of them took place in 1972 at the Chile Stadium, with some members of Fusion as Luna, Pizarro and Greene, joined Los Jaivas for a free collective improvisation session, under the name of La Banda, and of which there is a valuable filmed testimonial record, although without audio. Fusion's life ended definitively after the release of the album, with Matías Pizarro living in Paris since 1977, Mario Lecaros in Barcelona in 1976, Orlando Avendaño retired from music, Enrique Luna back in Peru after working with the fusion group Almandina, and a hostile reality for the development of music during the first years of the military dictatorship.

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Futuro Antico

LP | 1980 | EU | Reissue (Black Sweat)

21,99 €*

Live In Cleveland 1976 Clear Vinyl Edition

Release: 1980 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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An outstanding raga-like drone lp with a distinctive cosmic vibe,
Futuro Antico was a short living collaboration between the two italian Walter Maioli (Aktuala), Riccardo Sinigaglia and Gabin Dabiré (from Burkina Faso).
The synthesis between ancient, ethnic and analog electronic music is just perfect, the minimalist repetition with slight changes gives associations of a slow growth; cyclic repetition gives the listener an opportunity to discover the sounds, to meditate, to go into the music, join the same journey trough ancient, primitive cultures and modern electronic soundscapes.
Originally released in 1980, the sound is completly analog and warm, this 300 copies reissue maintain the first tape artwork + info and photos.

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Gabor Szabo

LP | 1976 | EU | Reissue (Ebalunga!)

31,99 €*

LP | 1975 | US | Reissue (Salvation)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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“Hungarian guitarist Gabor Szabo (1936-82) issued only three live recordings during his lifetime. Significantly, the first of these, The Sorcerer (1967), remains the most popular album in the guitarist’s all-too abbreviated discography. But there were also More Sorcery (1968) and Gabor Szabo Live with Charles Lloyd (1974), offering Szabo totally in his element and at his bewitching best. Several more of Szabo’s concert recordings have surfaced in the intervening years, including this one, superbly captured for radio broadcast live in 1976 at the 600-seat Agora Ballroom in Cleveland, Ohio. It is a revelation. There is a sense here that concert patrons may have been hearing an altogether different Gabor Szabo than record buyers.

For one thing, Szabo is heard fronting what is likely his own group, rather than an army of studio musicians. In 1976, Szabo was leading a tremendous quartet with George Cables (or Joanne Grauer) on piano, Tony Dumas on bass and Sherman Ferguson on drums. Szabo had not had a band with this much jazz clout since his famed quartet with Jimmy Stewart in 1967-68 – and it is a union worth savoring: Szabo’s records during this period were light, at best, on jazz.

It’s unclear if any of these musicians are on the Agora date, but as Dumas’s “It Happens” opens the program, it’s a good bet, at least, that the bassist is on board here. But as Szabo’s ’76 quartet is not known to have recorded a studio record, Live in Cleveland is the closest thing to what a mid-seventies Szabo jazz album would sound like. Gone, are the strings, vocals, and concessions to commercial consideration so prevalent on so many of Szabo’s studio records at the time. What is present, though, is fine craftsmanship, tremendous interplay, and the exciting improvisation that good jazz always yields.

This particular concert was part of Sansui’s “New World of Jazz,” a series of 13-hour-long jazz concerts recorded at Cleveland’s iconic Agora Ballroom and broadcast over 40 FM radio stations. The series was sponsored by Sansui Electronics, a Japanese manufacturer of audio and video equipment, which previously sponsored a similar series of rock concerts recorded at the Agora as well. Sansui was promoting its matrix QS 4-channel sound system – offering, what was considered at the time, superior diagonal separation and stereo compatibility. The firm, partnering with Agora Ballroom and Agency Recording Studio owner Hank LoConti (1929-2014), was looking to take advantage of what they rightly felt was the then-current jazz renaissance. Each show’s 16-track master tape was mixed through the Sansui QS 4-channel encoder,” according to an August 1976 Billboard article detailing the arrangement, “for distribution to the 40 FM stations throughout the United States that bought the series” – allowing for three commercial spots for local dealers to advertise.”

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Gabor Szabo

Macho

16,99 €*

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Mazzabubu Clear Vinyl Eidtion

Gabriella Ferri

LP | 1975 | EU | Reissue (RCA)

20,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | EU | Reissue (Endless Happiness)

Gal Costa

Legal

Gary Burton & Chick Corea

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Pure class as always from Gal Costa! The record is her first after the immediate Tropicalia years, and it's a stunning blend of styles that seems to draw heavily from changes going on in the American rock scene at the time. The core of the music is still steeped in Brazilian elements – but there's a lot of influences coming into play on the album, like bluesy rock phrasing, showy nostalgia-heavy arrangements, psychedelic production elements, and some of the baroque orchestrations that would show up on Gal's later albums in the 70s.

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Crystal Silence

LP | 1973 | EU | Reissue (ECM)

Gelson Oliveira & Luiz Ewerling

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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The Corea/Burton duo was brought together by producer Manfred Eicher, and “Crystal Silence” brought a new chamber music sensibility into jazz improvisation, distinguished by an effervescence of melody and countermelody, with synchronized cascades of sound in continually changing harmonic movement.

It all begins here, with “Crystal Silence”. The title says it all: silence crystallized into dazzling melodic gems, each its own prismatic doorway into improvisatory translucence. Corea offers a fine set of five compositions (the most notable being the slick opener "Señor Mouse"), along with three beautifully realized tunes by bassist Steve Swallow ("Arise, Her Eyes" being a personal favorite), and another by Mike Gibbs (the somber "Feelings And Things"). In spite of the variety of voices represented here, the album grows like one long, extended story, a dynamic that seems to shadow the musicians wherever they set foot.

The title track is a subdued tour de force in style, presentation, and content. "Falling Grace" (Swallow) is one of the shorter pieces on tap, but what it lacks in time it makes up for in exhilaration. The album ends with an instrumental version of another Return classic, "What Game Shall We Play Today." Each piece is rendered with such dynamic sensitivity that one can immediately recognize the effect Crystal Silence must have had when originally released, and no doubt continues to have to this day. Connected as they are by the same mellow fuse, these tunes need hardly a spark to set them to glowing.

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Terra

LP | 1983 | EU | Reissue (Mad About)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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Debut album by the influential gaucho musician Gelson Oliveira, in partnership with the drummer Luiz Ewerling, released independently in 1983, with minimal resources. In spite of all this, they made a unique and very beautiful album, with a spectacular musicality, a mix of sounds, ranging from jazz, funk and fusion.

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George Benson

The world is a ghetto

12" | 1977 | US (Warner)

13,99 €*

LP | 1972 | EU | Reissue (Music On Vinyl)

Release: 1977 / US

Genre: Organic Grooves

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/ breezin

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George Benson

White Rabbit

30,99 €*

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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A Me Stesso Con Simpatia Limited Colored Edition

Giacomo Dell’Orso

LP | 1975 | EU | Reissue (Cinedelic)

LP | 1977 | EU | Reissue (Four Flies)

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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This 1975 album is a studio session organized by Maestro Giacomo Dell'Orso (the husband of Edda) here released under his given name and not the Oscar Lindok pseudonym under which he made a number of recordings including The Fine Machine. This album had the simple purpose of a fun and playful session without preconceived models.

The result is a carefree album, from the friendly cover (Orso means Bear) to the music that is interwoven with bossa nova, samba, jazz and funk in a style that recalls in many ways the work of Maestro Piero Piccioni.

Dell'Orso plays organ, electric piano and Bulisacchio (a synth with metal slats that simulate bass), Nino Rapicavoli on flute and sax, Jimmy Tamborelli on guitars and Ciro Cocozza on percussion.

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Gianni Safred

Electronic Designs

LP | 1970 | EU | Reissue (As Shams)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Entirely remastered from the original analogue tapes and featuring brand new artwork designed by Luke Insect, this Four Flies reissue finally brings back to life one of the most surprising albums from the strange phenomenon that was the Italian library music of the Seventies.

