Jazz | Fusion Vinyl 2950 Items

LP | 1978 | UK | Reissue (Spiritmuse)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Sonor Music Editions is proudly continuing the dive into the glorious Sermi catalogue, a renomated Italian Library label that released, between late 60s and early 70s, some among the most sought-after and insane records of the whole Library/Soundtrack genre. We're now excited to announce the first ever reissue of another Italian Library grail from the catalogue - originally issued in 1972 on Gemelli label. Sandro Brugnolini's masterpiece "utopia", originally pressed on a ridiculous run, and released on a beatiful tip-on sleeve reproducing painter Michel Seuphor's abstract art. The first official release after the recent maestro's passing, conceived with the great arrangements of Giorgio Carnini at the Hammond and piano, and the direction of maestro Franco Tamponi. A brilliant and inspired Jazz-Funk and Lounge Jazz session with just amazing sounds, driven by both dreamy and underground moods, Avant-garde Jazz refined orchestrations and gorgeous grooves.

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Abdullah Sami

Peace Of Time

Alice Coltrane with Pharoah Sanders

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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An ultra-rare, spiritual jazz Holy Grail from Abdullah Mudon Sami and
New York’s & Chicago’s late 70s underground jazz scene, that has acquired
mythical status.

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Journey in satchidananda

LP | 1971 | US | Reissue (Impulse!)

Takeshi Inomata & Sound Limited

Release: 1971 / US – Reissue

Genre: Organic Grooves

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Alice Coltrane’s Journey in Satchidananda, named for her spiritual adviser Swami Satchidananda, is just that: a journey: one of transition and transcendence; it is one of emotion, and one of being human and of divine flow.

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New Rock In Europe

LP | 1971 | JP | Reissue (Universal Music Japan)

Release: 1971 / JP – Reissue

Genre: Organic Grooves

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Sérgio Mendes & Brasil '66

Stillness

LP | 1970 | US | Original (A&M)

LP | 1971 | US | Original (Embryo)

Release: 1970 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: Generic

Vinyl with many scuffs and hairlines

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Jim Pepper

Pepper's Pow Wow

LP | 1982 | EU | Reissue (BeauMonde)

Release: 1971 / US – Original

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG

Cover has slight ring and edge wear. Vinyl has surface marks, but still plays VG+ with only little background noise.

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Fabriano Fuzion

Cosmik Sindika

Release: 1982 / EU – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: Near Mint

LP | 1982 | JP | Original (Liberty)

Earl Klugh

LP | 1978 | EU | Reissue (Tokuma)

Release: 1982 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: Near Mint, Cover: VG+

With OBI and insert. Cover is close to NM. Vinyl seems unplayed. Limited edition.

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Akio Niitsu

I/O(I･O)

Reflections Record Store Day 2024 Clear Vinyl Edtion

Release: 1978 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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(Japanese pressing, Official reissue) Brilliant synth prog weirdness from the late 1970s Tokyo. Recorded by the guitarist Akio Niitsu who was compared, not without reason, to Manuel Göttsching. Niitsu has a fairly small discography of only three full-length albums, but his second one - “Pet Step” - was on Tomita’s label and supposedly with the involvement of Haruomi Hosono (this is according to Chee Shimizu who lists it in his “Obscure Music”).

Akio Niitsu's first album, "i/o(i･o)" released in 1978, was produced in a homemade studio that had been converted from a storeroom in his home, and he spent three years doing everything from composition to engineering by himself, using overdubbed guitar recordings. 's first analog re-release has been decided.As a guitar multi-recording album, the idea was realized six years earlier than the album "e2-e4" released in 1984 by Manuel Göttsching, the central figure of "Ash La Tempel", but it was too early. A hidden experimental/ambient gem!The paradoxical sound that makes you feel as if you are lost deep in a labyrinthine forest, combined with Tadanori Yokoo's artwork, is a piece that allows you to enjoy Akio Niitsu's worldview with your ears and eyes.

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Amancio D'Silva

LP | 1971 | CZ | Reissue (Decca)

Release: 1971 / CZ – Reissue

Genre: Organic Grooves

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LP | 1972 | JP | Reissue (CBS/Sony)

Santana

Caravanserai

Through The Looking Glass

Release: 1972 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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Used Vinyl

Medium: VG+, Cover: VG+

OBI is missing. With insert. Vinyl is close to NM. 1974 reissue.

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Midori Takada

2LP | 1983 | EU | Reissue (WRWTFWW)

36,09 €* 37,99 € -5%

LP | 1977 | US | Reissue (Spin The Blues)

Release: 1983 / EU – Reissue

Genre: Organic Grooves

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2023 repress, limited to 500 with Original Stoughton Tip On Sleeve!

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Eddie C. Campbell

King Of The Jungle

36,09 €* 37,99 € -5%

LP | 1975 | UK | Reissue (Pure Pleasure)

Release: 1977 / US – Reissue

Genre: Organic Grooves

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* Originally released in 1977 * First ever reissue * Japanese Obi-strip * The jacket is reproduced based on the original edition Eddie C. Campbell was a great blues guitarist who competed with Magic Sam and other greats on Chicago's West Side on his purple Jazz master guitar. P-vine is proud to present the first ever reissue of his long underrated Chicago blues masterpiece, his recording debut released in 1977, in the same jacket and with the same specifications as the original.

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The Piano Choir

Handscapes Volume 2

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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Lol Coxhill & Totsuzen Danball

LP | 1983 | JP | Reissue (P-Vine)

Fred Frith & Totsuzen Danball

Release: 1983 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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Only a year after their collaboration with Fred Firth, Totsuzen Danball teamed up with English saxophonist Lol Coxhill to record this monster of an album! Reissued on analog vinyl for the first time ever!

Without DAWs and online file sharing (or really, the concept of online), Totsuzen Danball and Coxhill painstakingly sent each other tapes, overdubbing repeatedly to make the off-kilter rock and roll you hear on this album. Immediately, you can tell that every second of effort was worth it. The opening track “Moyou” (lit. pattern) is oddly charming, with a bouncing bassline, motorik-esque drum beat, and lyrics about being on all-fours at a pedestrian crossing. But Coxhill’s improvisations bring the song to another level, and as he squeaks notes out over a repeating guitar riff, you won’t be able to stop yourself from nodding your head.

Totsuzen Danball classic “Natsu wa Kagerou” (Also included on their first album, Can I?) also takes on a new dimension of freakiness when played with Coxhill, whose free improvisations seem to soar over the simple beat and vocals from Totsuzen Danball. Combined, they create a sound that is both pop and avant-garde, if only in spirit.

Reissued on analog vinyl for the first time ever, the collaboration between Totsuzen Danball and Lol Coxhill is new wave, avant-garde, and everything in between!

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

Masahiko Togashi / Don Cherry / Charlie Haden

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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Song Of Soil

LP | 1979 | EU | Reissue (Wewantsounds)

LP | 1970 | JP | Reissue (P-Vine)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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Wewantsounds is delighted to announce a special edition of the legendary 1979 Masahiko Togashi album "Song of Soil," recorded in Paris with Don Cherry and Charlie Haden and released on Japanese label Paddle Wheel. Supervised by Parisian producer Martin Meissonnier - then Don Cherry"s right hand man - "Song of Soil" reaches heights of spirituality mixing Eastern influences with jazz and deep ambient soundscapes. The album is reissued here with its original artwork and remastered by King Records in Japan. It includes the original Japanese 2-p insert plus a deluxe 8-page booklet featuring new notes (Eng/Fr) by Martin Meissonnier in conversation with Jacques Denis and also an Togashi Biography by Paul Bowler and never-seen photos by cult French photographer philippe gras who witnessed this unique session.

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Sonny Stitt

When Sonny Blows Blue

LP | 1977 | US | Reissue (Etats-Unis)

Release: 1970 / JP – Reissue

Genre: Organic Grooves

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Groove Diggers is delighted to present a reissue of When Sonny Blows Blue by the legendary saxophonist Sonny Stitt for the first time on limited edition vinyl. Originally released in 1970, this album featured a star-studded line-up with the likes of Herbie Hancock, Grady Tate and Ron Carter backing Stitt across a number of jazz standards. By force of its cast, ‘Summertime’ and ‘Out of This World’, have never sounded quite like this. The gold sleeve returns along with an iconic Japanese obi strip.

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V.A.