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Gideon Nxumalo

Early-Mart

Gigi Masin / Charles Hayward

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Gideon Nxumalo was a key figure during the formative years of South African jazz in the 1950s, helping shape the emerging South African jazz sound as a pianist and composer and contributing to the scene as a radio presenter, music teacher and arranger. His recorded output as bandleader/composer is comprised of three iconic albums from Jazz Fantasia (1962) to Gideon Plays (1968) to Early-Mart (1970).

Early-Mart was Gideon Nxumalo's tribute to his friend and musical compatriot, drummer Early Mabuza (Castle Lager Big Band, Mankunku Quartet), who died in 1969. Nxumalo assembled what journalist and observer Leslie Sehume reports was a 14-piece band for the album, which was recorded during a legendary overnight session in February 1970 and released just months before Nxumalo's own death on 24 December 1970.

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Les Nouvelles Musiques De Chambre Volume 2

LP | 1989 | JP | Reissue (P-Vine)

36,99 €*

LP | 1972 | EU | Reissue (Right Tempo)

Release: 1989 / JP – Reissue

Genre: Organic Grooves, Classical Music

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The two emerging explorations of aquatic themes on 1989’s Les Nouvelles Musiques de Chambre Volume 2 were a unique insight into the respective compositional approaches of its two central figures. The split album featured the Italian composer Gigi Masin on side-a with delicate piano movements rippling above undulating electronics. Its second track ‘Clouds,’ has become an ambient standard with Bjork, Nujabes and cloud-rap duo Main Attrakionz all sampling its rich and euphoric tones.

Side-b belonged to Charles Hayward and the twenty three minute sound portrait ‘Thames Water Authority’. A founding member of post-punk and avant groups This Heat and Camberwell Now, Hayward’s natural inclination towards percussive instrumentation is highlighted by shape-shifting cymbal recordings that trace the expansive systems that meander beneath Greater London. The track later appeared on his tribute album to Mark Rothko, fusing its symmetry with artistic abstraction.

P-vine is thrilled to reissue Les Nouvelles Musiques de Chambre Volume 2 on limited edition vinyl with an iconic Japanese obi strip attached.

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Gino Marinacci

Atom Flower's

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | EU | Reissue (Sonor Music Editions)

Giovanni Tommaso

Indefinitive Atmosphere

35,14 €* 36,99 € -5%

LP | 1971 | EU | Reissue (Four Flies)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Giovanni Tommaso is the greatest Italian Jazz bassist and founder and member of the most important ever Italian Jazz Rock ensembles, the Perigeo band. He composed "indefinitive Atmosphere" at the end of 1969, released a few months after in 1970 on Sermi label, and recorded it at Rca studios in Rome. "indefinitive Atmosphere" represents a special album for him and for us as well, since it was his first album released as a sole composer/artist. The Maestro dug in personal archive for us and finally found a copy of the original master tape containing part of the recordings. Besides the misspelled title "Indefinitive" instead of "Indefinite", that became part of the legend here, this album was incredibly ahead of his time, with the young Maestro Tommaso playing electric bass and contrabass a in studio ensemble composed of 3/4 elements plus the strings section, with plenty of stunning Jazz-Funk, Jazz-Rock and Free Jazz tracks. The session is also known for including the legendary American Jazz soprano sax Steve Lacy on the track called "Steve", where he plays a sax solo. We entirely restored the full session from the original tapes found, and digitally remastered the sound for a greater sound experience, chasing the original analog source.

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Giuliano Sorgini

Scappo Per Cantare

LP | 1981 | EU | Reissue (No Frills)

Release: 1971 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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Straight from the original master tapes and remastered on Limited Edition Vinyl LP for the First Time Ever 'ScappoPerCantare' by Giuliano Sorgini is one of the finest titles in his vast production. New cover artwork designed by Eric Adrien Lee.

Another dream coming true! One of Giuliano Sorgini’s finest and most sought-after titles is finally available as an official LP reissue – the first ever – remastered from the original tapes.
Originally released in 1971 on the small library music imprint FAMA, which operated as a sub-label of RCA Italy, the record contains the original music written for Scappo per cantare, a small, pseudo-psychedelic ‘musicarello’ (musical comedy film) broadcast on RAI television and starring, among others, Italian singers Gianni Morandi and Mauro Lusini.
The only credited album artist is Sorgini, but it’s impossible not to perceive, in this record, the hand of his close friend and colleague Alessandro Alessandroni.
This should not come as a surprise. In the early 70s, the two composers and multi-instrumentalists had a fruitful collaboration that saw them, under the monikers Braen (Alessandroni) and Raskovich (Sorgini), produce an abundance of works together, most of which have now gained the recognition they deserve. These include, among others, two 7” singles from their band The Pawnshop, three records in the series Alle sorgenti delle civiltà (Folkmusic), the crime/noir library albums Quarta pagina (Usignolo) and Inchiesta giudiziaria (Octopus Records), as well as the LP Tempo Libero (Panda Records), which was released shortly after the record presented here and in some ways drew rhythmic inspiration from it.
While their collaboration remained unacknowledged on the original release of Scappo per cantare (this was not uncommon at the time, especially in the field of library music), the record sounds perfectly in line with other works composed by Alessandroni in the early 70s, such as Complesso Gisteri’s Mostra Collettiva (co-written with Oronzo De Filippi), or even a landmark album like Spontaneous, where Sorgini contributed to a handful of tracks.
So, yes, the sheer beauty of Scappo per cantare is the result of an incredible synergy between two heavyweights of Italian library music! Airy and sweeping melodies à la Zoo Folle, psychedelia à la Under Pompelmo, and various percussion instruments played by Sorgini seamlessly blend and fuse with elements and touches provided by Alessandroni.
More specifically, we find Alessandroni’s signature, melancholy whistle in “Desolazione”; the peaceful and dreamy sound of his 12-string guitar in “Scogliere” and “Con Amore”; the trademark harmonies of his vocal ensemble Cantori Moderni in the last two tracks mentioned and in “Per cantare”; and his ingenious use of distortion on his Fender Stratocaster in the suspenseful transitions “Concentrazione” and “Fantocci”, as well as in the frantic/hypnotic hippie numbers “Mordente” and “Fendente” (as a side note, it is worth remembering that Alessandroni experimented extensively with distortion in the rock-infused album Underground, co-written with De Filippi and released in 1971 under the moniker Braen’s Machine, probably a reference to British psychedelic band Soft Machine).
The creative relationship between Sorgini and Alessandroni was so symbiotic that it would be useless to try to identify in more detail their respective contributions to the sound of Scappo per cantare. The alchemy between these two musical geniuses is the key to the album’s exquisitely Italian mixture of cheerful lounge, sweet psychedelia and smooth easy listening.
To do justice to the quality of the music, this remastered reissue is enriched by a new artwork by Eric Adrian Lee, who drew inspiration from the psychedelic visual culture of the period in which the album was written and recorded.

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Glenn Miller

Very Best Of

20,99 €*

LP | 1985 | UK | Reissue (Intermusic)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Glenn Miller, leader of the best-loved dance band of all time enlisted in 1942 in a personal crusade to entertain Allied troops with his own distinctive brand of music. Whether delivering ballads or setting the dancefloor moving with 'Pennsylvania 6-5000' and 'The Woodpecker Song', Miller and his merry men set the mood of not only his fellow troops but whole nations. He, and they, will never be forgotten.

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Grant Green

Born To Be Blue

18,99 €*

Release: 1985 / UK – Reissue

Genre: Organic Grooves

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Green Is Beautiful Blue Note Classic Vinyl Edition

Grant Green

LP | 1970 | EU | Reissue (Blue Note)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (Mad About)

Grupo Medusa

LP | 1987 | EU | Reissue (Holy Basil)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Grupo Medusa was one of the best instrumental bands in Brazil during the 70s and 80s, blending Jazz, African Influences, and traditional Brazilian Rhythms. Formed By Chico Medori, Claudio Bertrami, Amilson Godoy and Heraldo do Monte. Original release in 1981, reissued for the first time Worldwide.

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Gruppo Sound

Dreams For Sax

Guilherme Coutinho E O Grupo Stalo

Release: 1987 / EU – Reissue

Genre: Organic Grooves

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Another gem from the extensive Flipper Music catalog, more precisely from their Flower sublabel, "Dreams For Sax" is possibly one of the most stand-out productions from their studio ensemble Gruppo Sound, this time around featuring saxophonist Paolo Russo with keyboardists Stefano Galante and Vittorio Quattrini. First released in 1987, the songs recorded for "Dreams For Sax" are a beautiful melange of easy-listening electronic and jazzy vibes, from mellow tunes such as "Dawning" and "First Class" to some killer floor-filling italo disco bangers such as "Walking On Air" and "Dance Power". A groovy Italian library banger from the 80's now available on vinyl for the first time since its original release as a limited edition of 500 copies.

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LP | 1978 | EU | Reissue (Mad About)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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LP | 1970 | Reissue (Be With)

Guy Pedersen

Contrebasses

LP | 1972 | Reissue (Be With)

Release: 1970 / Reissue

Genre: Organic Grooves

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Guy Pedersen, French jazz-soul-funk double-bass player extraordinaire, recorded Contrebasses in 1970 for Tele Music. It's one of the most outstanding - yet puzzlingly slept-on - releases in the library's catalogue. Forget library, this is basically a sublime, straight-up moody jazz record with monster breaks. It's brimming with sensational psychedelic/jazzy bass-heavy moments throughout; it's absolute gold.

"Indian Pop Bass" contains a deep, abstract breakbeat that intersects with a bassline that loops as if it sinks into the swaying, heavy, slow drums. The mysterious, deliberate "Prélude À Une Angoisse" is an eerie, magical number with ace effects whilst "Patio Bass" is a breezy deep jazz knockout with fantastic drums and a sashaying melody. "Tension Nerveuse" creates an atmosphere that's exactly as the title suggests, full of genuine suspense, rumbling percussion and deep drama jazz. "Amour, Délices Et Contrebasse" is a touch lightweight so you're advised to head to the much darker, peculiar funk of "Percussion Bass", bursting with imaginative sounds and effects. "Obsession Diabolique" closes out the A Side, with a funky walking bassline and sparkling percussion battling against droning strings to create a uniquely unsettling, beatless track.

Enlivening the B-Side immediately is the fantastic, propulsive funky-jazz of "Les Copains De La Basse". "Doucement La Basse" is largely forgettable but "Bass Session" is a blazing psych-jazz-rock burner. Absolutely thrilling. Equally, "Bass After Love" is devastatingly psychy, funky and unique. "Ballade Pour Une Basse" is a classic funky French jazz piece with an infectious bass melody that seems to anticipate "Before The Night Is Over", the Joe Simon track that Outkast sampled for "So Fresh, So Clean".

The audio for Contrebasses has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Guy Pedersen

Maxi Music

LP | 1976 | EU | Reissue (Life Goes On)

Release: 1972 / Reissue

Genre: Organic Grooves

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Guy Pedersen's magical Maxi Music, originally released on cult Parisian library label tele Music in 1972, is psyche-rock and jazz-funk gold. It's a vital Pederson outing, oscillating between the rough and the smooth, but always with those hypnotic grooves. It's a start-to-finish winner, yet the final 13-minute-long opus will blow minds. Trust!

Stirring opener, "Prétexte Pour Indicatifs" is so mighty, it was covered by Keith Mansfield on "Hot Property" from Big Business/Wind Of Change on KPM. It's a track in 4 deliberate parts, the first a rapid tour de force, the second and third presenting organ-and-wah-wah-drenched slo-mo funk workouts and the fourth a return to the frenetic energy of the opening bars. Phew, pretty sensational. "Purgatoire Mood (Interlude)" is a beautiful segue into the stunning horn-laced, swift-paced aggressive jazzy excellence of "Purgatoire Mood 1" and the more poetic "Purgatoire Mood 2". Fast-paced funk beats and dramatic interplay!

"Christophus Colombus" is another song with multiple sections; the intro a rapid wah-wah-enhanced psych-rock statement that truly thrills before settling into a more steady yet no-less unrelenting guitar-funk showcase with wordless vocals and, later, reflective guitar and piano in gorgeous harmony. Closing out this electrifying side, the elegant "Bass In Love" is a soft'n'sultry slo-mo funk instrumental, as rough cello, jazzy piano and salacious, breathy vocals combine to create the scent of lingering heat to pretty rousing effect.

Ushering in Side B, "Sing Song Bass" is a slow starter but, once the drums kick in brilliantly, we're treated to a deeply melodic, propulsive, organ-flute-piano-bass gem - it's truly memorable and absolutely fantastic. The wonky, delirious psych-pop of "Petit Moujik De Nuit" is a curiously compelling number but it serves, for us at least, only as the pre-curser to the phenomenal closing track. An absolute beast that totally slays all before it!

Yes, despite Maxi Music being that rarest of library records - a record that can stand up on its own from front to back - it really does contain that *one* absolute killer track. And Peterson saved the best until last. The real highlight - can you imagine there's better?! - is the blazing psych-rock funky burner that is the infamous 13 minute thriller "Kermesse Non Héroique". Containing a wicked flute solo it genuinely sounds like something off the first Dungen album. Yes, that good. What a way to go out!

The audio for Maxi Music has been remastered by Be With regular Simon Francis, ensuring this release sounds better than ever. Cicely Balston's expert skills have made sure nothing is lost in the cut whilst the original, iconic Tele Music house sleeve has been restored here at Be With HQ as the finishing touch to this long overdue re-issue.

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Haki R. Madhubuti

Rise Vision Comin

Soweto To Harlem HHV Exclusive Record Store Day 2024 Yellow Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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A breathtaking self-conscious free-jazz masterwork, 'Rise Vision Comin'' summarizes more than 30 years of musical and theoretical/political expression from renowned activist/scholar/free-jazz pioneer Haki R. Standing on the verge of spiritual jazz aesthetic, his music remains timeless & unforgettable after it's longstanding creation. The first album by the group Rise Vision Comin was released in 1976, and features among others Wallace Roney on trumpet, Clarence Seay on bass and Agyei Akoto on saxophone who also served as creative director. It features 9 tracks with the title track, “Rise, Vision, Comin” a great example of the adhesive comradery between instrumentation and Madhubuti’s spoken-word.

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Hal Singer Jazz Quartet

LP | 1976 | EU | Reissue (Afrodelic)

Soweto To Harlem Record Store Day 2024 Black Vinyl Edition

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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HHV exclusive vinyl edition on yellow vinyl, limited to 100 copies. Only available at hhv.de!

When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer's trip to South Africa, entitled "Soweto to Harlem." Released in 1976 and available only in South Africa, "Soweto to Harlem" captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer's quartet that would hardly have been born for a different market. Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

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Hal Singer Jazz Quartet

LP | 1976 | EU | Reissue (Afrodelic)

22,79 €* 23,99 € -5%

LP | 1971 | US | Reissue (Cotillion)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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When the U.S. State Department announced in the mid-1970s that they were sponsoring a South African tour for the Oklahoma-born, Paris-based saxophonist Hal Singer, producer Rashid Vally took note. Even though his nascent record label As-Shams/The Sun (established in 1974) was making waves on the local scene, the idea of commissioning a recording from an international artist was a ballsy idea. With a discography that stretched back to the 1950s, Hal Singer was already somewhat of a legacy artist by 1976. Vally was well-versed on Singer’s accomplishments and specifically enamoured by his composition “Blue Stompin’,” which appeared on a Prestige album from 1959 that had struck a chord in South Africa. With his irresistible charm, Vally managed to coax Singer into a studio in Johannesburg, South Africa, to record a new version of “Blue Stompin’” with South African sax star Kippie Moeketsi, which became the title track of a 1977 album by Moeketsi. The recording session also yielded an album’s worth of new material by Hal Singer and his quartet that took its name from a track inspired by Singer’s trip to South Africa entitled “Soweto to Harlem.” Released in 1976 and only available in South Africa, Soweto to Harlem captures a laid-back, cheeky and nostalgic rhythm and blues set from the Hal Singer Quartet that is unlikely to have emerged for a different target market. With her irresistible charm, Vally was able to convince Singer to enter a Johannesburg studio. The recording session produced this album of new material by Hal Singer and his quartet named after a song inspired by Singer's trip to South Africa, entitled "Soweto to Harlem." Released in 1976 and available only in South Africa, "Soweto to Harlem" captures a laid-back, unabashed and nostalgic rhythm and blues of Hal Singer's quartet that would hardly have been born for a different market. Cinedelic’s 2024 edition of this rare album is sourced from the original tape masters and presents it on vinyl internationally for the very first time. The reissue follows Singer’s passing at the 100 in August 2020 as we contemplate and celebrate his extraordinary contribution to jazz in the United States and beyond.