Blorp Esette Volume One

Release: 1977 / US – Reissue

Genre: Organic Grooves

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Los Angeles Free Music Society (lafms) formed in the mid-1970s as a loose-knit experimental music collective and multimedia publishing vehicle. Founded by teenage Le Forte Four members Chip Chapman, Joe Potts and Rick Potts and soon joined by Tom Recchion of Doo-Dooettes, Lafms incorporated free improvisation, modular synthesizers, tape music, sampling, musique concrète, homemade instruments, noise, mail art and avant-rock in permissive and anarchic sessions at the Raymond Building and Poo-Bah Record Shop in old Pasadena. Inspired by The Residents, Lafms self-released records and periodicals, organized performances and connected with fellow outsiders via post in the years before punk. Their uninhibited, egalitarian ideal of music-making and DIY distribution would influence generations of underground musicians. In 1977, Lafms released Blorp Esette, one of several compilations tracking the collective's growth and wild-eyed experimentation. Ace Farren Ford, an early Lafms recruit from the Poo-Bah circle, produced the album and solicited cover artwork by Don Van Vliet (Captain Beefheart). Ford appears in various configurations alongside members of Smegma, Le Forte Four and "unknown artist" (as the credit for more than one piece reads). The Residents, showing their affinity with Lafms, contributed "Whoopy Snorp" for their first non-Ralph Records release. Blorp Esette shows the artists grasping for new, non-idiomatic voicings and collaborative modes, anticipating Lafms affiliates and offshoots such as Airway, Human Hands and Monitor. A second volume would come out in 1980, featuring Ford's punk band The Child Molesters. If you're looking for the missing link between mid-'70s art practice and outsider music, then look no further. This first-time vinyl reissue is limited to 500 numbered copies. Comes with inserts.

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Ben Webster

Live At Pio's

Pan Afrikan Peoples Arkestra

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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A great small club date from Ben Webster – different than some of his European concerts of his final years, in that this one was done at a lounge in Rhode Island, and maybe has a bit more bite and focus overall! The tracks are short, and Webster gets superb rhythm accompaniment from the trio of Junior Mance on piano, Bob Cranshaw on bass, and Mickey Roker on drums – who really come out swinging, and push Ben to take some of his boldest solos of the period – plenty of bite throughout, and a fire that you don't always hear on his other 60s recordings. Titles include "Cookin For T", "Sunday", "Pennies From Heaven", "How Long Has This Been Going On", and "Gone With The Wind".

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Flight 17

LP | 1978 | UK | Reissue (Pure Pleasure)

Sextet: Music From The Source

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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Horace Tapscott's Pan-Afrikan Peoples Arkestra (P.A.P.A.) was one of the most transformative, forward-thinking and straight-up heavy big bands to have played jazz in the 1960s and 1970s. If P.A.P.A. doesn't have the interstellar rep of that other famous Arkestra, and if the name Tapscott doesn't ring bells like Monk or Tyner, there's a reason why: in an industry dominated by record labels, a band that doesn't record doesn't count. And the Pan-Afrikan Peoples Arkestra didn't record for nearly twenty years. But recording success was never their concern -- they weren't about that. First formed as the Underground Musicians Association in the early 1960s, Tapscott always wanted his group to be a community project. From their base in Watts, Ugma got down at the grassroots. The group was renamed the Pan-Afrikan Peoples Arkestra in 1971, and soon after they established a monthly residency at the Immanuel United Church of Christ which ran for over a decade, while still playing all over LA and beyond. But they never released a note of music. It was the intervention of fan Tom Albach that finally got them on wax. Determined that their work should be documented, Albach founded Nimbus Records specifically to release the music of Tapscott, the Arkestra, and the individuals that comprised it. The first recording sessions in early 1978 yielded enough material for two albums, and the first release was "Flight 17". The album commences with the magnificent title track. It is effectively in three parts. It begins with unaccompanied pianos. Then the ensemble embark on a dense, circular and mechanical movement, a platform for horns and pianos to swoop and dive. We return to Earth with a beautiful solitary flute. The second track, the piano-centric, "Breeze" is different to "Flight 17" in intensity and also brevity but it is quietly as daring as the title track. It concludes with a moving lush wash from the full Arkestra, which sound almost like strings only more substantial. These first two tracks take full advantage of the texture of the unusual mix of the various instruments. Next though, it’s a significant change with "Horacio", which is an exuberant Latin infused jingle. It’s unlike anything else on the album. I like to think it was named after the conductor’s Cuban alter-ego! "Clarisse" gracefully switches between slow blues and bop and is bookended with a grand vaguely East Asian theme. The busy bass line introduces "Maui". As with the previous track, it moves between a number of contrasting melody lines and rhythms but there’s still space for a tuneful sax solo. This is a must-have album. I think the first two tracks on their own make this essential release.

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Cecil McBee

LP | 1978 | UK | Reissue (Pure Pleasure)

Music Inc.: Live At Slug's Volume 2

Release: 1978 / UK – Reissue

Genre: Organic Grooves

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Recording with a sextet at the New York jazz club Sweet Basil in August 1977, McBee’s band included Chico Freeman on reeds, Dennis Moorman on piano, Joe Gardner on trumpet, Steve McCall on drums, and Famoudou Don Moye on percussion. Two complete albums of music were released by Enja Records from this engagement, the ground breaking recordings "Music From The Source" [1978] and "Compassion" [1979]. »Few groups today sound as fresh, generate as high an emotional charge, or leave as lasting an impression as McBee’s sextet,« Chris Albertson wrote upon the release of these recordings. »It is as if each member were a unique piece of a puzzle, carefully placed to complete precisely the breath taking picture intended. The music is adventurous enough to satisfy any aural daredevil who has not completely lost his or her sense of beauty, yet all the basic jazz values have been preserved with due reverence.«

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Charles Tolliver

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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Owning both this disc and "Live at Slugs', Volume 1" is essential for hardcore Jazz fans. Part two of the Slugs' date is just as impressive and again feature three originals all penned by the group. Here we get a better example of Tolliver's compositional work with the touching Coltrane tribute "Our Second Father". Again Tolliver's trumpet is simply stunning. The rhythm section of Cecil McBee and Jimmy Hopps also deserve mention as these two really drive the quartet along in a similar fashion to Garrison and Jones did with Coltrane. The McBee original Wilpan's also highlights the strength of McBee's writing and is probably the pick of the tunes here.

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Stanley Cowell

Musa-Ancestral Streams

Shamek Farrah & Sonelius Smith

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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"Musa-Ancestral Streams" remains a relative oddity in the pantheon of jazz's black consciousness movement -- a solo piano set of stunning reach and scope, its adherence to intimacy contrasts sharply with the bold, multi-dimensional sensibilities that signify the vast majority of post-Coltrane excursions into spiritual expression, yet the sheer soulfulness and abandon of Stanley Cowell's performance nevertheless vaults the record into the same physical and metaphysical planes. Cowell's energy and touch are remarkable, as if guided by divine power, and for all the music's structural spaciousness and rhythmic freedom, not a note feels out of place, let alone excessive. Most intriguing is "Travelin' Man", an overdubbed 'duet' featuring Cowell on both acoustic and electric piano that underscores his uncommon affinity for space and presence.

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The World Of The Children

LP | 1977 | UK | Reissue (Pure Pleasure)

LP | 1983 | UK | Reissue (Pure Pleasure)

Release: 1977 / UK – Reissue

Genre: Organic Grooves

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An amazing session of spiritual soul jazz – and one of the rarest albums on Strata East! Shamek Farrah's soulful alto is matched with the free spiritual piano of Sonelius Smith, for a totally memorable session that virtually defines the essence of the Strata East sound! The music is free, but not too free; lyrical, but never indulgent; and always turning over with a fresh sense of imagination, and a soaring groove that's very much in the classic Strata East mode!

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Nate Morgan

Journey Into Nigrita

LP | 1981 | UK | Reissue (Pure Pleasure)

Release: 1983 / UK – Reissue

Genre: Organic Grooves

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At the dawn of the Reagan years, LA jazz pianist Nate Morgan recorded his first album for Nimbus West. "Journey Into Nigritia" portrays an artist marked by the icons of his day, and striving for reinvention. Although he came from a solid jazz background, coming up through the Pan Afrikan People's Arkestra, Morgan found more exciting work with pop bands in the seventies, including glory years with Rufus w/Chaka Khan. On "Journey Into Nigritia", Morgan re-embraces jazz. Included in the band are Jeff Littleton on bass, Fritz Wise on drums, and Dadisi Komolafe on alto sax. The collection opens with the Trane-ish "Mrafu". Komolafe blasts off in short order, and while the modal chording recalls Tyner, Morgan shows flashes of the nimble loquacious gift that define him. While Alice Coltrane incense perfumes "Morning Prayer", Morgan's devotional sincerity and personnel expression triumph. Suitably complex with yearning minors, "Mother" features the trio performing a memorable composition. Littleton's deep-note sustain contrasts Wise's shimmering cymbals, while Morgan tells heart-wrenching truth. With a somewhat solemn theme, "He Left Us A Song" regularly bursts through into straight-ahead fast break sprints up and down the court. The unexpected "Study In C.T." offers an homage to Cecil Taylor and Morgan's musical roots with free improvisations on a dense and spiky theme. The exhilarating result has Morgan exploring his own way, with a winking slinging of jagged bass chords halfway through. While a quarter century's experience has nurtured Morgan's prodigious gifts beyond this ambitious debut, "Journey Into Nigritia" offers enjoyable insights into his artistic evolution, while adding another precious title to the discography of one of the most woefully under-recorded greats of our time. Review by Rex Butters

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Creative Arts Ensemble

One Step Out

LP | 1983 | UK | Reissue (Pure Pleasure)