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Hank Crawford

It's A Funky Thing To Do

16,99 €*

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Hardy's Jet Band / Orchestra Klaus Wuesthoff / Jan Troysen Band / Orchestra Gary Pacific

Blue Butterfly

LP | 1971 | EU | Reissue (Be With)

2LP | 1971 | EU | Reissue (Wewantsounds)

Release: 1971 / EU – Reissue

Genre: Organic Grooves, Soundtracks

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Behold! Yes, Blue Butterfly, one of the absolute stunners on the revered Selected Sound, is finally available for all the beat-heads. Heavyweight library funk with a psychedelic touch, the super in-demand Blue Butterfly from *deep breath* Hardy's Jet Band, Orchestra Klaus Wuesthoff, Jan Troysen Band and Orchestra Gary Pacific - was originally released in 1971. Incredibly ahead of its time, it's been rare and sought-after for decades.

For many aficionados, this is the best Selected Sound release. Loaded with fuzzy wah-wah guitar, deep flute-lines atop soulful psych-rock breakbeats and huge organ action, its uncompromising funk will blow you away. Sampled for many hip hop beats and dropped by well known rare groove DJs around the world, one jewel in particular from this glorious German vault needs little introduction. The intro to Orchestra Gary Pacific's mesmeric "Soft Wind" rides the illest, crispest drum break you've perhaps never heard - like, the drum break to end them all - alongside a smooth, deep bass line from the heavens. It featured notoriously on the beloved Dusty Fingers comps of the 90s and was brilliantly sampled by Pacewon for his eternal "Sunroof Top". Just listen and be dazzled.

Beyond this mini-masterpiece, the other killer tracks offer brilliance in abundance. Hardy's Jet Band take control of the full A side, and it's full of dynamic psych-funk bombs. Hard, "big city" industrial groovers. In particular, the initial one-two of "Sorry, Doc!" and "Wind It Up" provide thrilling funky-blues rock instrumentals showcasing relentless guitars, flutes, sax and organ, the latter containing gorgeous, hypnotic breakdowns; these tracks just slay. The title track, "Blue Butterfly" is a real deep strut of a track with fantastic soloing from guitar and flute over crisp drums whilst the highway banger "What You Call To Be Free" certainly sounds a lot like unbridled, rhythmical liberty.

On the flip, the ghost-riding "Lady In Space" is a string-drenched acid-western foxtrot. Yep. “Pop Happening” by Jan Troysen Band is a heavy, druggy psych-fuzz organ groover whilst their slow beat-organ-flute gem "A Blue Message" is a gorgeous psych floater conjuring deeply strange frontier lands. Preceding their monster "Soft Wind", the soulful, uptempo groover “Ghetto Gap” by Orchestra Gary Pacific contains solo piano and flute whilst closing out the set is the free-and-easy samba beat of "So Far".

Founded in the late 60s by German composer and musician Klaus Netzle (who recorded under the alias Claude Larson for Sonoton) Selected Sound began as a production music company specialising in jazz, orchestral and electronic recordings. You can’t miss those early LPs in their iconic glossy metallic copper sleeves with minimal German typography. Serious, classy stuff.

The audio for Blue Butterfly has been remastered for vinyl by Be With regular Simon Francis whilst Richard Robinson has handled reproducing the glossy metallic (iconic) original Selected Sound sleeve. Essential.

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Harold Land

Choma (Burn)

Haruomi Hosono, Shigeru Suzuki & Tatsuro Yamashita

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Wewantsounds is delighted to reissue Harold Land"s 1971 Mainstream Records LP "Choma (Burn)," recorded in Los Angeles with Bobby Hutcherson and featuring Reggie Johnson on bass, Ndugu and Woody Theus on drums, Bill Henderson & Harold Land Jr. on piano/Fender Rhodes. Together the musicians create a superb spiritual mix of funky and modal Jazz that was the trademark of the Harold Land-Bobby Hutcherson quintet between 1968 and 72. Choma (Burn) is reissued here in its original gatefold artwork with all the photos scanned from first generation negatives recently found in the Mainstream Records vaults, and comes with newly remastered audio and a 2-page insert including new liner notes by Kevin Le Gendre.

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Pacific

LP | 1978 | EU (Victory)

O Primeiro Amor Black Vinyl Edition

Release: 1978 / EU

Genre: Organic Grooves

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Reuniting the best session musicians Japan had to offer to make an album that would evoke the atmospheres of South Pacific islands, the kind of places Japanese people spend their vacations in. Pacific (1978) is a treat to the ears; its theme of the southern Pacific ocean and its warm cerulean waters relax its listeners with a fusion of city pop, soft jazz, and that good old 1970’s funk while remaining surprisingly fully instrumental throughout all contributions from artists Haruomi Hosono, Shigeru Suzuki, and Tatsuro Yamashita. A true cult LP and an inspiration for a lot of, so called, “vaporware” music.

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Hazel Scott

7" | 1973 | EU | Reissue (Groovie)

13,99 €*

O Primeiro Amor Blue Vinyl Edition

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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History has proven that the recording industry allows more than one artist or band with the same name, and the least successful isn’t always the less talented. Take the case of British Nirvana and American Psychedelic band Genesis, or even the Jazz projects like the Americans Air and Marc Moulin’s Placebo from Belgium.

The coincidence in the name Hazel Scott with the popular Trinidadian pianist from the New York jazz clubs scene did not bring any disadvantages to this English singer who traveled the world spreading her love for the music of Brazil.

It cames with 8 pages booklet, photos and postcard

Killer tracks for the dance floor!

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Hazel Scott

7" | 1973 | EU | Reissue (Groovie)

14,99 €*

LP | 1976 | EU | Reissue (Jms)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Henri Texier

Amir

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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LP | 1976 | EU (Trading Places)

Henry Franklin

Tribal Dance

20,99 €*

Release: 1976 / EU

Genre: Organic Grooves

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Los Angeles bass titan Henry Franklin is bestknown for the two Skipper LPs issued by Black Jazz in 1972-74; 1977’s Tribal Dance is more obscure and arguably the best of the bunch, the spiritual jazz given an extra propulsive dimension via the excesses of Sonship, banging complex rhythms on his elaborate self-made drums, as heard on the opening title track and the extended ‘Cosmos Dwellers.’ Elsewhere, ‘Eric’s Tune’ has flamenco undercurrents, ‘Spring Song’ is a slow piano meditation, and ‘Prime Move’ is all over the map. This sonic jazz journey engages the senses and is thoroughly excellent throughout – get your copy now!

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LP | 1972 | EU | Reissue (Music On Vinyl)

Crossings

29,99 €*

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Crossings is the second album in the experimental sextet trilogy Herbie Hancock released early
1970s. His electronic movements are further explored and the whole sound comes alive in the three
long tracks this album consists about. The album opens with some African drums before moving on
the to some of the unearthed sounds the sextet created for this album. Centerpiece "Sleeping Giant" is
nearly 25 minutes long and is divided into five funky and groovy parts. A transcendent experience that
has grown over time into one of the most moving, powerful and innovative artistic statements of the
modern era. Over forty years later this album still sounds incredibly ahead of its time.
Herbie Hancock is one of the most prolific jazz pianists of the 20th century. A child prodigy, he played
with the greats such as Donald Byrd and Miles Davis. As he was a bit of a geek, he enjoyed gadgets &
buttons and he was one of the first to embrace and master the electric piano, but he always stayed
true to the acoustic sound. In fact, he always bounced back and forth between his electronic and
acoustic sound, touching upon almost every development in R&B, Funk and Jazz while retaining an
original and distinctive voice.

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LP | 1972 | EU | Reissue (Speakers Corner)

Crossings

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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In the 1970s, Herbie Hancock’s "Crossings" was to be found on every IKEA record shelf in the student pads of jazz-fusion fans. The cover, with its psychedelic touch, also contributed significantly to its popularity – although it was unclear where the crossing was going to take us …
Nevertheless, the excellent trumpeter Eddie Henderson – often underestimated as an improviser and composer, and Benny Maupin – who like Hancock had grown up under Miles Davis’s wing, present a wide range of sound-generating instruments – as was all the rage in those days. Synthesizer and Mellotron (a polyphonic tape replay keyboard and as such practically the prototype of the sampler) were permanent members of the group – and even produce here melodic arches of sound! Whether Bennie Maupin’s "Quasar" launches the group and us into extraterrestrial territory (as stated in one review) is a moot point.
This LP is a contemporary historical document, though it certainly doesn’t sound antiquated. That’s why younger listeners too will find pleasure in this experiment from the previous millennium.

This Speakers Corner LP was remastered using pure analogue components only, from the master tapes through to the cutting head. All royalties and mechanical rights have been paid.

Recording: February 1972 at Pacific Recording Studios, San Mateo, CA., by Patrick Gleason
Production: David Rubinson

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2LP | 1975 | EU | Reissue (Speakers Corner)

Flood

55,99 €*

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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In the summer of 1975, the Herbie Hancock Sextet made a hugely successful tour of Japan, which made people aware of a 'new' Hancock. The last LP that the keyboard virtuoso had recorded, "Thrust", was already one year old, and the film music for the Charles Bronson classic "Death Wish" was received negatively by his fans. At his concerts in Tokyo, Herbie Hancock reached back to his hits: "Maiden Voyage", "Chameleon", and the famous, soulful "Watermelon Man" made the fans at his concert hall and open-air appearances go wild with enthusiasm. Forty years later I have the courage to confess that I couldn’t have cared less about this music at the time; in Europe there was enough that was new and exciting to see and listen to. However, this re-release in its original format has given me the opportunity to check out whether this music has withstood the test of time. And I must say: it has passed the test! Just listen to Herbie at his best!
Dr. Michael Frohne

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2LP | 1973 | US | Reissue (Analogue Productions)

Headhunters

80,99 €*

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1975 | EU | Reissue (Speakers Corner)

Man-Child

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1976 | EU | Reissue (Music On Vinyl)

Secrets

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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Secrets (1976) is a Jazz-Funk fusion album by acclaimed keyboard player Herbie Hancock. Following up on his previous album Man-Child, the album again features Paul Jackson on bass, and reedist Bennie Maupin continued to provide most of the solos alongside Hancock.

180g vinyl.

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LP | 1978 | EU | Reissue (Music On Vinyl)

Sunlight

2LP | 1978 | US | Reissue (Modulus)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Sunlight by Herbie Hancockis a 1978 jazz-funk, fusion album. It features Hancock's vocals through a vocoder as well as performances by drummer Tony Williams and bassist Jaco Pastorius.

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Het Pandorra Ensemble

III

42,99 €*

Hideki Matsutake, Chojuro Imafuji, Masashi Komatsubara

Release: 1978 / US – Reissue

Genre: Organic Grooves, Rock & Indie

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Originally released privately in 1978 and long sought after by collectors, III is the one and only album by dual guitar-driven Dutch progressive rock quartet Het Pandorra Ensemble, on which they injected a touch of anarchy into their mix of improv and King Crimson influenced prog. In 1973, the flower power era was long gone, progressive music had turned into bombastic symphonic rock, and even Pink Floyd had transmogrified into a middle-of-the-road band. In that year Gert-Jan Blom and Dolf Planteijdt decided it was the right time to form an instrumental guitar band which would build the bridge between the sixties creativity and the punk outburst of the late seventies: Het Pandorra Ensemble. This new band called itself an ensemble because they wanted to fit in with every small venue—art galleries, bars, coffeeshops, etc. Inspired by the music of George Crumb, the impressionist compositions of Ravel, the European folklore pieces of Bartok and the universe of King Crimson and Mahavishnu Orchestra, Het Pandora Ensemble built up a repertoire of written pieces and free improvisation. This 2xLP vinyl reissue expands upon the original release with a full album of extensive unreleased bonus material—all sourced from the original analogue master tapes. Detailed liner notes and unpublished photos complete the package.

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Edo Black Vinyl Edition

LP | 1977 | EU | Reissue (Soave)

23,99 €*

High Flying Clear Purple Vinyl Edition

Release: 1977 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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Edo” is a cosmic ambient experimental masterpiece conceived in 1977 by Masashi Komatsubara and developed alongside with Hideki Matsutake (a.k.a. Logic System and reductively defined by many as the "fourth member of the Yellow Magic Orchestra"). As a true sound scientist, he pours all his efforts into this record, and aimed at the widest possible use of an electronic instrument that was at the forefront at that time — the Moog IIIc. He extends his research by trying to break down the last wall between modernity and the past: the union and eurythmy between artificial sounds and traditional sounds. All this through a perfect three-way collaboration together with the shamisen musician Konae Imato, and the creation of a unique and extraordinary charming work dedicated to the double soul of the capital of Japan: ancient Edo, now the current day city of Tokyo.

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Hiromasa Suzuki

LP | 1976 | JP | Reissue (Nippon Columbia)

54,99 €*

Rock Joint Biwa - Kumikyoku Fulukotofumi Black Vinyl Edition

Release: 1976 / JP – Reissue

Genre: Organic Grooves

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Hiromasa Suzuki is a composer, arranger, and keyboardist who has worked in many genres, including jazz, pop, movies, TV, and commercials. From the late 1960s to the mid-1970s, he worked with Terumasa Hino, Akira Ishikawa, and Jiro Inagaki, who were at the forefront of their time. This 1976 album is the result of his innovative work, which was always one step ahead of the times. This pre-fusion/crossover album also features Shuichi "Ponta" Murakami, Akira Okazawa, and Masayoshi Takanaka.

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Hiromasa Suzuki

LP | 1972 | EU | Reissue (Cinedelic Orient Series)

30,99 €*

Rock Joint Cither - Silk Road Black Vinyl Edition

Release: 1972 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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The Fulukotofumi is the most important and ancient historical chronicle of Japan. The content of this work becomes an inspiration for the creation of a sound transposition of the legends and myths that most marked the spirit and inspiration of Hiromasa Suzuki, as a musician and as a high-level composer. The music that is concentrated between these grooves is a representation of the best that moved in the early seventies in the jazz-rock orbit at an international level; in addition, very strong infiltrations of tradition, characterized above all by the extremely calibrated and perfectly ad hoc interventions of the Biwa (lute of the Japanese tradition once used by blind monks to recite poems) and the Wadaiko drum. From its entirety, a highly evocative and magical sketch in nine suites emerges, a viaticum towards the most ancestral past of Japan, but at the same time also immersed in the modernity and expressive relevance of the land of the rising sun. A masterpiece that, buried for too long in the archives, is finally back reissued on vinyl with original graphics on its gatefold cover and enriched by an insert with the translations of the precious introductory essay contained in its original edition. Accompanying Suzuki's acoustic and electric piano is the crème of Japanese jazz that gives free rein to one's primordial instincts. Some passages come close to progressive, especially thanks to Kiyoshi Sugimoto's Allan Holdsworth style guitar.