Release: 1981 / UK – Reissue

Genre: Organic Grooves

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One of the most sought after and highly-regarded titles to have appeared on Tom Albach's celebrated Nimbus West imprint, "One Step Out" is a timeless work of spiritualized jazz. A true gem from the Los Angeles jazz underground, the album was pianist and composer Kaeef Ruzadun Ali's first recording as leader of the Creative Arts Ensemble, the only large ensemble group that emerged directly from Horace Tapscott's legendary Pan Afrikan Peoples Arkestra community jazz group. A Los Angeles native, Kaeef was introduced to the Tapscott circle in the late 1970s. His first experience of the Arkestra's ethos was through Papa tenorist Michael Session, who took him to the famous "Great House" at 2412 South Western Ave., LA -- a large mansion house which members of the Arkestra had taken over as a space for communal living. Life in the Great House was a continuous stream of music, dance and community events. »When I walked in there,« recalled Kaeef, »it was like this whole rush came over me, just from going in the front door -- It was like a very, very warm feeling of love. I went and I came out with "Flashback Of Time", and that was my first arrangement.« Kaeef quickly became a significant contributor of compositions to the Arkestra's songbook -- his piece "New Horizon" would be recorded by Horace Tapscott for the latter's Tapscott Sessions series. But "Flashback Of Time" would eventually appear on "One Step Out", played by the new group he had put together from stalwart Arkestra members. Inspired by both Tapscott's example and by the Art Ensemble of Chicago, Kaeef had wanted to follow their lead by assembling a larger unit. Featuring seasoned Arkestra regulars including reedsman Dadisi Komolafe, drummer Woody "Sonship" Theus and altoist Gary Bias, with veterans Henry "The Skipper" Franklin on bass and George Bohannon on trombone, "One Step Out" is a key document of the Los Angeles radical jazz underground. Featuring the sanctified vocals of Kaeef's sister, B. J. Crowley, the album is a tour de force of spiritually energized independent jazz music.

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Rickey Kelly

Limited Stops Only

Music Inc.: Live At Slug's Volume 1

Release: 1983 / UK – Reissue

Genre: Organic Grooves

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Born in San Francisco, Rickey Kelly moved to Los Angeles in 1982. I first heard Rickey on the local Jazz station and that haunting sound on vibes was just too much to resist. He was working at Hughes Aircraft and didn't have time for gigging in the evening. He had to take care of his family which numbered about six children. I began booking his band soon after meeting him. An artist this blessed should not be working a day job I thought. Rickey soon quit his job at Hughes aircraft and began performing full time. Rickey stayed in his apartment for long periods of time just practising. He often mentioned to me that he needed to stay in isolation to keep his music pure. During Rickey's stay in L.A. he had worked with all the great jazz and R'n'B bands. Musicians like altoist Bobby Watson, the legendary drummer Billy Higgins, The Jazz Crusaders, pianist Ahmad Jamal, and one of the most popular artists of his generation Marvin Gaye, often called on Rickey to perform with their bands. As great as these artists were, the addition of Rickey Kelly on vibes seemed to make their music better. Because of his isolation Rickey's music has developed a uniqueness and purity of sound that transcends styles. One reviewer described it as a »childlike quality, a profound innocence«. Relax and listen closely. This is music with a purpose.

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Charles Tolliver

Ruben Rada & Eduardo Mateo

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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Where have you gone, Charles Tolliver? There was such promise in the concept of Music Inc., and in Strata East, but evidently the music world's attention was elsewhere and this tremendous live set was probably heard by only a few hundred sets of ears. On the back of the record sleeve, Tolliver undersigned his mission statement: »Music Inc. was created out of the desire to assemble men able to see the necessity for survival of a heritage and an Art in the hopes that the sacrifices and high level of communication between them will eventually reach every soul.« And he isn't kidding. You won't find a much higher level of communication than he, Cecil McBee, Stanley Cowell, and Jimmy Hopps engaged in on May 1, 1970 at Slugs' in New York City. This was much more than an attempt to merely 'preserve acoustic jazz' as in the stilted Marsalis vein. This was an attempt to preserve a measure of authenticity while maintaining the notion of forward-thinking, present-tense improvised music. They deserved a greater response than the lukewarm, sparse applause they received that night, and continue to deserve a far more cognizant audience for their efforts. Tolliver ('Drought"), McBee ("Felicite"), and Cowell ("Orientale") each contribute a track to the set; though very much distinct, each is equally strong. "Drought" is the kind of dark-hued, well-honed burner which Tolliver routinely produced in his fertile years. "Felicite" is a more contemplative affair, a deeply felt and empathically performed piece; the unit here is in particularly sublime form, merging considerable skill with a staggering depth of emotion. "Orientale" falls somewhere in between the pace of the two, with Cowell's Eastern scales establishing an austere, industrious tone throughout its seventeen-and-a-half-minute length. Through its duration, the music on Live at Slugs' is often riveting and incessantly compelling. Hopps is a lesser-known entity to me, but the other three players featured here are some of the all-time underrated presences in the jazz pantheon, and they play nothing short of masterfully. Always a presence on his recordings, Tolliver demonstrates tremendous range, flair, and command as a trumpeter and leader. Had he not come along at a time when pure jazz was falling out of favour, I have to believe his name (along with Woody Shaw's) would be every bit as prolific as Freddie Hubbard's or Lee Morgan's; the same holds for the always brilliant and expressive McBee on bass. I feel saddened that Music Inc. fell so far short of »eventually reach[ing] every soul« - yet fortunate that it eventually reached mine. RYM

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Botija De Mi Pais

LP | 1987 | EU | Reissue (Little Butterfly)

LP | 1979 | UK | Reissue (Pure Pleasure)

Release: 1987 / EU – Reissue

Genre: Organic Grooves

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Recorded between 1985 and 1987, this album brings together the two founders and leading performers of candombe-beat, Ruben Rada and Eduardo Mateo. They hadn´t collaborated in a project since 1969. Both artists had reached their creative prime, with Mateo having released “Cuerpo y Alma” and Rada, “La yapla mata” (which included the classic song ‘Tengo un candombe para Gardel’). 140 gram vinyl with OBI & Insert This initiative sprang from the artists themselves. But when it was time to create, they rarely got together in the studio, preferring to work on their own. Once finished, the album failed to make an impact, since neither of them promoted it. This revival brings that semi-hidden treasure to light. It includes two tracks of the artists strictly performing a duet, the only recordings of Mateo and Rada working alongside each other and no one else. It also contains two additional tracks where you can relish Rada accompanied by Mateo’s guitar and Mateo backed by Rada’s percussion. It includes a track where Mateo commands the instruments (as in Mateo solo bien se lame) and another with Rada’s solo on vocals and percussion. There are instances when Rada’s band of that moment and “super-group” (with Osvaldo Nolé on keyboards, Ricardo Lew on electric guitar, Urbano on the bass and Osvaldo Fattoruso on drums), makes an appearance. Sometimes, Urbano comes forth as lead singer, completing the triad of singers of “El Kinto”. All excellent songs. This album is exceptional and one-of-a-kind, an overflow of talent, musicality, swing, imagination, rhythm, spark, and transcendence. Guilherme de Alencar Pinto

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Babatunde And Phenomena

Levels Of Consciousness

LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 1979 / UK – Reissue

Genre: Organic Grooves

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This reissue of an LP cut for the Theresa label contains plenty of exciting music. Percussionist Babatunde Lea takes stirring solos and constantly inspires the ensembles and soloists during a generally high-powered set. The musicians were all based in San Francisco at the time, including guest soloists trumpeter Eddie Henderson and trombonist Julian Priester. The music is Afro-Cuban jazz with bits of 1970s electronics and funk added to the mix. But despite some R&B-ish vocals (which dominate a bit during the last few tracks) and commercial moments, the music is excellent, there are some strong solos.

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Idris Muhammed

Kabsha

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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Rahsaan Roland Kirk

Blacknuss

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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As deep as a soul record can be and as hot as any jazz record has a right to call itself. deep

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Cecil McBee

Mutima

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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A landmark recording in early creative improvised modern music, bassist Cecil McBee's recording for the Strata East label is an important document introducing him as a leader from the international jazz-based scene in New York City via his native Tulsa, OK and following a brief mid-'60s stint in Detroit. McBee as a pure musician has staggering technique, rich harmonic ideas, and an indefatigable swing, but it is as a composer that he is set apart from other musicians of this mid-'70s era. "Life Waves" is a stunning piece of composed and improvised music, with a brief clarion horn section setting off McBee's chordal strumming and harp bop drive. Trumpeter Tex Allen's brash lines, the incendiary tenor saxophonist George Adams, and more thoughtful alto saxophonist Allen Braufman dig into hefty but contrasting solos, while drummer Jimmy Hopps stokes the coals. The other premier piece, "Mutima", has a soaring longer melody switching on and off onto a samba palate that is pretty, beautiful, and much more introspective than other wild and woolly cuts. The legendary but under recognized flutist Art Webb shines on the floaty free "A Feeling", and the atypical but wholly contemporized "Tulsa Black", a portent to the music that would be made later in this time period by Sonny Fortune, and featuring the wah-wah electric bass guitar work of Cecil McBee, Jr. The two-minute "Voice Of The Seventh Angel" sports the disparity of a complex arrangement alongside the beautiful singing of a young Dee Dee Bridgewater, while the marathon "From Within" has McBee performing solo, but overdubbed on two basses in opposite stereo channels, using serene long-toned arco and static pizzicato in arresting sounds that meld into a bridge squawk reminiscent of the saxophone playing of bandmate Adams. In retrospect, McBee's great career was ostensibly launched well before this recording, having worked with prominently with Charles Lloyd, Alice Coltrane, Pharoah Sanders, Yusef Lateef, Charles Tolliver, and countless others. "Mutima" (translated as "unseen forces") undoubtedly solidified his stature and brilliance as a major player.