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Hiromasa Suzuki

LP | 1973 | EU | Reissue (Cinedelic Orient Series)

29,99 €*

LP | 1976 | EU | Reissue (We Release Jazz)

Release: 1973 / EU – Reissue

Genre: Organic Grooves, Rock & Indie

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After the space-time experience and the translation into music of the Bible of Japanese civilization, the Fulukotofumi, the following year, in 1973, Hiromasa Suzuki pushes his research and experimentation beyond the borders of his own country by venturing, with the usual companions of adventure (Kunimitsu Inaba, Hideo Sekine, etc.), along the lights and shadows of the Silk Road. A backward journey in search of the musical and cultural sources of mainland Asia, from the gates of India to the roots of China. If the Biwa lute characterized the previous chapter dedicated to the profound ancestral of Japan, here, the sitar, the Asian instrument par excellence, becomes a new narrator; Suzuki plans and manages the interventions by juxtaposing it with an opera that, like the previous one, always remains strongly jazz and rock, at times very similar to Ian Carr's Nucleus. A precious find in the endless and seminal musical archeology of modern Japanese music. Gatefold cover with insert.

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Hiroshi Suzuki

Cat

2LP | 1981 | UK | Reissue (Pure Pleasure)

Release: 1976 / EU – Reissue

Genre: Organic Grooves

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We Release Jazz is ecstatic (purrrr!) to announce the official reissue of Hiroshi Suzuki’s glorious jazz-fusion-funk Holy Grail Cat (originally released in 1976), sourced from the original masters and available on limited edition 180 gram vinyl mastered at half speed for full audiophile sound, as well as on digipack CD. Both versions come with liner notes by Teruo Isono. Cat was recorded in October 1975 at at Nippon Columbia Studio, while Hiroshi Suzuki was visiting his home country of Japan after moving to Las Vegas in 1971 to play with Buddy Rich and perfect his craft. Back on his old stomping grounds, the man known as Neko (Cat) immediately reunited with his dear friends for an epic two day session of groove magic. The chemistry was still intact. The skills and style had grown. The result, Cat, is a smooth masterpiece, a deep and soulful affair where stunning trombone solos by Hiroshi Suzuki flirt with Takeru Muraoka’s heavenly saxophone and the sensual rhythm section of Hiromasa Suzuki (keyboards), Kunimitsu Inaba (bass), and Akira Ishikawa (drums). Celebrated in jazz collectors circles, in the lofi beat scene, and among music diggers around the world, Cat has become one of the most sought-after Japanese jazz albums of all time and, much like Ryo Fukui’s Scenery, has fascinated old and young generations alike.

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Horace Tapscott

Dial 'B' For Barbra

50,99 €*

LP | 1978 | UK | Reissue (Pure Pleasure)

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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The best of pianist Horace Tapscott's recordings for the tiny Nimbus label is this 1981 LP which features him in a sextet with trumpeter Reggie Bullen, altoist Gary Bias, tenor saxophonist Sabir Matteen, bassist Roberto Miranda and drummer Everett Brown, Jr. The group stretches out on a couple of Tapscott's originals plus a 19½-minute version of Linda Hill's "Dem Folks". Although the music could be called avant-garde, its use of rhythms and repetition keep the results from being forbidding and the performances have a momentum of their own. Scott Yanow/AMG A great group recording from pianist Horace Tapscott – recorded in LA in the early 80s, but done with all the righteousness and spirituality of his earlier albums! Tracks are long and exploratory, but also relatively lyrical too – stretching out with a style that's never too 'outside', and which has Horace and the group really soaring to the heavens on the best moments! The group here is a sextet – with the great Gary Bias on alto and soprano saxophone, plus Sabir Matteen on tenor, Reggie Bullen on trumpet, Roberto Miguel Miranda on bass, and Everett Brown on drums and percussion – all working with a cohesiveness that reminds us of some of Tapscott's larger group recordings, but with a cleaner, leaner kind of feel. Titles include "Lately's Solo", "Dial B For Barbara", and "Dem Folks".

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Horace Tapscott

The Call

37,99 €*

Hot Is Cool Blue Vinyl Edition

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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Through his dedication to the Los Angeles grassroots projects that gave so much stability and focus to many younger musicians, artists and the community, Horace Tapscott became a neighbourhood hero at a time when the world wanted his presence. He stayed in Los Angeles and focused instead on building a community, rarely giving interviews and instead focusing on passing on the message from his mentors. He shaped a unique sound with his arkestra and community minded musicians. It was a close-knit family that emanated a sound that was deep and unique, flowing with a creative spirit that definitely comes through on this album. In 1961 he founded the Pan-African Peoples Arkestra, which aimed to preserve, develop and publicise African-American music through the ever-growing family that emanated within many of the deprived areas of Los Angeles. Through his subsequent collaboration with Bruce Albach, a producer and founder of Nimbus West Records, they sought to document the importance of this music alongside many artists who were energetically linked to the ethos and understanding which came from the collective dialogue. Here the composer leads four extensive arrangements through his 16 piece orchestra, featuring many of the Nimbus West artists including Adele Sebastian, Jesse Sharps and Linda Hill. The music weaves the sound of afro-futuristic music through changing tempos and a relentless dynamic expressive sound that is complex and beguiling with a deep spiritual sound throughout all four tracks. The ceremonial "Peyete Song no. Iii" is a great swirling evocative piece from the large collective, with amazing solos from especially Horace Tapscott who seems to find a sound from the piano that is from another dimension. The arrangement airs an important message of a people and their rituals. Horace Tapscott gives Cal Massey’s composition "Nakatini Suite" a splendid futuristic big band interpretation. The composition had been earlier illuminated by both Lee Morgan on his "Lee-Way" album and John Coltrane on his "Believer" album titled "Nakatini Serenade". Through the more expansive soundscape, the interpretation allows for some great interplay between saxophonist Jesse Sharps and drummer Everett Brown Jr. with the whole orchestra led by Horace Tapscott capturing the essence of Cal Massey’s message. Vocalist Adele Sebastian opens up the free probing arrangement "Quagmire Manor At 5am" composition with a similar delivery as with her "Day Dream" from the classic "Desert Fairy Princess" album before the music takes off onto the mothership adding a sense of what time and space within the manner was about amongst many great musicians and artists. Their journey and moments encapsulated within the music. There are certain albums you hear something new every time you revisit the music and this is one of those albums. An important part of Afro-American history; the politics and art which surrounded the album. If you get a chance check out the film "Horace Tapscott, Musical Griot", by filmmaker Barbara McCullough, or buy the book "Songs Of The Unsung": The Musical & Social Journey of Horace Tapscott’. Mark Jones/UK Vibe

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Horii Katsumi Project

LP | 1987 | JP | Reissue (Sony Music Japan)

57,99 €*

Release: 1987 / JP – Reissue

Genre: Organic Grooves

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LP | 1971 | EU | Reissue (Eargong)

Howard Riley

Flight

13,99 €*

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Hozan Yamamoto With Sharps & Flats

Beautiful Bamboo-Flute

LP | 1971 | EU | Reissue (Mr Bongo)

2LP | 1980 | UK | Reissue (Matsuli)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Seminal Japanese jazz album from 1971. Journeys through jazz fusion, soul and big band moods. Impossible to obtain in its original format these days. Official Mr Bongo reissue.

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Hugh Masekela & Company

Live In Lesotho

31,99 €*

Human Egg (Jean-Pierre Massiera)

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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“Hugh Masekela and Miriam Makeba’s double-bill Lesotho concert was a daring, defiant and ultimately dazzling act. For the first time since its limited release in South Africa in 1981, Matsuli Music is proud to re-issue this gem of a pan-African, funk-infused, extended audio double album with unpublished photographs and new liner notes from Atiyyah Khan.

The Christmas-weekend stadium-filled concert deeply challenged and disturbed South Africa’s apartheid regime. Makeba and Masekela were banned from entering South Africa, yet tens of thousands of their South African fans invaded Lesotho to party with their musical heroes.