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Stanley Turrentine

Sugar

LP | 1981 | US | Reissue (Pure Pleasure)

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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Recorded: November 1970 in Rudy Van Gelder Studios, Englewood Cliffs, NJ, USA

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Adele Sebastian

Desert Fairy Princess

Release: 1981 / US – Reissue

Genre: Organic Grooves

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Adele Sebastian was an Afro American jazz flutist and singer, active from the early 70s (when she was still a teenager) until her untimely death at the age of 27 (!) in 1983 from a kidney failure. In fact she had been depending on monthly dialysis to stay alive for years. She lived through and for the music and you can hear it on her only solo album “Desert Fairy Princess” which was first issued in 1981. The mostly acoustic instrumentation brings a very natural and therefore rather retrospective sound considering the year the album was recorded. Adele and her band pull it off right from the start as if it had been 1966 and it was time for a revolution to shake the dust from the old time jazz. In a perfect way she mixes classic American vocal jazz elements with playful and more free passages, Latin music and tribal African sounds in the lengthy and quite rhythm oriented “Man From Tanganyika” and makes the title track start with a mystical “Allahu akbar“ chant while it turns more and more into a dark and gloomy song with something like a psychedelic edge reminiscent of Pharoah Sanders on his early works. Wild rhythms from drums, percussions with tons of bells and chimes weave a thick groove carpet and conjure a magical atmosphere. Those jazz aficionados who love the mid 60s John Coltrane, his sidekick Pharoah Sanders and Alice Coltrane will go crazy for this album.

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Charles Brackeen

Rhythm X

LP | 1980 | UK | Reissue (Pure Pleasure)

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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On this record, the little-known Charles Brackeen brings his saxophone to a party with most of Ornette Coleman's band. As might be expected, while Brackeen certainly holds his own, it's Ornette's boys who bring the thunder, playing around Brackeen's muscular alto as if they were a gang jumping on a new member. Haden's bass playing provides the frantic pulse, here and there ceding the stage to Blackwell's flexible drumming and dropping out to provide rolling sheets of sound by bowing his instrument. Brackeen and Cherry wrestle across this solid bedrock, with results that are often surprising and never short of beautiful.

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John Hicks

Hells Bells

An Evening With The Devil

Release: 1980 / UK – Reissue

Genre: Organic Grooves

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John Hicks (1941-2006) gave much to jazz over several decades but never really received the appreciation he so richly deserved. As a pianist, he proved himself in the Art Blakey and Betty Carter universities. He was also the prototypical musician's musician, a first-call pianist for many jazz greats and a magnificent accompanist to the art's best saxists, including Pharoah Sanders, Arthur Blythe, Chico Freeman, Archie Shepp, and David Murray.
He was often accused of hovering in McCoy Tyner's shadow, which is unfair and untrue. But he evinced a great fondness for Coltrane's music and was often heard on many a Coltrane tribute, showing affection for the saxophonist and his appreciation for Tyner's contribution to Coltrane's finest music.
Another facet of John Hicks' career, which gets even less attention than his wondrous playing, is his ability to craft identifiable compositions that are wandering and melodic, suggestive and malleable yet memorable all at once.
It would be difficult to conceive the ideal tribute to John Hicks. As a jazz contributor, he wasn't easily pigeon-holed. While he was always a (straight) jazz player, he skirted the edges of free jazz and pure romanticism that neither side ever appreciates in the other. But both camps could find moments of joyous life in all the ways Hicks chose to express himself. He was an unmistakably perfect accompanist in any mode.

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Wendell Harrison

Release: 1972 / UK – Reissue

Genre: Organic Grooves

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»The compositions we play are reflective of the music of our times whereby we play Jazz, Rock, and African music with its poly or many rhythms. I wrote all the tunes on this particular LP and it is written as a suite in 5 movements which means that the music can be performed along with poetry and dancers. On our last LP called “Message From The Tribe” we featured the compositions of our very talented composer, arranger, and trombonist Phil Ranelin. On one side he wrote all the compositions and on the flip side I wrote all the tunes. This album was produced by us on the Tribe record label. As far as the music on “Evening With The Devil” is concerned it really speaks for itself. In addition to the music it features some relevant poetry by two very talented young poets named Oba and Vajava who are also members of a very excellent theatre group in Detroit called The Black Messengers.«
Extract from the sleeve notes of this album by Wendell Harrison.

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Music Inc.

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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The remarkable Music, Inc. Big Band remains the apotheosis of trumpeter Charles Tolliver's singular creative vision. Rarely if ever has a big band exhibited so much freedom or finesse, while at the same time never overwhelming the virtuoso soloists on whom the performances pivot. Built around the core of Tolliver, pianist Stanley Cowell, bassist Cecil McBee, and drummer Jimmy Hopps, the music boasts the kind of give-and-take born equally of talent and telepathy -- each player seems to communicate with his colleagues on a higher plane, delivering performances to rival any in their careers. Tolliver in particular plays like a man possessed, summoning an energy and clarity that slice through the big, bold arrangements like the proverbial hot knife through butter.

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Phil Ranelin

Vibes From The Tribe

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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Phil Ranelin was a session trombonist recording with the likes of Steve Wonder before setting up the Tribe label with Wendell Harrison in Detroit.
Like other contemporary artist run labels like Strata East and Black Jazz, Tribe releases were characterised by a heady mix of post Coltrane free jazz, soul and funk, all informed by a strong political conscience.
"Vibes From the Tribe" is a fine record. The title track is lusciously, greasily funky and stands in pretty stark contrast to the kind of airbrushed fusion that was in vogue at the time. "Sounds From The Village" is even better (and dirtier), showcasing Ranelin's oily trombone gymnastics and a viciously fuzzed guitar solo. "Wife" features Phil's singing and is oddly reminiscent of Frank Zappa's writing on "Sleep Dirt"; an affecting, snaking melody topped off with a beautiful solo from the leader, whose playing here has the grace of Bob Brookmeyer coupled with the agility of George Lewis.
"He The One We All Knew" is the obligatory Coltrane tribute and is a trip into the kind of groove based free playing typical of Pharoah Sanders, though only really picks up when the band launch into post bop swing mode in the last six minutes or so, provoking another fine Ranelin solo. Bassist Ralph Armstrong is particularly strong here; his brief solo passages are a wonder of agility and tough lyricism that make me wonder why he's not better known. Other highlights come from the mellifluous flute of Wendell Harrison. Beautiful stuff, and it's good to know that Ranelin is still at work even now. Essential.

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Billy Harper

Capra Black

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Shamek Farrah

First Impressions

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Harold Vick

Don't Look Back

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Norman Connors

Love From The Sun

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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Cecil Payne

Zodiac

Billy Parker's Fourth World

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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It's impossible to talk about this album without acknowledging the spectre of death that hangs over it - not only is it the third entry in Strata-East Records' Dolphy Series, a collection of archival recordings from some of the label's close associates honoring the recently deceased multi-instrumentalist, but it is actually dedicated to two members of the band, Wynton Kelly and Kenny Dorham, who died in between the recording sessions and its release. The point is driven home even further by the fact that the album begins with a tribute from Payne to the fallen Martin Luther King, Jr., a piece that acts as a de facto solo for Dorham - his playing all rosy elegance and regal warmth - before shifting into the lighter (though equally coolly-paced) "I Know Love," a showcase for Payne's sax. While not the most somber jazz track ever recorded, this opening suite is a low-key and mournful way to open the affair, but thankfully the album really picks off and shows these musicians more in their element the rest of the way.