Live in Lesotho documents an inspired Hugh Masekela and his stellar New York band putting a new spin on crowd favourites.

Another South African jazz gem from Matsuli Music’s growing catalogue of essential high-quality reissues. For an artist as prolific and famous as Hugh Masekela, it is a real surprise that this particular recording took so long to resurface.”

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Human Egg

LP | 1978 | EU | Reissue (Favorite)

16,99 €*

LP | 1971 | EU | Reissue (Sevenmen)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Super-obscure oddball disco funk goody by French studio wizz Jean-Pierre Massiera, re-released to celebrate the 50th release on Favorite!

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I Marc 4

LP | 1977 | EU | Reissue (Our Swimmer)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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This rather mysterious Jazz recording, which dates back to 1971, was quickly put together in a studio session sandwiched between RAI orchestra rehearsals, film soundtrack recordings and various other projects that make up this incredible musical library, all recorded in that period by our best musicians. The unique particulars of this record are that the musicians are not named, except for a mythical “Plakoti” but also the rights and the tapes seemed tohave strangely disappeared. After a period of accurate research, thanks to Maurizio Majorana (bass player for the Marc 4) we have been able to find the original recordings and also the musicians that played on it. Even though this recording was accredited to the Marc 4, by semi-official sources of the time, strangely enough only two of them are effectively present on this record Antonello Vannucchi on the Hammond Organ, Vibraphone and Piano and Roberto Podio on the Drums. The other two musicians are Giovanni Tommaso playing his mythical “Pedrazzini” (ndr) double bass who already played together with Vannucchi as part of the famous “Lucca Quartet” and then as the bass player of the group “Perigeo” and Enzo Grillini, part of the Rai orchestra and a favorite guitar player of both Armando Trovajoli and Gianni Ferrio who, at the time, was considered one of the best Italian Jazz guitar player and who rarely recorded music outside of the RAI orchestra. The style of this record, thanks to this very particular group of musicians, contrary to many other Library recordings, is very jazzy and the very special sound reminds us of the Jazz organ of the Verve/Blue Note labels made in the Sixties. The Seven Men Label, another characteristic of this new edition, born from a partnership of 7 mysterious producers and musicians in order to produce background music, in fact, only produced four recordings and they are : “1” that you are already listening to, 2, AKA “Il Cinghialetto” directed by Gianni Ferrio and played by the very best popular and classical musicians of the day, as the soundtrack of a theatre piece written by Grazia Deledda and to conclude there are two recordings made in the 1970’s written by Bruno Canfora: “Musiche di scena n°1” and “Musiche di scena n°2”. To have been able to bring this recording out again, knowing about its ups and downs and how it was made, is even more important now, as we have been able to add yet another gem to the numerous reeditions of the “Italian Library Music“ over these past years.

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ICP Tentet

Tetterettet

LP | 1977 | UK | Reissue (Soul Brother)

Release: 1977 / EU – Reissue

Genre: Organic Grooves

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Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or Icp) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

The ICP Tentet's Tetterettet is made up of recordings from 14-17 of September, 1977, cut and spliced together by pianist/composer Misha Mengelberg in a style similar to Teo Macero's work with Miles Davis. The first side is taken up entirely by Mengelberg's multi-part title track that breaks in and out of different tempos, with a loose arrangement style owing more than a bit to Charles Mingus' finest work on Black Saint or Ah Um.

Traversing across decades and styles from free-jazz funereal marches, to carnivalesque excursions, broken piano rolls, and ear-splitting skronk, ICP Tentet show remarkable skill and chops in both their compositional craft and improvisational symbiosis. There's a playful undercurrent here that finds its home in some previously uncharted land between Mingus and Spike Jones.

Featuring numerous ICP regulars along with the brilliant Alan Silva on bass, and a return to the fold of the amazing saxophonist John Tchicai, Tetterettet is one of the best of ICP's larger group recordings; humorous, unnerving, and ultimately, quite beautiful. This limited-edition reissue marks the first time this album has been in print on vinyl since its initial release.

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Idris Muhammad

Turn This Mutha Out

LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 1977 / UK – Reissue

Genre: Organic Grooves

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Idris Muhammad recorded this classic Jazz-Funk album 'Turn This Mutha Out' in 1977 for the Kudu label. Some great session musicians accompanied him and the album has that David Matthews signature Disco-Jazz-Funk sound. It was well received in the UK most notably for the opening track 'Could Heaven Ever Be Like This', an undisputed classic. Idris and Wilbur Bascomb on bass create the perfect bedrock for Mike Brecker on Tenor Sax, Hiram Bullock on Guitar and Cliff Carter on Synthesizer to solo above, topped by Frank Floyd's vocals. It has been sampled at least seventeen times, most notably by Jamiroquai and Drake.

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Idris Muhammed

Kabsha

AFTAPATI (40th Anniversary Edition) Black Vinyl Edition

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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Re-mastering by: Ray Staff at Air Mastering, Lyndhurst Hall, London

This little-known album by New Orleans-born drummer Idris Muhammad (1939-2014) was originally recorded for Theresa at Rudy Van Gelder's studio in New Jersey on September 12, 1980 with George Coleman & Pharoah Sanders on tenor saxophones & Ray Drummond on bass.

The six powerful tracks include originals from Muhammad & Drummond and an impressive version of Billy Eckstine's 'I Want To Talk About You' featuring Sanders.

'Kabsha', which is dedicated to Muhammad's youngest daughter, is recommended to anyone who appreciates inventive and passionate modern jazz.

Drummer Idris Muhammad's strongest jazz date as a leader. Muhammad, who had often been heard in funky or more commercial settings, really excels in this sparse setting, showing off what he learned from hearing bands in his native New Orleans. In addition, both the underrated Coleman and Sanders are heard in top form, stretching out on originals, basic pieces, and "I Want to Talk About You" (during which Sanders lets out a few trademark screams so everyone knows that he is not John Coltrane). Highly recommended. Scott Yanow/AMG

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IDYLI TSALIKI

LP | 1983 | UK | Reissue (Utter)

37,04 €* 38,99 € -5%

AFTAPATI (40th Anniversary Edition) White Vinyl Edition

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

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Remastered from the original analog tapes especially for this first ever re - issue, Aftapati” (Illusion) is the only studio album by Idyli Tsaliki.
Tsaliki’s poetic style and distinct voice along with moody jazz - funk rock arrangements are beyond comparison to any other 80s Greek album.
Immerse yourself in this musical journey and discover one of the rarest albums of the Greek jazz scene.
Released by Philips Greece in 1983 and never been released before not even on CD.
Reissue by Veego Records for the 40th anniversary of this holy grail of Greek Jazz Masterpiece.

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IDYLI TSALIKI

LP | 1983 | UK | Reissue (Veego)

37,99 €* 39,99 € -5%

LP | 1982 | JP | Original (Universal Music Japan)

Release: 1983 / UK – Reissue

Genre: Organic Grooves, Pop

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Imitation

Muscle And Heat

80,99 €*

LP | 1973 | EU | Reissue (Our Swimmer)

Release: 1982 / JP – Original

Genre: Organic Grooves

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Steve Scales (Per) and Drutti McDonald (Vo) who also participated in Talking Heads, as well as Sandy and Makoto Kubota, are the pinnacle of world music produced by Japanese people.

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Instant Composers Pool

Groupcomposing

Intercommunal Free Dance Music Orchestra

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Founded in Amsterdam in 1967 by saxophonist Willem Breuker, pianist Misha Mengelberg, and percussionist Han Bennink, Instant Composers Pool (or Icp) was an independent free jazz label and orchestra that would go on to release over fifty albums featuring such pillars of the scene as Derek Bailey, Peter Brötzmann, Evan Parker, Jeanne Lee, John Tchicai, and Steve Lacy. Based around the concept that improvisation was, in fact, an act of instantaneous composition, ICP's legacy on improvised and free music is impossible to overstate.