"Girl, You Got a Home" is a funky piece, beginning very soulfully with some tight interplay among the rhythm section of Kelly, bassist Wilbur Ware and drummer Albert Heath. Ware is in especially fine form on this track, tying together the disparate passages of the piece by grounding the more ponderous moments in a deep funk, while Kelly's playing is especially ear catching in the way he stabs at his piano like it's an organ. After the first two tracks take up nearly twenty minutes, the four-minute "Slide Hampton" feels almost impossibly brief, a feeling that's enhanced by its quick, jittery, and infectious rhythm, driven by some really dexterous work from Kelly. The final track, "Flying Fish," may be the album's highlight, a Caribbean-inspired composition that casts the rhythm section as flighty ground for both Payne and Dorham to vamp on. The track is oddly danceable for something released on Strata-East, maybe the most fun moment ever for the label, and relentlessly uptempo. Though this release may be in part defined by the deaths that preceded it, it's clear that the recording process was actually a lot of fun for everybody, as their enthusiasm and energy jumps right out of the speakers. This is one of the first Strata East records I really got into and is still one of my favorites, a must-hear for any fans of the flightier moments of Dorham or Kelly's career, and a fitting tribute for both master musicians.

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Freedom Of Speech

LP | 1975 | UK | Reissue (Pure Pleasure)

Descendants Of Mike And Phoebe, The

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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Most of the musicians who gathered to record this fantastic spiritual jazz record for the Strata-East label on May 24th, 1974 had crossed each other's paths in various musical pairings over the preceding few years. Husband and wife team Dee Dee Bridgewater (vocals) and Cecil Bridgewater (trumpet) had been working together on albums like Frank Foster's "Loud Minority", and Roy Ayers' "Coffy" and "Virgo Red". Ten weeks before the "Freedom Of Speech" session, the couple had been joined in Tokyo by Cecil's brother Ronald Bridgewater (tenor saxaphone) to record Dee Dee's debut album, the beautiful "Afro Blue". Also in the studio on May 24th, 1974 was Donald Smith, (piano, vocals), fresh from recording on his older brother Lonnie Liston Smith's "Cosmic Funk" - on which Ronald Bridgewater had also played percussion. Cecil McBee (bass) was also there - just two weeks before, he'd completed his own Strata East date "Mutima", and in February he'd played on Mtume's "Rebirth Cycle" - with both albums also featuring Dee Dee Bridgewater on vocals. He'd also played on Lonnie Liston Smith's "Astral Travelling".
So 1974 was a huge year for all five of these people. Donald Smith and Cecil McBee were six months away from recording on Lonnie Liston Smith's massive "Expansions", with McBee fitting in a few Pharoah Sanders albums in between.
AND THEN, THE MYSTERY ... So with all this fervent activity, the question has to be asked ...Who was Billy Earl Parker Jr (drums), the leader of this session?
Billy Parker remains unlisted as a musician on all major jazz sites. His only other recording appears to be as a percussionist on Charles Tolliver's "Impact" in 1975.

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A Spirit Speaks

Release: 1974 / UK – Reissue

Genre: Organic Grooves

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One of the most unique albums on the Strata East label – and that's saying a heck of a lot, given the creative energies flowing through that legendary jazz outlet! "Descendents Of Mike & Phoebe" is a righteous little project put together by Spike Lee's father, Bill Lee, and his brothers and sisters (Cliff Lee, Grace Lee Mims, and Consuela Lee Moorhead) – working here in a group named after their slave ancestors, who are paid tribute in a beautifully flowing batch of tunes! Lee's round, warm bass tones are firmly at the head of the group on most numbers – recorded at a similar level to his excellent work with Clifford Jordan on Strata East during the same time – and other instrumentation includes piano from Consuela, flugelhorn from Cliff, and percussion from Sonny Brown and Billy Higgins – all used in a wonderfully evocative style that's even better than some of Lee's later soundtrack work. A few numbers feature vocals from Grace – singing wordlessly and with a really heavenly sort of quality – and together, the whole group have an undeniable sense of power and majesty, yet also one that's touched by a really personal sense of poetry too. Titles include a great version of Lee's "Coltrane", which was more famously recorded with Clifford Jordan.

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Freddie Hubbard

Straight Life

Release: 1971 / UK – Reissue

Genre: Organic Grooves

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Milt Jackson

Sunflower

Thad Jones & Mel Lewis Orchestra

Release: 1973 / UK – Reissue

Genre: Organic Grooves

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Recorded over two days in December of 1972 at Rudy Van Gelder's Englewood, New Jersey home studio, vibraphonist Milt Jackson's "Sunflower" is the first -- and best -- of his three albums for Creed Taylor's CTI imprint. (And one of the finest offerings on the label.) With a core band consisting of Herbie Hancock (playing electric and acoustic piano), bassist Ron Carter, drummer Billy Cobham, trumpeter Freddie Hubbard, drummer/percussionist Ralph McDonald, and guitarist Jay Berliner. A chamber orchestra exquisitely arranged and conducted by Don Sebesky adorns the session as well. Jackson's "For Someone I Love", opens the five-tune set, with Berliner playing solo flamenco guitar before the vibes, trumpet, and elements from the chamber orchestra delicately, impressionistically color the background. It gradually moves into a languid, bluesy ballad that slowly gains in both texture and dynamic until the strings trill tensely. Hubbard and Hancock engage them in solos that gently swing out the tune. The reading of Michel Legrand's "What Are You Doing for the Rest of Your Life" is a gorgeous showcase for Jackson; his solo dominates the arrangement. Carter gets downright funky on his upright to introduce Thom Bell's "People Make The World Go Round," and Hancock follows him on Rhodes. Jackson takes the melody, striking a layered contrast as Hubbard slips around all three playing an extension of the melody with requisite taste, fluidity, and taut phrasing. Hancock gets funky to the bone in his brief solo, as the vibes soar around and through his phrases. The title track is a Hubbard composition that floats and hovers with a Latin backbeat before shifting tempos as the solos begin. The expanded harmonic palette of trumpet with the reeds, woodwinds, and strings on the melody add an exotic textural palette for his solo. Jackson's "SKJ" closes the set with an old-school, swinging hard bop blues with barely detectable embellishments by Sebesky. While "Sunflower" sometimes feels more like a group session rather than a Jackson-led one, that's part of its exquisite beauty.

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Consummation

LP | 1970 | UK | Reissue (Pure Pleasure)

Release: 1970 / UK – Reissue

Genre: Organic Grooves

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LP | 1975 | UK | Reissue (Pure Pleasure)

Stan Getz

Captain marvel

LP | 1974 | JP | Reissue (P-Vine)

Release: 1975 / UK – Reissue

Genre: Organic Grooves

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limited remastered edition 180 gram vinyl

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Mulatu Astatke

Ethio Jazz

2LP | 1975 | EU | Reissue (BBE Music)

Release: 1974 / JP – Reissue

Genre: Organic Grooves, Rock & Indie

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"Ethio Jazz" is an album released by the Ethiopian master musician Mulatu Astatke in 1974 on his homeland Ethiopia's Amha Records. It stands as a milestone not only in his career but also in the history of contemporary Ethiopian music, continuing to shine brightly. With melancholic melodies played by wind instruments, a polyrhythmic rhythm section creating robust waves, sultry vibes from the vibraphone, and smoky organ tones, the album is enveloped in the sounds of jazz inherited from the States. This work, where various musical elements are miraculously fused in perfect balance, undoubtedly reigns at the pinnacle of Ethio Jazz, showcasing Mulatu's ambitious creativity in seeking out new sounds.

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Larry Nozero

Time

Release: 1975 / EU – Reissue

Genre: Organic Grooves

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LP | 1975 | US | Reissue (Craft)

Azar Lawrence

Summer Solstice

Release: 1975 / US – Reissue

Genre: Organic Grooves

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Lonnie Liston Smith & The Cosmic Echoes

Cosmic Funk

LP | 1974 | Reissue (Real Gone Music)

Release: 1974 / Reissue

Genre: Organic Grooves

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Lonnie Liston Smith & The Cosmic Echoes

Astral Traveling

LP | 1973 | Reissue (Real Gone Music)

Release: 1973 / Reissue

Genre: Organic Grooves

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LP | 1988 | UK | Reissue (Pure Pleasure)

David Murray

Lucky Four

Release: 1988 / UK – Reissue

Genre: Organic Grooves

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LP | 1974 | JP | Reissue (Groove Diggers)

Weldon Irvine

In Harmony

LP | 1973 | EU | Reissue (Verve)

Release: 1974 / JP – Reissue

Genre: Organic Grooves

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* Originally released in 1974 on the famed spiritual jazz label Strata-East * New remastering * Japanese Obi-strip In Harmony' is the fourth album by American jazz pianist and composer Weldon Irvine, released in 1974 on the famed spiritual jazz label Strata-East and acclaimed as one of his finest catalog in his early career. P-vine delightedly presents this great jazz album with new remastering just for this reissue!

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Sun Ra

Space Is The Place

LP | 1978 | JP | Reissue (P-Vine)

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Space Is The Place – highlighted by the rousing 21-minute title track – is both an essential album and a great onramp for new listeners to travel the spaceways of Sun Ra’s other-worldly blend of avant-garde jazz, experimental rock, and Afrofuturism.

Verve BY Request Series: remastered, audiophile-quality 180-gram vinyl from Third Man Pressing/Detroit, gatefold sleeve.

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Les DeMerle

Transfusion

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

Release: 1978 / JP – Reissue

Genre: Organic Grooves

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P-vine is proudly reissuing a classic album of rare groove released by West Coast-born funky drummer Les Demarle at the height of his career in the 1970s, "Transfusion" with a Japanese OBI strip!