A live performance from May of 1970 in Rotterdam, Groupcomposing features a North Sea-crossing ICP lineup of British free improv luminaries Derek Bailey on guitar, Evan Parker on saxophone, and Paul Rutherford on trombone, along with ICP mainstays Han Bennink, his brother Peter, Misha Mengelberg, and Peter Brötzmann. The first side, "Groupcomposing, Part 1" is a nearly all-out assault with the reeds trio and Rutherford's trombone blasting nigh-continuously for the album's first side, culminating in a blistering Peter Bennink bagpipes solo. "Part 2" acts at first as the comedown, beginning with a playful piano and percussion back-and-forth before meandering a dark, brooding, path of trill horns to the album's eventual, tense conclusion.

Recorded just a few years into the ICP's long tenure, it is hard to think of a release more representative of the label's musical principles – or, more broadly, of the power of free group improvisation – than the aptly-named Groupcomposing. This limited reissue marks the first time the album has been in print on vinyl in over forty years.

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L'inter Communal

LP | 1978 | EU | Reissue (Souffle Continu)

Intercommunal Free Dance Music Orchestra

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt}

Compiling extracts from concerts given between 1976 and 1978, L’Inter Communal demonstrate the “social function” which inhabited free jazz and popular music at the time calling upon Spanish singer Carlos Andreu along with Michel Marre, Jo Maka, Adolf Winkler and Jean Méreu. Andreu, claimed Tusques, was a griot “who created of new genre of popular song improvised with our music, based on events going on at the time”.

L’Inter Communal can start the festivities: on “Blues pour Miguel Enriquez”, it is first Thelonious Monk who is invoked in an homage to one of the leading figures of the Chilean revolution, and a victim of Pinochet. The circumstances may be serious, the music, though, is not. The musicians light a bonfire to bring together on the same frequency France and Spain, the Americas and Africa: “L’heure est à la lutte” (the time to fight is here ndlt), is the new song offered by the l’Intercommunal Free Dance Music Orchestra... As if proof were needed that their music is still more than timely!

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Le Musichien

LP | 1983 | EU | Reissue (Souffle Continu)

LP | 1973 | US | Reissue (Prestige)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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The Intercommunal Free Dance Music Orchestra was created in 1971 by French free jazz pianist legend, François Tusques. Free Jazz, was also the name of the 1965 recording Tusques made along with and other Michel Portal, François Jeanneau, Bernard Vitet, Beb Guérin and Charles Saudrais. Six years later, in 1971 Tusques would go ahead of free jazz.

Wondering if free jazz wasn’t a bit of a dead end together with Barney Wilen (Le Nouveau Jazz) or even solo (Piano Dazibao and Dazibao N°2), Tusques formed the Inter Communal Free Dance Music Orchestra, an association under the banner of which the different communities of the country would come together and compose, quite simply. If at first the structure was made up of professional musicians from the jazz scene it would rapidly seek out talent in the lively world of the MPF (Musique Populaire Française).{French Popular Music, ndlt}

As with L’Inter Communal a few years earlier, Le Musichien follows on from the group of varying musicians that Tusques had conceived as a “people’s jazz workshop”. In 1981, at the famous Paris address, 28 rue Dunois, the pianist sang with his partner Carlos Andreu “Le Musichien”, an Afro-Catalan tale over an exceptional bass line from Jean-Jacques Avenel backed by percussion from Kilikus, saxophones from Sylvain Kassap and Yebga Likoba and trombone from Ramadolf which presented a myriad of constellations. The sky has no limits, let’s make the most of it.

“Les Amis d’Afrique” is recorded the following year, at the ‘Tombées de la Nuit’ festival in Rennes, bassist Tanguy Le Doré would weave with Tusques the fabric on which would evolve an explosive “brotherhood of breath”: Bernard Vitet on trumpet, Danièle Dumas and Sylvain Kassap on saxophones, Jean-Louis Le Vallegant and Philippe Le Strat on... bombards. With hints of modal jazz inspired by Coltrane or Pharoah Sanders, the Intercommunal Free Dance Music Orchestra is an ecumenical project which speaks to the whole world.

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Ivan Boogaloo Joe Jones

Snake Rhythm Rock

15,99 €*

Release: 1973 / US – Reissue

Genre: Organic Grooves

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Demon's Dance Tone Poet Vinyl Edition

Jackie McLean

LP | 1970 | EU | Reissue (Blue Note)

43,99 €*

LP | 1983 | EU | Reissue (Music On Vinyl)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Jackie McLean’s music weaved in and out of the avant-garde throughout the late-60s but the saxophonist maintained a decidedly post-bop edge on Demon’s Dance featuring trumpeter Woody Shaw, pianist LaMont Johnson, bassist Scott Holt, drummer Jack DeJohnette, and striking cover art by Mati Klarwein.

Blue Note Tone Poet Edition: Stereo, produced by Joe Harley, mastered by Kevin Gray from the original analogue master tapes, pressed on 180g vinyl at RTI, packaged in a deluxe gatefold tip-on jacket.

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Jaco Pastorius

Invitation

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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LP | 1981 | EU | Reissue (Music On Vinyl)

Jaco Pastorius

Word Of Mouth

LP | 1975 | EU | Reissue (Souffle Continu)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Word Of Mouth was the second album by virtuoso bassist Jaco Pastorius, released in 1981 while he was still a member of Weather Report. Word Of Mouth focused on his ability to compose and arrange for a larger band than was previously featured on his first self titled album from 1976 [MOVLP136]. The band's all-star cast included Herbie Hancock, Wayne Shorter, Peter Erskine, Jack DeJohnette, Michael Brecker, Don Alias and Toots Thielemans who is featured on harmonica on many of the songs.

180g vinyl.

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Jacques Thollot

Watch Devil Go

Soul On Top Verve By Request Edition

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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To write these few lines, we spoke to saxophonist François Jeanneau, an old friend of Jacques Thollot who also played on several of his albums, including the “Watch Devil Go” which interests us here. He told us a story which, according to him, sums up the personality of Thollot. A noted studio had reserved three days for a Thollot recording session. The first morning was devoted to sound checks and putting some order in the score sheets which Jacques would hand out in a somewhat anarchic manner. Then everyone went for lunch. When the musicians returned to the studio, Thollot had disappeared. He wasn’t seen again for the three days. When he reappeared, he had already forgotten why he had left, The music of Jacques Thollot is in the image of its’ author: it takes you somewhere, suddenly escapes and disappears, returning in an unexpected place as if nothing had happened.

Four years after a first album on the Futura label in 1971, Jacques Thollot returned, this time on the Palm label of Jef Gilson, still with just as much surrealist poetry in his jazz. In thirty-five minutes and a few seconds, the French composer and drummer, who had been on the scene since he was thirteen, established himself as a link between Arnold Schoenberg and Don Cherry. Resistant to any imposed framework and always excessive, Thollot allows himself to do anything and everything: suspended time of an extraordinary delicacy, a stealthy explosion of the brass section, hallucinatory improvisation of the synthesisers, tight writing, teetering on the classical, and in the middle of all that, a hit; the title-track - that Madlib would one day end up hearing and sampling.

“Watch Devil Go” was in the right place in the Palm catalogue, which welcomed the cream of the French avant-garde in the 70s. But it is also the story of a long friendship between two men. Jacques Thollot and Jef Gilson had known and respected one another for a long time. Though barely sixteen years old, Thollot was already on drums on the first albums by Gilson starting in 1963 and would play in his big band (alongside François Jeanneau once again), ‘Europamerica’, until the end of the 70s.

In a career lasting half a century and centred on freedom Jacques Thollot played with the most important experimental musicians (Don Cherry, Sonny Sharrock, Michel Roques, Barney Wilen, Steve Lacy, François Tusques, Michel Portal, Jac Berrocal, Noël Akchoté...) and they all heard in him a pulsation coming from another world. (Jérôme "Kalcha" Simonneau)

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James Brown

LP | 1970 | EU | Reissue (Verve)

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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LP | 1977 | CA | Reissue (Morning Trip)

James Newton

Flute Music

21,99 €*