This is a studio recording in 1977 on the jazz label called "Dobre Records", which was run by Ray Lawrence. The introductory drum break to 'Moondial' has been sampled by many artists including Jurassic 5's 'Lesson 1', De La Soul's 'Stone Age', DJ Shadow and Greyboy. Other jazz funk tracks such as 'Canned Heat Suite' and 'Kaballa', and the bewitching Afro-latin funk of 'Bacchanal', this is a funky fusion full of groovy tracks throughout the album.

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Fusion

Top Soul

Surgeon Of The Nightsky Restores Dead Things Byteh Power Of Sound

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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Jon Hassell

LP | 1987 | EU | Reissue (Intuition)

35,14 €* 36,99 € -5%

Release: 1987 / EU – Reissue

Genre: Organic Grooves, Electronic & Dance

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

Giovanni Tommaso

Indefinitive Atmosphere

35,14 €* 36,99 € -5%

Spectrum Crystal Clear Vinyl Edition

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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Billy Cobham

LP | 1973 | EU | Reissue (Warner)

Art Pepper Meets The Rhythm Section

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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Reissue as a part of the Start Your Year Off Right Kampagne von Warner. Gepresst auf 140g Crystal Clear Vinyl, mit direct to board gatefold jacket / black poly-lined sleeve / Syeor sticker. Cobham's debut record after making a name for himself collaborating with Miles Davis and the Mahavishnu Orchestra remains a remarkable moment in progressive jazz. "Stratus" would later be sampled on Massive Attack's "Safe From Harm" and featured in Grand Theft Auto IV radio. (Original RD: October 1973)

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Art Pepper

LP | 1974 | JP | Reissue (Contemporary)

2LP | 1985 | EU | Reissue (ECM)

Release: 1974 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Japanese pressing without OBI, but with insert.. Copy close to NM.

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Mark Turner

Return From The Stars

Release: 1985 / EU – Reissue

Genre: Organic Grooves

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LP | 1971 | EU | Reissue (Wewantsounds)

Yamash'ta & The Horizon

Sunrise From West Sea

LP | 1972 | EU | Reissue (Wewantsounds)

Release: 1971 / EU – Reissue

Genre: Organic Grooves

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Wewantsounds is delighted to announce the first-ever release 'Sunrise From West Sea', a mesmerising performance by Stomu Yamash'ta accompanied by Jazz pianist Masahiko Satoh (well known for his involvement in the New Herd Orchestra and his 'Belladonna of Sadness' soundtrack) and Taj Mahal Travellers founder Takehisa Kosugi on Electric Violin. The line up, also comprising Hideakira Sakurai on Electric Shamisen, is a spaced-out improvisational soundscape over the two LP sides. Remastered from the original tapes, the album is reissued here for the first time ever on LP and CDd. The LP comes in its beautiful original gatefold artwork with OBI strip, 2 page insert and a new introduction by journalist Paul Bowler. Stomu Yamash'ta has been hailed as one of the best percussionists in the world by John Cage. Born Tsutomu Yamashita in 1947 in a musical family (his father was the conductor of the Kyoto Philharmonic), he studied at Julliard and Berklee in the 60s where he honed his skills as one of the most gifted percussionists of his generation, playing both modern classical music (Cage, Morton Feldman, Toru Takemitsu...) and improv jazz. In New York, he witnessed the birth of the New Thing revolution led by John Coltrane which had a profound effect on him and decided him to go to pursue his studies at Berklee in Boston. There he met fellow Japanese musician Masahiko Satoh who was also studying there. Their friendship led to the recording of the landmark album Metempsychosis for Nippon Columbia a few years later. The album released in 1971 consisted in a "composition for percussion and jazz orchestra" that mixed Yamash'ta percussion and Satoh's piano playing with the full-on sound of Toshiyuki Miyama's New Herd Orchestra in a groundbreaking free improvisation. 1971 was also the year Yamash'ta released his highly-acclaimed 'Red Buddha' solo album which was released in Europe and in the US. Inspired by the Metempsychosis experience Yamash'ta set to recreate the flowing energy of the album in a live setting with a smaller line up. Recorded live at Yamaha Hall in Tokyo on April 18, 1971, just a few days after the end of the Red Buddha recording sessions, The all-night concert was recorded in front of an invite-only audience consisting of friends and musicians. Yamash'ta enrolled Satoh on keyboards together Taj Mahal Travellers leader Takehisa Kosugi, whom he'd met through his mentor, Japanese composer Toru Takemitsu. Hideakira Sakurai on electric shamisen was also added the lineup. ?Edited down to fit two sides of an album that will become 'Sunrise From West Sea', the performance is both hypnotic and ethereal. It starts with Kosugi's distinctive electric violin and develops into a deep, spiritual free form conversation between the four musicians, giving them all the space they need to freely improvise and interact with each other, mixing electronics, percussion, electric organ and shamizen without ever clashing. The interaction alternates between quiet, tranquil Eastern meditations and more paced parts, fuelled by Yamash'ta's extraordinary percussion playing. ?Later known for his involvement in soundtracks for Robert Altman's 1972 film Images - collaborating with John Williams - and Nic Roeg's 1976 classic 'The Man Who Fell To Earth,' and also for his foray into fusion with his group Go, Yamash'ta never reached the creativity heard in 'Sunrise From Red Sea' again. The album was recorded during one of the most fertile periods in Japan where such groups as Les Rallizes Denudes and Taj Mahal Travellers and jazz musicians like Masahiko Satoh and Yamash'ta were revolutionising the Japanese music scene. Wewantsounds is pleased to reissue this key album which had oddly never been reissued in fifty years.

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Alice Clark

Kimiko Kasai with Herbie Hancock

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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2022 repress. Following the success of Wewantsounds' Alice Clark RSD edition featuring an extra 20-page booklet, the label reissues the standard version of Alice Clark's highly sought-after soul jazz classic produced by Mainstream Records' Bob Shad in 1972. Featuring original artwork, remastered sound making this reissue is the first official reissue of Alice Clark's original album for decades, a long overdue release of one of the best Soul albums ever recorded. When it comes to legendary albums, very few can match the cult status achieved on the international jazz and funk scene, by Alice Clark's eponymous album, recorded for Mainstream Records in 1972. The record which went unnoticed when it first came out has become one of the most sought-after albums ever since it became cult on the London jazz and funk scene in the late '80s. It is now being acknowledged as one of the best soul albums of all-times. Recorded live over two days at the Record Plant studios in New York City, the album was produced by Bob Shad and arranged by jazz veteran Ernie Wilkins with a big band setting. The music is a superb mix of jazz and soul blessed by Clark's superb singing and including two all-time favorites, "Don't You Care" and "Never Did I Stop Loving You" plus a selection of heart-wrenching songs beautifully sung by Clark. Hailed as a soul masterpiece alongside Aretha Franklin or Roberta Flack's best albums, Alice Clark's LP took almost fifty years to achieve classic status and Alice Clark is now finally getting the recognition she deserves.

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Butterfly

LP | 1979 | EU | Reissue (Be With)

LP | 1978 | EU | Reissue (Wewantsounds)

Release: 1979 / EU – Reissue

Genre: Organic Grooves

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This is the 2020 repress. Due to its super-rare status as a Japan-only release, this exquisite collection of covers never got the recognition it deserved at the time, despite incredibly inspired performances from Kimiko, Herbie and the supremely talented musicians assembled for the project. From heavenly drummer Alphonse Mouzon and renowned organist Webster Lewis to bassist Paul Jackson, reedman Bennie Maupin and the master percussionist Bill Summers, the legendary performers crafted amazingly good vocal versions of Herbie / Headhunters jazz-funk.

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Yukihiro Takahashi

Saravah!

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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2LP | 1972 | EU | Reissue (ECM)

Circle

Paris Concert

LP | 1981 | EU | Reissue (Mo-Jazz)

Release: 1972 / EU – Reissue

Genre: Organic Grooves

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Circle was a band on fire with creativity. Corea and Holland had just left Miles Davis' band, keen to explore all parameters of new music in an improvised context. Braxton, equally inspired by Stockhausen and Coltrane, brought in new directions from the AACM. Altschul's resume included extensive work with Paul Bley. Together they were, for a while, matchless.

The short-lived Chick Corea outfit outdoes itself in this 1971 live recording. A delicate piano intro primes us for an extended rendition of Wayne Shorter’s “Nefertitti” to start. Once Braxton throws himself on top of incoming bass and drums, however, what began as contemplative awakening quickly turns into a spastic jaunt into more upbeat territory. The gnarled unity of the quartet paints in bold strokes, all the while flirting with total breakdown. Braxton’s perpetual motion and uncompromising tone make a superb tune out of a great one. “Song For The Newborn” gives Holland a moment in the spotlight. Swaddled in all the innocence of its title and bound by a mature sense of structure, this is an engaging interlude to the Braxton/Corea duet that follows. Corea’s frenetic style in the latter works its way through a host of rhythmic options before settling into a row of block chords. Braxton’s heady phrasing tears a page from the book of Coltrane, while his solitary diversions crackle with the urgency of a broken mirror, as yet unframed by the bastion of mundanity. Altschul delights in “Lookout Farm,” in which he dives headfirst into his percussive arsenal. The tinkling of icicles and cowbells in an open field give way to an extended solo, thus providing ample segue into “73 degrees Kelvin,” a beautifully convoluted organism that could only come from the mind of Braxton. Below its cacophonous surface pulsates a vast network of instrumental veins, through which flows the passionate immediacy that is Circle’s lifeblood, and from which Holland’s rapture sings with detail and imagination. “Toy Room Q&A” (Holland) boasts Corea in notably fine form, leaving plenty of elbowroom for Braxton to flex his reeds. The freer aesthetic crashes in on itself by the end, leaving us craving a familiar foothold. This, we get in the standard “No Greater Love,” capping things off with notable turns from all.

Corea busts out with some of his most captivating fingerwork, proving himself finely attuned to the mechanisms of his caravan at every rest stop along the way; Braxton’s “Pharaonic” sound titillates the ear; and one could hardly ask for a tighter rhythm section at one’s side. As a collective unit, Circle doesn’t so much make music out of as inhabit its raw melodic materials. This recording is a lasting testament to a vibrant formative period for ECM. The audience’s enthusiastic reactions give the listener the feeling of being present in the making of history.

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Seeds Of Fulfillment

LP | 1978 | JP | Original (CBS/Sony)

Release: 1981 / EU – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: Sealed, Cover: Near Mint

Cover with slightly bumped corner. Copy n° 435/505

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The Heath Brothers

Passing Thru...

Hannibal Marvin Peterson And The Sunrise Orchestra

Release: 1978 / JP – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

Close to NM.
No obi.

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Hannibal

LP | 1975 | JP | Reissue (BASF)

The John Coltrane Quartet

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: VG+

With insert. 1980 reissue.

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Africa / Brass

LP | 1970 | JP | Reissue (Impulse!)

27a Raccolta Picture Disc Edition

Release: 1970 / JP – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: G+

Promo copy with white labels . Japanese pressing without OBI, but with insert. Cover with shelf wear and tears on the inside

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Fausto Papetti

LP | 1978 | EU | Reissue (Sony)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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2LP | 1971 | US | Original (Impulse!)

Gabor Szabo

His Great Hits

2LP | 1987 | UK | Reissue (BBE)

Release: 1971 / US – Original

Genre: Organic Grooves

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Used Vinyl

Medium: VG, Cover: VG

Vinyl with scuffs and hairlines. Cover with ring wear

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Wütrio

34,84 €* 40,99 € -15%

Release: 1987 / UK – Reissue

Genre: Organic Grooves

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LP | 1975 | JP | Reissue (P-Vine)

Karin Krog

We Could Be Flying

34,19 €* 35,99 € -5%

LP | 1989 | JP | Reissue (Groove Diggers)

Release: 1975 / JP – Reissue

Genre: Organic Grooves

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Originally released in 1975, Norwegian jazz singer Karin Krog’s We Could Be Flying has long been called an underrated masterpiece. Although Krog is listed as the sole leader on the album, pianist Steve Kuhn’s presence is felt throughout. Composing four out of nine tunes and playing on all nine, the New York pianist’s brand of mellow jazz is on full display from beginning to end. Album opener and title track “We Could Be Love” sets the tone for the record, as spiritual chimes and rolling piano arpeggios make way for a gentle groove, over which Krog’s vocals soar. “The Meaning of Love” is a Kuhn composition, and sees the pianist take an understated, yet fantastic solo. However, the true highlights are the bass playing from Steve Swallow and drumming from John Christensen. The two are perfectly locked in, and you can practically imagine the two of them locking eyes as they create a rhythmic bedrock. The cover of Joni Mitchell’s “All I Want”, is another highlight of the record, with 70’s sensibilities oozing from practically every aspect of the performance. Despite that, the track has aged well, and perfectly shows the interplay between Krog and the immensely talented rhythm section. That’s not to say that the rest of the record is lacking in any way. From the loungey interpretation of Carla Bley’s “Sing Me Softly Of The Blues”, to the danceable samba-inspired “Raindrops, Raindrops” and “Hold Out Your Hand”, fans of all kinds of jazz are sure to be delighted from beginning to end. Reissued on vinyl with an obi-strip for the first time ever, this record is a must-have for any jazz fan!

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Weldon Irvine

Weldon And The Kats

34,19 €* 35,99 € -5%

LP | 1980 | US | Reissue (We Are Busy Bodies)

Release: 1989 / JP – Reissue

Genre: Organic Grooves

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* First ever reissue with the original LP artwork * New remastering * Japanese OBI-strip After releasing some albums through RCA and Strata-East, Weldon Irvine returned to his own label Nodlew Records to release 'Weldon and The Kats' which was consistent with a lot of session recordings. Along with sessions in the 80s, the album has his early work 'Mr.P.C.' recorded in 1968 with Steve Grossman (T.Sax) and Lenny White (Drums) who played in the Miles Davis band. This is the first time it has been reissued with original LP artwork!

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Lionel Pillay

Deeper In Black

LP | 1979 | US | Reissue (We Are Busy Bodies)

Release: 1980 / US – Reissue

Genre: Organic Grooves

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Lionel Pillay’s broad list of associations is a testament to how widely respected he was in South Africa’s diverse jazz scene. In addition to his work with Mankunku, he played with Hugh Masekela in the early 1960s, produced the exquisite long-form recordings “Shrimp Boats” and “Cherry” with Basil Coetzee in the 1970s and collaborated with trumpeter Murray Campbell and saxophonist Bez Martin in the 1980s. However, is it with his 1980 album Deeper in Black, backed by core members of the jazz-fusion supergroup Spirits Rejoice, that his legacy was cemented.Deeper in Black was inspired by the 1969 Blue Note recording of American trumpeter Blue Mitchell entitled Collision in Black and took its name from Pillay’s cover of the album’s Peggy Grayson composition. Pillay’s album featured another two compositions from Collision in Black by way of the Monk Higgins track “Keep Your Soul,” with distinct arrangements straddling Side A and Side B, and Vee Pea’s “Jo Ju Ja” closing out the set. Although the source material was over a decade old when Pillay recorded his album, Collision in Black had struck a chord in South Africa with its first pressing in 1969 and even seen a local repressing in 1978. Blue Mitchell owed much of his popularity in South Africa to a six-week tour with saxophonist Harold Land in 1976. It was during this time that As-Shams/The Sun producer Rashid Vally seized the opportunity to record the Dollar Brand album Blues for a Hip King with Mitchell and Land backing Abdullah Ibrahim. Although the recording and release of Pillay’s Deeper in Black coincides with Blue Mitchell’s death in May 1979, the album was not explicitly promoted as a tribute but did certainly offer a respectful nod to the esteemed trumpeter who was among the few American jazz heavyweights who managed to connect with the South African scene during the Apartheid era.

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Lionel Pillay

Plum & Cherry

LP | 1973 | US | Reissue (We Are Busy Bodies)

Release: 1979 / US – Reissue

Genre: Organic Grooves

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Following the April 2022 reissue of the album Shrimp Boats, We Are Busy Bodies presents companion titles Plum and Cherry and Deeper in Black to round out a Lionel Pillay and Basil Mannenberg Coetzee “trilogy” as part of the label’s As-Shams South African jazz archive series. The connection between these three albums is tight as the 1987 release Shrimp Boats compiled unreleased recordings from both the 1979 session for Plum and Cherry and the 1980 session for Deeper in Black. These two rare records have been carefully remastered from their original tapes and are back in print for the very first time in over 40 years.Shrimp Boats and Plum and Cherry capture the extraordinary musical chemistry that existed between pianist Lionel Pillay and tenor saxophonist Basil Coetzee in the late 1970s. The respective album showpieces “Shrimp Boats” and “Cherry” each occupy an entire side of vinyl with both exquisite musical journeys clocking in at an epic 25 minutes a piece. While “Shrimp Boats” was an instrumental reimagining of the popular 1951 song by American singer Jo Stafford, “Cherry” drew inspiration from Abdullah Ibrahim at the behest of producer Rashid Vally, who wanted to emulate the success of the famous track that had helped launch his independent As-Shams/The Sun record label in 1974. Ibrahim’s hit “Mannenberg” had also featured Basil Coetzee and it was this zeitgeist South African jazz recording that had given rise to his stage name.Capturing the grace and vitality of working-class township life on the city fringe, “Cherry” channels the type of laid-back Cape groove that Abdullah Ibrahim, recording as Dollar Brand, introduced to South African jazz in the 1970s. On the flip side, “Plum” appears to take its own simple chord change in the same direction before breaking into a chugging 20-minute romp that verges on proto-electronica and on which Pillay hangs all manner of savage keyboard riffing and experimentation. The two distinct flavours of Plum and Cherry make for a well-rounded platter with an iconic cover featuring the work of abstract expressionist painter and As-Shams/The Sun collaborator Hargreaves Ntukwana.

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Virgilio Armas

Espejismo

Release: 1973 / US – Reissue

Genre: Organic Grooves

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LP | 1970 | US | Reissue (We Are Busy Bodies)

Virgilio Armas

De Repente

Release: 1970 / US – Reissue

Genre: Organic Grooves

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12" | 1984 | CA | Reissue (Morning Trip)

Karma Moffett

Chomolhari

2LP | 1988 | EU | Reissue (Music On Vinyl)

Release: 1984 / CA – Reissue

Genre: Organic Grooves, Electronic & Dance

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On 1984's Chomolhari, new age pioneer Karma Moffett eschews the arsenal of Tibetan bells and resonant singing bowls, which he usually uses to conjure his healing ambient works. Instead, he opts for the shimmering arpeggiation and gentle glissando of the Moog synthesizer. With this aural palette, he soundtracks a rich inner voyage of peace and reflection. Bookended by the calming drone of the Tibetan longhorn, the trip to Chomolhari and back is one worth taking again and again.

Karma Moffett reminisces: “Chomolhari. Bhutan’s deeply venerated guardian peak. While living in San Francisco, I wandered into the first Tibet Shop in the city. I met Dorje Lama, the creator.He became my good friend and guide, and introduced me to His Holiness the Dalai Lama, the 16th Gyalwa Karmapa, the venerable Kalu Rinpoche, and Tai Situ Rinpoche. He opened the door to the path of an inspired and enlightened journey for me. After reading ‘Seven Years in Tibet’, I created ‘Chomolhari’ as a mystical journey to the higher planes of the majestic mountains. Dorje would say: ‘The wildest dreams of the Americas are the facts of Tibet.

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Pharoah Sanders

Africa

A Blow For Me, A Toot For You

Release: 1988 / EU – Reissue

Genre: Organic Grooves

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Renowned agent and jazz pioneer Wim Wigt founded Timeless Records in 1975. This
Dutch record label has specialized in bebop, although it also did a sub-series of releases
of Dixieland, Swing and Classical recordings. As of today, Timeless Records has,
together with its three sub-labels, released over 900 albums. Notable releases include
Dizzy Gillespie Meets Phil Woods Quintet, McCoy Tyner’s Bon Voyage, Lou Donaldson’s
Forgotten Man, Eastern Rebellion and albums by the George Adams-Don Pullen Quartet,
Chet Baker, Bill Evans, Art Blakey’s Jazz Messengers and many more.
To celebrate the legacy of Wim Wigt’s Timeless Records, Music On Vinyl is releasing
a 45th anniversary jazz series. The series features albums that are part of the Timeless
Records legacy and will be released throughout 2021/2022.
Pharoah Sanders possesses one of the most distinctive tenor saxophone sounds in
jazz, which has earned him royal status amongst free jazz players, critics and collectors.
Harmonically rich and heavy with overtones, his sound can be as raw and abrasive as it is
possible for a saxophonist to produce. His 1987 album Africa is soulful but also searching
for a strong groove at the same time. The album is recorded with John Hicks, Curtis
Lundy and Idris Muhammad and was an explicit tribute to his late mentor John Coltrane,
another giant of jazz.
Africa by Pharoah Sanders is available on black vinyl. The album includes an insert with
upcoming Timeless Records titles from the Timeless Records 45th Anniversary Jazz
series. The sleeve contains liner notes by Kevin Whitehead

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Fred Wesley

LP | 1977 | EU | Reissue (Speakers Corner)

LP | 1974 | EU | Reissue (Speakers Corner)

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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Andy Bey

Experience And Judgement

LP | 1975 | AU | Reissue (Roundtable)

Release: 1974 / EU – Reissue

Genre: Organic Grooves

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Andy Bey was one of the most sought-after vocalists in the era of jazz fusion. Between 1968 and 1973 he was first choice as a studio singer for Max Roach, Duke Pearson, Horace Silver, Gary Bartz and Stanley Clarke, to mention but a few. His warm and engaging baritone voice easily crossed the bridge from conventional blues and gospel to a pugnacious, politicising style of soul – Andy Bey was 'spiritual' in every sense of the word. "Experience And Judgment", his debut album under his own name, was recorded in New York in 1973 and quickly became a cult album. Bey delivers twelve songs in single length, which are full of relaxed, funky grooves, soulful and electrifying, and quite lacking in gimmickry – in many of them a blues number is lurking in the background as a basic idea. His most important colleagues are Wilbur Bascomb, who lets his electric slap bass really thump out, and Bill Fischer who joins in on an electric piano, synthesizer and various other keyboards and really sets off a little fusion firework display. The most powerful numbers come from Andy Bey himself, such as "Experience", "Judgment", "Celestial Blues", "Tune Up" and "Being Uptight" – often powering forwards with a vengeance. Bill Fischer – at that time Artistic Director at Atlantic Records – added a few soul ballads to balance out the LP. This album inspired numerous jazz singers, including Gregory Porter. Jamie Cullum says: »What I love about Andy Bey is that he creates an atmosphere. As soon as he opens his mouth, you’re transported to another place.«

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: July and September 1973 at Regent Sound Studios, New York, by Bob Liftin Production: William S. Fischer

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Brian Brown Quintet

Carlton Streets

Live Evil Black Vinyl Edition

Release: 1975 / AU – Reissue

Genre: Organic Grooves

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Composer and saxophonist Brian Brown produced some of the most refined Australian jazz recordings during the 1970s. A versatile musician whose distinct impressionist music melded modern jazz with the outer limits of free experimentation. Considered to be his greatest work was the 1975 concept album Carlton Streets, an ambitious recording that romanticised the sights, sounds and the nostalgia of this once-bohemian Melbourne neighbourhood. Differing from his eco-jazz composition Wildflowers heard on the recent Roundtable compilation Pyramid Pieces, Carlton Streets explores the polar opposite, offering jazz impressions of the urban environment. Comparable to other pioneering jazz-rock groups such as Ian Carr’s Nucleus and mid-period Soft Machine, the album is a mosaic of ecstatic jazz-rock groove, spirited free improvisation and expanded experimental textures. A potent fusion that owes as much to Australian 20th-century avant-garde composers as it does to the influence of the electric jazz innovators, specifically early Weather Report and Herbie Hancock’s Mwandishi. The Roundtable are pleased to showcase this important artist and offer a new edition of this landmark Australian jazz recording. Restored from the original master tapes and presented in a gatefold sleeve including liner notes and rare photos. Released for Record Store Day 2021.

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Miles Davis

2LP | 1970 | EU | Reissue (Music On Vinyl)

The Descendants Of Mike And Phoebe

Release: 1970 / EU – Reissue

Genre: Organic Grooves

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Live-Evil (1970) by Miles Davis is a double live album which features different settings of Miles Davis' bands. One of such recordings is of a 1970 gig at the Cellar Door, which featured a band comprised of Miles, bassist Michael Henderson, drummer Jack DeJohnette, guitarist John McLaughlin, saxophonist Gary Barts, and Keith Jarrett. The group is groovy, fast, and funky.

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A Spirit Speaks

LP | 1974 | FR | Reissue (Superfly)

LP | 1978 | EU | Reissue (Speakers Corner)

Release: 1974 / FR – Reissue

Genre: Organic Grooves

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Used Vinyl

Medium: VG+, Cover: Near Mint

2017 reissue. Vinyl is close to NM. Limited edition.

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Al Di Meola

Casino

LP | 1972 | EU | Reissue (Speakers Corner)

Release: 1978 / EU – Reissue

Genre: Organic Grooves

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Master of the strings, Al Di Meola, who turn his back on over-ambitious manual dexterity as in "Elegant Gypsy" to concentrate more on musical substance, demonstrates his intensive work with the material in the follow-up album "Casino". For example in "Egyptian Danza", an amalgamation of melodies which circle around one another and evoke with light electronics the contrasting worlds of the Orient, Occident and New World. A far sharper sound is conjured up in "Chasin‘ The Voodoo", which escalates to an extremely tightly-knit continuous fire, infused with the maestro‘s familiar guitar sound. Di Meola - with himself alone - combines the idea of multiple rhythms and parts: In the "Fantasia Suite For Two Guitars", four miniatures with percussive zapateado and whirling flamenco, he accompanies himself thanks to multi-tracking. All great stuff, but the best comes last: in the lengthy title number "Casino" all powers come together to create a magnificent performance with varying tempos, layered patterns, deceptive metrical changes and, of course, guitar playing of the highest order.

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: May - September 1977 at Electric Lady Studios, New York, by Dave Palmer
Production: Al Di Meola

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Herbie Hancock

Crossings

2LP | 1973 | EU | Reissue (Music On Vinyl)

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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Miles Davis

Black Beauty

Release: 1973 / EU – Reissue

Genre: Organic Grooves

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2LP | 1975 | EU | Reissue (Music On Vinyl)

Miles Davis

Agharta